Those Who Will Lose Subsidies for Trumpcare

As much as I like trains…we need to get back to Trumpcare. As you probably know, it will cover fewer people than Obamacare. Just how many fewer people? Somewhere in the ten to twenty million range. The poor, the elderly, and the sick are those who will be worse off. Because the poor, the elderly, and the sick are the ones who clearly do not need healthcare. Higher-income young people, your subsidies are about to go up.

But I digress, the Los Angeles Times looked at county electoral and tax data to see just where the pain falls geographically, and more importantly where it falls politically. So they took a look specifically at the bracket that will be hurt the most: the poor and elderly, 60 and earning $30,000.

Trump won the vast majority of counties that will be hardest hit
Trump won the vast majority of counties that will be hardest hit

Well, it looks like all those people who voted against the idea of Obamacare just voted themselves to get even less assistance. Trumpcare’s going to be great, guys. Unless you’re old. Or poor. Or sick.

Credit for the piece goes to Priya Krishnakumar.

UK Spring Budget

The British government is delivering its budget statement today. So as a teaser, the Guardian published this article with six charts to help understand where things are at. Chart-wise there is nothing radical or revolutionary here, but I have a soft spot for articles driven by data visualisation.

Quarterly growth
Quarterly growth

Credit for the piece goes to the Guardian graphics department.

Declining British Wages

Now for the actual piece for today.

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.

I would have designed this a little bit differently
I would have designed this a little bit differently

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.

A Look Back

Well, we are one day away now. And I’ve been saving this piece from the New York Times for today. They call it simply 2016 in Charts, but parts of it look further back while other parts try to look ahead to new policies. But all of it is well done.

I chose the below set of bar charts depicting deaths by terrorism to show how well the designers paid attention to their content and its placement. Look how the scale for each chart matches up so that the total can fit neatly to the left, along with the totals for the United States, Canada, and the EU. What it goes to show you is best summarised by the author, whom I quote “those 63 [American] deaths, while tragic, are about the same as the number of Americans killed annually by lawn mowers.”

Deaths by terrorism
Deaths by terrorism

I propose a War on Lawn Mowers.

The rest of the piece goes on to talk about the economy—it’s doing well; healthcare—not perfect, but reasonably well; stock market—also well; proposed tax cuts—good for the already wealthy; proposed spending—bad for public debt; and other things.

The commonality is that the charts work really well for communicating the stories. And it does all through a simple, limited, and consistent palette.

But yeah, one day away now.

Credit for the piece goes to Steven Rattner.

Get Ready Folks

Well have we got an interesting week this week. Friday begins Trump Time. So hold onto your Twitter accounts, folks. But before we get there, I wanted to do a short week of some data-driven graphics that take a look at the state of things.

Instead of what I had intended for today, let us take a look at a new post from the Wall Street Journal that examines GDP, inflation, industrial production, and the unemployment rate in advanced economies. At its most basic level, the graphics show how many of the 39 advanced economies have a value within a one-percentage point range. The size of the dots indicates how many countries fall within the bin.

A look at advanced economies' GDPs
A look at advanced economies’ GDPs

What keeps getting me, however, is the colour. Nowhere does the piece explain what the colour represents. Does it represent anything? I think it might only be used to show the ranges in the values, not the number of countries sharing said values. And if that is the case, it is a poor design decision.

My eye goes to the colour first before it goes to the dot density let alone the size of the dots. Like a Magic Eye, when I stare at the piece long enough, I begin to see the overall trend for each metric. But blink and the colours reassert their visual dominance.

I wonder what would happen if the graphic settled on a single colour? My instinct says that the patterns would become far clearer, because colour change would no longer be a visual pattern needing interpretation—even though it needs no interpretation from a data standpoint. By limiting the number of visual patterns, the piece would make the data stand out more clearly and make for clearer communication.

If an editor screams something like “It needz more colourz!!1!”, I would reserve four separate colours and then use one and only one for each of the four metrics.

That all said, what the piece does really well is explain segments of the data. In the above screenshot, you can clearly see and get the overall GDP story. But then from there you read down and get explanations or callouts of the overall to provide more context and information. The designer greys out the remainder of the dots and allows the colour to emphasise those countries in focus. A lightly transparent overlay allows for the background dots to remain faintly visible while the text can clearly be read.

All in all, I am not sure where I fall on this particular piece. It does some things well, others not so much. But either way, the piece does paint an interesting portrait of populism’s potential causes.

Credit for the piece goes to Andrew Van Dam.

Mapping the Country’s Brain Drain

Alternatively known as the zombie food map. Sorry, but I couldn’t resist that one. Today we look at a piece from Bloomberg that maps brain drain across the country. What is brain drain? Basically it is the exodus of people with advanced degrees and education employed in science-y industries and fields. So this map shows us where the brains are moving from and where they are moving to.

Zombies, pay heed for feeding zones
Zombies, pay heed for feeding zones

Credit for the piece goes to Vincent Del Giudice and Wei Lu.

Income Inequality

On the lighter side of things we have today’s post on income inequality. Always a lighter subject, no? Thanks to Jonathan Fairman for the link.

Herwig Scherabon designed the Atlas of Gentrification as a project at the Glasgow School of Art and it was picked up by Creative Review. It displays income as height and so creates a new cityscape of skyscrapers for the wealthy and leaves lower income residents looking straight up. His work covered the US cities of New York, Los Angeles, and Chicago. The image below is of Chicago. I probably was living in a cluster of mid-rise buildings despite living in a five-story building.

A look at Chicago
A look at Chicago

Credit for the piece goes to Herwig Scherabon.

The US as an Energy Exporter

Several days ago OPEC, the Organisation of the Petroleum Exporting Countries, announced a cut in production to raise the price of oil. This was big news because Saudi Arabia and others had kept the price low in an attempt to undercut the nascent American shale oil and gas industry. Well…that didn’t work.

In this article from Bloomberg, you can see how the United States could be positioned to become an energy superpower. But, they also lay out the various snags and pitfalls that could dim that outlook. This map from the article details the destinations thus far of America’s natural gas, in liquefied state.

Where US liquefied natural gas (LNG) has been sent
Where US liquefied natural gas (LNG) has been sent

Credit for the piece goes the Bloomberg graphics department.

Boston Beer Company

Boston Beer Company is the parent company of Sam Adams, which is definitely one of those beers I imbibe when I visit Boston. But, as one of the larger craft brewers in the United States, it finds itself under immense competition. This article from Bloomberg examines the situation the brewery finds itself in from a share price, growth, and revenue standpoint.

Small but high-margin
Small but high-margin

Credit for the piece goes to the Bloomberg graphics department.

Detroit’s Housing Market

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.

The original:

The original graphic
The original graphic

And my take:

My take on it all
My take on it all

Credit for the original work goes to the Wall Street Journal graphics department.