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.
Credit for the piece goes to the Guardian graphics department.
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.
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.”
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.
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.
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.
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.
Credit for the piece goes to Vincent Del Giudice and Wei Lu.
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.
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.
Credit for the piece goes the Bloomberg graphics department.
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.
Credit for the piece goes to the Bloomberg graphics department.
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.
It just won’t die. Grandma, that is, in front of the death panels of Obamacare. Remember those? Well, even if you don’t, the Affordable Care Act (the actual name for Obamacare) is still around despite repeated attempts to repeal it. So in this piece from Bloomberg, Obamacare is examined from the perspective of leaving 27 million people uninsured. In 2010, there were 47 million Americans without insurance and so the programme worked for 20 million people. But what about those remaining 27?
I am not usually a fan of tree maps, because it is difficult to compare areas. However, in this piece the designers chose to animate each section of the tree as they move along their story. And because the data set remains consistent, e.g. the element of the 20 million who gained insurance, the graphic becomes a familiar part of the article and serves as a branching off point—see what I did there?—to explore different slices of the data.
So in the end, this becomes one of those cases where I actually think the tree map worked to great effect. Now there is a cartogram in the article, that I am less sure about. It uses squares within squares to represent the number of uninsured and ineligible for assistance as a share of the total uninsured.
Some of the visible patterns come from states that refused to expand Medicaid. It was supposed to cover the poorest, but the Supreme Court ruled it was optional not mandatory and 19 states refused to expand the coverage. But surely that could have been done in a clearer fashion than the map?
Credit for the piece goes to Jeremy Scott Diamond, Zachary Tracer, and Chloe Whiteaker.