Today’s post is not so much about a graphic per se, instead I read an article in the Guardian about how Boston’s public school system has decided to switch from the Mercator map projection system to the Gall-Peters projection system.
The article is worth a read if only for the embedded clip of the episode of the West Wing where they talk about the Gall-Peters. But for those of you not familiar with map projection systems, the problem is it is impossible to perfectly reproduce a three-dimensional spheroid onto a two-dimensional flat plane. Some maps sacrifice proportions for straight lines, others sacrifice shape for area, and so on and so forth.
Credit for the map image goes to Alamy Stock Photo via the Guardian.
We have a scatterplot from the Financial Times that looks at wage and economic growth across the OECD, focusing on the exception that is the United Kingdom. And that is not an exception in the good sense.
The UK had the rare privilege of experiencing economic growth—that’s good—while simultaneously wages fell—that’s bad. But I wanted to comment on the chart today.
Straight off the bat, the salmon-coloured background does not bother me. That is FT’s brand and best to stick to it and make your graphics work around it. Possibly the colours in the plot could use a bit of a push to increase separation, but that is more a design quibble. Instead, I am not too keen on the colour coding here.
Not that the colours need not be applied, but why to the dots? Note how the dots of a colour fall into one of the quadrants. Instead of having people refer to the legend, incorporate the legend into the chart by moving the labels to the plot background. You could colour code the labelling or even colour the quadrants to make it a bit clearer.
Credit for the piece goes to the Financial Times graphics department.
Today, 9 February, it finally snowed significantly here in Philadelphia. In Chicago it probably snowed shortly after I moved out in September. Today’s graphic is a forecast map from philly.com using National Weather Service (NWS) data.
I fail to understand the divergent palette—to be fair this is not the only instance of it throughout the meteorological world. There is a split at the six-inch mark—but why? If anything, my eye would think that the 4–6 range is the heaviest, not the yellow. Snowfall is usually more of a continuous range, and so both within the blues and yellows you get that through a softer edge as the colours become more intense. And then you hit the six-inch mark and a violent shift.
I am also curious as to why the choice to use a coloured map background. Especially if the colour, a lightish green-blue is so close to the lightish blue used by the map to forecast snowfall.
In short, I think this Philadelphia map could use some attention from some designers to make the message a bit clearer.
Credit for the piece goes to the philly.com graphics department.
It’s easy to miss the news these days. But as a designer who does a lot of work—and writes a blog about—data visualisation and information design, I was fortunate to catch the word that Hans Rosling died. You might know him best from his TED talks, but I became familiar with him through his Gapminder project.
Do I agree with the design decisions? Of course not, just ask anyone who has asked me anything about bubble charts. But that is not the point. He and others laid the groundwork for myself and those newer to the field to work on the presentation of data, and its integration into analysis.
Unfortunately his death comes at a time when the field of data visualisation comes under threat. Not from the Chinese stealing our jobs, or robots doing them better for cheaper, but from those who assail the veracity of data and fact itself.
It’s easy to joke about alternative facts and alternative data—I do it on an almost daily basis now. But, as Rosling knew that accepting facts, even if unpleasant or challenging to your view on things, was critical to public discourse. To quote from Claire Provost of the Guardian, who interviewed him in 2013:
“Rosling stood for the exact opposite – the idea we can have debates about what could or should be done, but that facts and an open mind are needed before informed discussions can begin.”
Well, we have arrived at 2017. We all know the big political story in the executive branch. But we also saw elections in the legislative branch. But how different will the 115th Congress look from the 114th? The Wall Street Journal took a look at that in an article.
The article’s graphic does a nice job showing the two different compositions. But if we are truly interested in the growth, we could use a line chart to better showcase the data. So what did I do last night? I made that chart. But as I was playing with the data I saw some numbers that stood out for me. So I compared the proportion of minorities in the original graphic to their proportion of the US national population, per Census Bureau data.
The line charts, broken out into the House vs. the Senate and then into the two parties, do a really good job of showing how the growth is not equally distributed between the two parties. And the reverse of that is that it shows how one party has failed to diversify between the two congresses.
The 115th Congress might be more diverse than ever. But it has a long way to go.
Credit for the original piece goes to the Wall Street Journal graphics department.
Happy Friday after the election. Now that we have had our fill on sweets and bitters, we probably need to move towards a more balanced, more moderate diet. A couple of months ago the New York Times put together this scatter plot from the difference between public and nutritionist opinion on whether certain common foods are healthy.
I normally do not comment on the design of my Friday posts, since I intend them to be on the lighter, more humourous side of things. But this piece interests me, because despite the seriousness of the subject matter I find it lighter and less serious. Why? After studying it, I think it is because of the inclusion of photographs of the items. With the labels still present, I am left thinking that a small dot would be equally effective in communicating what falls where.
But more importantly, look at the sizes of the images relative to the plot. Take the bowls of granola or popcorn, for example. They occupy almost an entire square; the actual value could be anywhere with the 10 percentage point range either vertically or horizontally. And for those two, it does not matter a great deal. Each falls firmly on one side of the line. But what about butter? Kind bars? Cheddar cheese? The large graphic size straddles the line, but because the designers opted for photos over more precise dots, we cannot ascertain whether these foods fall on one side of the line or the other.
The point is that the graphics and design of a piece can influence the perceived seriousness of a piece. An image of a can of Coca-Cola certainly can be more engaging than a 10-pixel dot. But the precision of the dot over the image can also be engaging to the right audience, an audience interested in the data behind the story. There are ways of integrating both, because later on in the same article, we see a means of doing just that.
Here the image provides supplemental information. Just what does a granola bar look like? Well here you can see it. But even here, despite the smaller size and cropped dimensions, the photographs steal a bit of emphasis from the numbers and the charts to the right. (For things like SlimFast, that is no surprise, because the package is designed to capture your attention.)
At the end of the day, the piece interests me because the data interests me. And the story interests me. And I generally like the data visualisation forms the designers chose. But I keep getting hung up the photographs. And not in a good way. What do you think? Do the photos add to the story? Do they make the data clearer?
Credit for the piece goes to Kevin Quealy and Margot Sanger-Katz.
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.
A few weeks ago the Wall Street Journal published a graphic that I thought could use some work. I like line charts, and I think line charts with two or three lines that overlap can be legible. But when I see five in five colours in a small space…well not so much.
So I spent 45 minutes attempting to rework the graphic. Admittedly, I did not have source data, so I simply traced the lines as they appeared in the graphic. I kept the copy and dimensions and tried to work within those limitations. Clearly I am biased, but I think the work is now a little bit clearer. I also added for context the Great Recession, during which credit tightened, ergo more properties would have been likely purchased with cash. It’s all about the context.
And my take:
Credit for the original work goes to the Wall Street Journal graphics department.
Well the election is next Tuesday, and last Friday and this past weekend was…interesting. So one(ish) week to go, and we are going to turn to a few posts that use data visualisation and graphics to explore topics related to the election.
Today we start with the latest tracking polls, released on Friday. The piece comes from the Washington Post and highlights the closing gap between Clinton and Trump with a sudden spike in Republican candidate support. But what I really like about the piece is the plot below. It displays the 0 axis vertically and plots time with the most recent date at the top. And then support for the various demographics can be filtered by selectable controls above the overall plot.
Of course the really interesting bit is going to be how much this changes in the next seven days. And then what that means for the results when we all wake up on Wednesday morning.
Credit for the piece goes to Chris Alcantara, Kevin Uhrmacher, and Emily Guskin.
70+ million people watched the debate last week. But, 2.5 million people have already voted. Me? Well in Pennsylvania there is no early voting, so you queue up on Election Day. But that also means I will have had the full election season to brush up on candidates for president and all the other offices. But what about early voters? Well the Washington Post put together an article last week about the numbers of early voters—hence my figures in the opening—and the amount of information they might have missed.
From a design standpoint, it is a really nice article that blends together large centre-piece graphics such as the above to smaller in-line graphics to margin graphics. None are interactive; all are static. But in these cases, users do not need the freedom to interact with the charts. Instead, the designers have selected the points in time or data points more relevant to the story.
Overall the piece is solid work.
Credit for the piece goes to Kevin Uhrmacher and Lazaro Gamio.