99 years ago today, the RMS Titanic sank in the North Atlantic with more than 2/3 of the over 2200 passengers losing their lives. The ship was rather state-of-the-art and was considered remarkably safe with more lifeboats than was legally required for the passengers and crew. She also had a number of watertight bulkheads that could contain flooding and keep the ship afloat even if a remarkable total of four such compartments were flooded.
But as we all know, the iceberg, frigid water, and brittle steel combined to flood not four, but six compartments. And while more than legally sufficient, the number of lifeboats and passenger space was insufficient to save all the passengers. This illustration, by G.F. Morrell details how floating catamaran deck rafts could have saved lives.
Japan has updated the the threat level from the Fukushima Plant from five to seven. And while everyone ought to put Fukushima into context, chiefly by looking at the damage facing the rest of the country, we can also see that, broadly, things worked as expected at the power plant. They just did not build the plant to survive the 48ft-high tsunami waves and 9.0 earthquakes that happen perhaps once every thousand years. Very poor planning indeed.
This is an older, albeit by a few weeks, graphic from the New York Times explaining how a reactor is ‘shut down’ and then, failing that, what a meltdown is. And most importantly, how the meltdown of a modern reactor design is far different from that at Chernobyl.
Credit for the piece to Xaquín G.V., Bill Marsh, Dylan McClain, and Graham Roberts.
The United Kingdom. England. Britain. All pretty much mean the same thing, right? No. But, if you do not believe me, might I recommend going to Glasgow or Edinburgh and calling a local an Englishman. It may very well be a quick education.
Colin Grey attempts to untangle the constitutional and jurisdictional mess in both a video and an accompanying chart. The video takes about five minutes and is largely correct with most of the errors I have picked up on being rather small in nature, e.g. Ireland is not the Republic of Ireland but just Ireland…not a big deal unless one wants to be enraged by minutiae.
The chart is simple and effective in delineating the structure of the UK and expands about how the UK fits into Europe.
Credit for the piece is to Colin Grey and thanks to Kim Nguyen for the tip.
One of my interests is genealogy/family history. While everyone is certainly more than the sum of their parts, that sum of parts is the history that led to your existence. And I find that notion fascinating.
When looking around the New York Times, I came across this interactive piece about complicated family histories. I am unaware of the exact impetus behind the project, but it probably has something to do with the unfolding US Census results and the increasing number of mixed marriages and thus genealogies. But I cannot say for certain.
The design of the piece is an interesting decision. Instead of a complicated and unwieldy diagram with lots of details, the designers chose to focus merely on photographs, when available, and little, coloured leaves to denote the ethnicity of each individual. This works to a degree in communicating simple ethnic ancestries, however, when one begins to have shades of light blue to distinguish between disparate ethnicities, one can begin to see a flaw in the system.
From an interactive perspective, I certainly think one of the more interesting bits is the inclusion, at least here in Lou Diamond Phillips’ tree, is the inclusion of the audio story as recounted by an individual. It brings a level of human connection that is always lost in diagrams. (Although these diagrams do have softer, curvier lines than most ergo they are more human. No?)
As someone interested in genealogy, the details are a bit light—but that was not likely the main intent of the piece. Beyond that, there are privacy issues with which to contend. But, if you wish, the New York Times does allow you to upload your own tree and even audio—to 10 megabytes. Perhaps in the future I shall upload a simple version of mine.
My co-worker, Ben, who is far more knowledgable about cars than myself, brought the following to my attention.
At the Consumer Electronics Show we always get to see the latest in cool, new, must-have toys. This year, however, a company called Fulton Innovations displayed a proof-of-concept, wireless charging-station for electric vehicles. And while one must wonder about the conservation and inefficiencies of such a powering station, Fulton provided information on just how efficient their system would be. In the form of graphics.
And by and large, they are not bad. Yes, yes, the pie charts could be substituted for something else. But, I do like linking the colours in the pie chart to the parts in the power-system located in the diagram of the car. They help to explain just where exactly the inefficiencies in the system are to be found. And by providing the base of the plugged-in car, they also allow one to compare the two methods of wireless charging to that of plugging the vehicle in.
Courtesy of Feras, this is from the magazine Complex that was the light entertainment for the office this day. It is, of course, an advert for Las Vegas. But in a magazine apparently aimed at men, this felt like a good Friday evening, i.e. pre-bar or other, mixed-gender, social outing, information graphic to share.
The New York Times has a story about the clerks supporting the Supreme Court justices. And how, surprisingly, the Supreme Court is polarised. Truly surprising considering how unpolarised—or would it be depolarised—the remaining two branches of government are these days. Sarcasm aside, the staff at the Times put together a diagram to explain the polarity.
My only real concern, however, is the potential for an audience disconnect. While you and I may know who John Marshall and William Brennan are, would the rest of the infographic’s readers? Does that mean not to include the justices? Personally, I always believe that design should lift and educate people and that designers should always avoid ‘dumbing things down’ for their audiences. Maybe not having the information in the diagram helps, and it will spur casual readers to do their own research. Or perhaps the targeted audience are those who have a grasp of the history of the Supreme Court.
These are photographs from a small series published by CNET that focuses on a power grid control room. As one can imagine, managing the flow of electrical energy across somewhere the size of New England could be a bit…complicated. And so one can see from some kind of network map (perhaps?) on the main display. At the very least I can make no sense of it.
On the other hand, I only wonder what would happen if Homer were sitting behind a bank of those monitors?
My post is inspired by a post on FlowingData a few days ago. FlowingData’s post is about a diagram of coffee recipes and it interests me on a personal level. For long before ever designing anything professionally, I was a barista. Over three and a half years of my life were (somewhat) dedicated to crafting coffees, espressos, and on the rare occasion, tea. We used Starbucks’ recipes—and on several occasions I commented about the graphics and diagrams they sent so baristas could all be making the same drink. I may have even kept a few…but that would require some digging through some really old collections.
However, Plaid Creative made something for me. Well, me in the sense that I would like to talk about it here and now, not really for me. They created a diagram to explain the various recipes for coffee and espresso-based beverages. I am especially fond of the inclusion of Irish whiskey. However, FlowingData’s post comments upon how Plaid’s piece is in some sense an update of an earlier chart by Lokesh Dhakar, found here. (Update: So that link to Lokesh’s work is broken, here’s a link to it courtesy of The Babble Out.)
So how do these two compare?
First, keep in mind that Plaid’s is much more extensive in terms of the number of recipes examined and the number of ingredients used (or suggested). For while Dhakar’s piece uses a consistent and simple colour scheme that relates well to the subject matter, Plaid addresses the breadth of its recipes by introducing patterns and so allows for the colour scheme to still relate to the subject. I like the idea of patterns, and here they work in differentiating between the ingredients. However, it took me a little while to make sense of them all and I wonder if a small legend would not have been helpful. Or even just labelling the colours and patterns when each first appears.
However, the one thing I find most interesting about the two pieces is that Plaid represents the drinks as multiples of pie charts. The proportions of ingredients are thus wedges or slices of said pie. Dhakar’s piece instead keeps the cup form and shows the proportions as layers. (And what is noticeably helpful is that the sides of the cup are straight, making comparisons easier than they might otherwise be in cups with fancy, curving sides.) And while I prefer the aesthetic of Plaid’s piece, that Dhakar chose to show proportions as layers allows him to also show the order of events.
From personal experience, the order of events can actually impact the flavour of the drink. And to be honest, I am not certain that Dhakar intended to show order of events—for the mochas I made always started with the mocha first. But the system he used to show the drinks would theoretically allow for that element in the actual graphic. Plaid’s would likely have to have the order of events be written explicitly; the only other option is to order the arrangement of the pie wedges, but I am not certain that doing so would be as easily assumed as pies are normally ordered by value, here the proportion amounts, if ordered at all.
Both, however, do help the average Joe enjoy his, well, you know as increasingly create more and more complicated versions and variations. And in that sense, both are successful and entertaining pieces. If one, however, were to try and use either as a more educational piece in a true recipe-like sense, than I find Dhakar’s piece to the more successful of the two.
We all know about the BP oil spill in the Gulf of Mexico and so there is no need to rehash what has already been said. However, I do want to point out the continuing and evolving coverage from the New York Times. At the outset they located the spill on a map and began to add interactivity to the map in order to show change over time.
When I returned to the NYT for the latest—after admittedly more than a few days away—I discovered that an interactive supplemental to news articles had transformed into an interactive article in a sense. The story is broken into different chapters or components and each of these chapters uses graphics or photographs or videos to explain just what is going, what happened, and what the effects may be.
The site is worth checking out, though it shall take more than a few minutes to read and look through. But it evidences how the smart use of charts, graphics, and photos can be combined with well written prose to tell a great—or in this case perhaps tragic is more the word—story.