For the past few days I was in Las Vegas for a stag party. One of the things I got to see was the Mob Museum in old Vegas. As I am not a gambler, the other forms of entertainment garner my interest, and if you are like me, I would highly recommend the museum. I found it very informative and well designed. So over the next few days I will be showcasing some photos that I took in Vegas, but mostly at the Mob Museum.
The first is a diagram of the Trafficante family. It bears a striking resemblance to the genealogy diagrams with which I am very familiar. But since in many respects these mob families started as just that, perhaps the similarity should not be so surprising.
Credit for the piece, I assume, would go to the Justice Department.
Donald Trump announced how he wants to deport 2–3 million undocumented immigrants that have criminal convictions or that belong to gangs. I read up on the issue at FiveThirtyEight and came across the following graphic from the US Immigration and Customs Enforcement (ICE).
However, when I review the graphic, I found it difficult to understand the FiveThirtyEight article’s point that President Obama has lessened the focus on deportation, but those deported are those convicted of serious criminal offences. So I expanded the size of the y-axis and broke apart the stacked bar chart to show the convicted criminals vs. the non-criminal immigration violators. This graphic more clearly shows the dramatic falloff in deportations, and the emphasis on those with criminal convictions.
Credit for the original goes to the graphics department of the US Immigration and Customs Enforcement. The other one is mine.
Yesterday, I left the office late and encountered a protest in front of my building organised by the Black Lives Matter movement. The protest focused on recent shooting deaths of black men by police officers in Minneapolis and Baton Rouge, but the protests clearly tapped into deeper issues regarding race, inequality, and armed police among others. But in a far more tangible sense, I am left curious what has happened to the police officers involved in these cases? I figured today would be a good day to share the New York Times work on the follow-ups. The piece looks for accountability or the lack thereof in police shootings of civilians. Additional tables look at settlements and Justice Department investigations.
What has happened afterwards
The piece does a nice job of using tables to organise and showcase the results of the investigations. Something about the colour choices feels off; I am far more quickly drawn to the negative results as opposed to the positives. Should that be the idea? Regardless, the work shows that tables, while not the sexiest visualisation form available, have an important role to play in designing displays of information.
Credit for the piece goes to Haeyoun Park and Jasmine C. Lee.
Last Monday I stated that I would attempt a longer piece on the graphics explaining the shootings in Orlando. Since I do not have access to the print versions, I am examining only the digital versions here. Go grab a cup of tea, because this is certainly one of my longer pieces.
One of the most common ways sites covered the story was through maps of the club, Pulse. It makes a lot of sense—if we want to understand what happened inside the building we need to be able to place ourselves inside the building. So how to do that?
The first thought would be photography. But, the site is a crime scene likely riddled with bullets and stained with blood. Probably not the best thing for publications to use. So we are left with illustrations of the interior. But what level of detail do readers need to understand the story?
At the one end of the spectrum we have the stripped-down and simplified graphic from the BBC.
In many respects this could offer the clearest explanation. Unlike the next versions, we have no graphical elements with which to confuse and clutter the drawing. Walls are omitted for a far more architectural layout. Doors are clearly marked, but that is it. We have no indication of where other key places are located. Where are the restrooms into which the attacker fled with hostages? Where are the dance floors? Where is the patio through which people escaped? We get some indication through the timeline annotations, but a lot of the detail needed to provide context is missing.
First you can see that the graphics, while smaller, are interspersed within a text-driven timeline of events. Key areas at that point in the timeline are highlighted on the graphic. For the graphic itself, the Times opts for a high-angle view with walls extending from the floor plan and the three key areas are annotated within the graphic. Colour is kept to a minimum with only whites and greys used in addition to the highlight. However, the high grey walls overlap with each other and the unidentified white boxes. What are the white boxes? Are they important? Do the walls need to be grey? Do they need to be so high that they interfere with the graphic?
We can see some different answers to those questions from the Wall Street Journal.
Here the graphic is lighter in overall tone, with white and very faint greys replacing the darker tones in the New York Times’ piece. They Journal opts for the same graphics within timeline treatment. They also highlight the areas of the club relevant to the story at that moment in time. But here we first find a larger graphic. The Times could have had space limitations on their online site or they could have had to reuse graphics from their print edition for their online edition. While the Times could have very real reasons for the smaller images, the Journal’s larger graphic gives the content the space it needs to be read and understood comfortably. Also note how the use of grey vs. white for emphasis is reversed. Whereas the Times used white for unmarked boxes and grey for walls and floors, the Journal uses white for the floors and the walls. Grey is used to callout important parts of the club that are then crucially labelled, e.g. where the bars are located. Another really nice touch missing from my screenshot is how the Journal only labels the elements in the first graphic in the timeline. The second graphic only calls out the newly important elements.
The Washington Post takes a similar approach to that of the Journal.
We see above the timeline a large graphic identifying the key areas of the club. The use of the small multiples in the timeline then allows the graphics to be smaller and thus accompanied by more text. But in the graphics, the Post diverges from the Journal’s direction in the graphic’s design. We find the layout depicted at a lower angle. And instead of a restrained palette, we find warm beiges and ochres depicting the floors and key elements like the bars. The shadows here begin call more attention to themselves than in the previous designs. We also find high levels of detail with the inclusion of bar stools and seat cushions. On the large graphic, the colour and detail, while distracting, still work because of the space. But in the small multiples for the timeline, a simplified version without stools and seats and a toned-down palette could make the graphic easier to understand.
We return to a restrained palette with colour used sparingly to emphasise key parts of the narrative. Detail is limited to the key elements, without any illustrative adornments like furniture. Typographic distinctions, bold vs. italic, delineate the important areas of the club from the remainder of the context. Elements like service alleys, fences, and the patio gate are clearly marked and provide that context of the possible escape routes for patrons attempting to flee the attacker. The graphic then repeats through the timeline, but the subsequent graphics reflect a missed opportunity. Each remains as labelled as this first, and the labels begin to distract from understanding the narrative.
Note any similarities in this graphic to the preceding one? The Tribune Publishing Company, to be rebranded as tronc, owns both the Los Angeles Times and the Orlando Sentinel. So my guess would be the graphics departments collaborated or one of them created a shared asset to be used across the Tribune Publishing Company’s—sorry, tronc’s—media platforms. The Sentinel’s version lacks the finer design details of the LA Times’s, for example note how the typographic treatment here lacks the clearer hierarchy present in the LA Times’ version. I doubt the small type size increase would be noticed by the audience, though I could be wrong. But in terms of providing a timeline of events, the Sentinel’s version, which incorporates the above graphic as well as other media, is the most detailed and complete.
As you can likely tell from the screenshot, this is a graphic where the entire piece is designed as a large graphic file instead of components on the page. It could be because the piece was designed primarily for print and not digital consumption. The layout of the club draws heavily on the BBC’s architectural drawing concept, but here is executed far more awkwardly. Instead of including hallways in the schematic, they are indicated by coloured rectangles. And we also know from the other graphics that almost the entirety of the wall at the graphic’s top supported the club’s main bathrooms. The graphic itself is sourced from The Villages Daily Sun, but the OC Register would have been better served by sourcing a more accurate and more clearly designed graphic for the layout. I should also point out the photograph at the top of the graphic appears to have come directly from the New York Times.
Per the style of the National Post, this graphic is more illustrative in its quality than the others. Like the Orange County Register, the National Post designed an entire graphic instead of smaller components on a webpage. The timeline occupies the left column and numbers correspond to locations in the club. However, I think the graphic could have been made more clear if the roof illustration were removed and a higher angle taken to make the back of the club easier to see.
Different publications included different amounts and types of supplemental context. The Washington Post and Wall Street Journal, for example, included additional graphics on mass shootings. Others, like the New York Times, provided links to pieces that examined the context separate from the timeline of events.
Is there a best design among these? Well, design exists to solve problems, and those problems could vary from publication to publication. How soon did the graphics needed to be published? How many people worked on the design? How much information was available when producing the work? Were print considerations necessary?
For me, the Orlando Sentinel’s work, in toto, most clearly presented the narrative. While I quibble with particular elements of the design, again, I would have removed most of the text labels after their first appearance, it provides a balanced amount of detail and broad overviews in a clear fashion. Colour is used to emphasise elements in that moment. The illustration itself does not distract and allows the reader to focus on the story itself.
Credit for the pieces goes to a lot of people.
BBC: BBC graphics department
New York Times: Gregor Aisch, Larry Buchanan, Joe Burgess, Ford Fessenden, Josh Keller, K.K. Rebecca Lai, Iaryna Mykhyalyshyn, Haeyoun Park, Adam Pearce, Yuliya Parshina-Kottas, Sergio Peçanha, Anjali Singhvi, Derek Watkins, and Karen Yourish.
Wall Street Journal: Wall Street Journal graphics department
Washington Post: Weiyi Cai, Emily Chow, Chiqui Esteban, Lazaro Gamio, Chris Ingraham, Laris Karklis, Denise Lu, and Tim Meko.
Los Angeles Times: Eben McCue and Angelica Quintero.
Orlando Sentinel: Gal Tziperman Lotan, Charles Minshew, Mike Lafferty and Andrew Gibson.
Ocean County Register: Ocean County Register graphics staff
Monday I examined a chart from the BBC that in my mind needlessly added confusing visual components to what could have been a straight table. So here we take a look at some other options that could have been used to tell the same story. The first is the straight forward table approach. Here I emphasised the important number, that of those killed. I opted to de-emphasise the years and the injured in the table. Also, since the bulk of my audience is from the United States, I used the two-letter states codes.
But let us presume we want a graphic because everyone wants everything to be visual and graphic. Here are two different options. The first takes the table/graphic from the BBC and converts it into a straight stacked bar chart, again with emphasis on the dead. I consolidated the list into a single column so one need not split their reading across both the horizontal and vertical.
And then if you examine the dates, one can find an interesting component of the data. Of the top-eight shootings, all but two occurred within the last ten years. So the second version takes the graphic component of the stacked bars from the first and places them on a timeline.
For those that wonder about the additional effort needed to create three different options from one data set, I limited myself to an hour’s worth of time. A little bit of thought after examining the data set can save a lot of time when trying to design the data display.
Yesterday I opined about how simple tables can convey meaningful information without the aid of unnecessary chart elements. And while we will get back to that post, I did want to take a moment to share an older piece from the New York Times I recalled and that has been updated since Orlando.
The piece uses a table to compare the gun homicide rates for various countries and compares it to other causes of death. Being killed by a gun in the Netherlands is as likely as dying by accidental gas poisoning in the United States. It puts the absurdly high gun homicide rates in the United States in a new light.
Credit for the piece goes to Kevin Quealy and Margot Sanger-Katz.
Dickens is not my favourite, but that felt an appropriate title for today’s piece from the Washington Post on Chicago residents’ opinions on, well, Chicago. Turns out there is a notable demographic split on how residents feel about various things in the city.
Today we look at a really nice piece from the Washington Post on urban homicide. It combines big, full-width images that use interactivity to promote exploration of data. But as you can see in the screenshot below, the designers took care to highlight a few key stories. Just in case the reader does not want to take the time to explore the data set.
But the piece uses scale to provide contrast throughout the article. Because in addition to the three or four big graphics, a similarly well-thought-out and well-designed approach was taken towards smaller, inline supplemental graphics. Here is an example about the homicide rate for New York.
What I really enjoy about these small graphics is the attention paid to highlighting New York against the background averages provided for context. Note how the orange line for the city breaks the grey lines. It is a very nice detail.
Overall, this is a really strong piece marrying written content and data visualisation.
It’s Friday, everybody, so let’s lighten the mood with cruel and unusual punishment.
Don’t worry, it’s not as bad as it sounds. No, today we look at a simple two-axis plot or matrix used by Jon Stewart to classify means of death and whether or not they would unconstitutional based on the cruel and unusual clause.
Credit for the piece goes to the Daily Show’s graphics department.