Last week Jackie Bradley Jr., the starting centerfielder for the Boston Red Sox, saw his hit-streak end at 29 games. For those of you who do not follow baseball, that means he hit the ball and reached first base safely without causing an out for 29 games in a row. Quite a feat. Anyway, because it is a feat, the story gets covered and in this case, by the Boston Globe.
They wrote several articles on Bradley and the hit streak, but this one included a small, interactive graphic that mapped out his hits. Because a streak exists over time, the component includes a slider to show how the hits have progressed.
Worth keeping in mind that this was merely a sidebar graphic, not a large and fully immersive piece. The piece itself features only a few tables detailing baseball data comparisons, but it exists in a new design layout from the Globe featuring bigger, glossier photographs. Not all graphics need to be the biggest element on the page. From a pacing perspective, it sometimes helps to have a small graphic placed next to the important text to provide immediate context. Speaking of context…
Overall, a very nice piece.
Credit for the piece goes to the Boston Globe graphics department.
So last week I mentioned Pennsyltucky in my blog post about Pennsylvania’s forthcoming importance in the election. And then on Friday I shared a humourous illustrated map of Pennsylvania that led into an article on Pennsyltucky. But where exactly is it?
Luckily for you, I spent a good chunk of my weekend trying to find some data on Pennsylvania and taking a look at it. You can see and read the results over on a separate page of mine.
Today’s piece features a critique of the data visualisation world from Christopher Ingraham at the Washington Post. It centres on the difference between these two maps. The one on the left is Ingraham’s and the one on the right from the Pew Charitable Trusts.
I do not want to spoil or ruin the article for you—it’s a short read after all. But the crux of the argument, which I believe extends beyond maps, is that despite the proliferation of tools to visualise data, one still needs to understand the principles behind it to create meaningful work. Anybody can put words to paper—look at this blog after all—but the truly great writers have the education and the experience to move and motivate people. And the same holds true for designers of data visualisation. And designers even more broadly.
If I have to add one design critique to Ingraham’s work, I would also add that design decisions like colours and map type also play a role in creating legible pieces. The grey lines in the Pew map versus the white lines in the Post’s make it difficult to read the colours in the smaller, eastern counties of the United States.
Credit for the Washington Post piece goes to Christopher Ingraham.
Credit for the Pew Charitable Trusts piece goes to Pew’s graphics department.
Johnston, the typeface of the London Underground, turns 100 this year. And so last Thursday the Guardian posted a short article about the typeface. It is worth a quick read, if only for the description of serif typefaces as “letters without the little flicks at the end of their strokes”. Some people overlook typeface selection when it comes to the display of data and information, but it is vitally important. Letters need to be clear and easy to understand, but also set at the right size for the audience. If they fail to do that, a work fails to be legible, and that means something is not being communicated. And that is a failure in design.
Note the handwriting for the notes versus the sans-serif letterforms.
Today we are looking at a smaller piece from the Washington Post. The graphic fits within an article about US stock prices. What the graphic does is show the total scale, i.e. starting the chart on the 0 axis, and then showing in detail the fluctuations near the maximum end of the scale. And yet all of this done as an inset graphic. It need not be a full-width graphic, because the data does not demand it.
Credit for the piece goes to the Washington Post graphics department.
Today’s piece is not a chart, nor is it some complicated piece of data visualisation. Instead, we are looking at a piece from Medium that attempts to explain the disappearing Polish S. Basically, it is a roundabout way of saying that it is very difficult to type in foreign languages on American keyboards because of the additional letters and/or diacritics. If you are at all interested in typography, the article makes nice use of comparative photographs and highlighted colours in the alphabet to illustrate its case.
Massimo Vignelli died yesterday at the age of 83. Fastco has a much better article than I think I could read, this image is from their piece but is of Vignelli’s transit map for New York. I wrote about an interactive piece several years back that allowed you to compare Vignelli’s map to the new system map for the MTA.
Okay, we have all watched enough science fiction to know that there is not one future, but multiple futures. All options existing as if taken in parallel universes. Today’s post is not about a specific graphic, but rather a short article in the New York Times examining data visualisation. Through the work of Eric Rodenbeck of Stamen Design, it looks at how we may need to change our current vocabulary, if you will. Naturally the article offers a counterpoint nearer the end about how older forms are still useful.
This small graphic is one of several from a very smart piece on redesigning the traffic map. Have you ever looked at a Google or an Apple traffic map to find the quickest route home or to get an idea of how long it will take you to get to the ballpark? According to Josh Stevens, your traffic map is lying to you.
The article is a summary or overview of a research paper not-yet-published. When you have a few moments, the whole thing is worth the read for its analysis of popular transit map designs and the five big lies.