So this is the last Friday before the election next Tuesday. Normally I reserve Fridays for less serious topics. And often xkcd does a great job covering that for me. But because of the election, I want today’s to be a bit more serious. Thankfully, we still have xkcd for that.
The screenshot above gets to the point. But the whole piece is worth a scroll-through and so it goes at the end. Credit for the piece goes to Randall Munroe.
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.
AT&T is attempting to merge with Time Warner in order to have more/better control of a content pipeline. But as this Wall Street Journal article points out, the concept of tie-ups between media and telecoms is not exactly new. Especially since the breakup of the old Bell Telephone company.
Credit for the piece goes to the Wall Street Journal graphics department.
Yesterday the French Catholic community of Rouen was attacked by an alleged IS terror group. In the aftermath the BBC put together a graphic published inside a broader piece. The graphic documented the recent history of terror attacks in France.
When you read or scroll through the overall piece, a bit more symmetry could be added by aligning dates to the central column. That would make the dates more easily comparable. Though it should be noted the important point is made by the rapid clustering of events in the most recent time period.
And for a personal quibble, I believe that timelines are more effective when the most recent date is at the top. Presume the timeline starts in the 1950s during the middle of the Algerian War fought between France and Algeria, which at the time was an integral part of France. Would we want to read all those incidents from the 1950s and 60s? Likely no. Instead, we could scroll down the entirety of the piece. Here, however, we start in the relative calm of 2012, 2013, and early 2014.
Credit for the piece goes to the BBC graphics department.
Happy Monday, all. Some big news stories going on today, but I wanted to take a look at this piece from the New York Times. They report on the sale of Yahoo to Verizon for almost $5 billion via a piece that takes short written analysis and blends it with clear and concise charting. The effect is a quickly digestible, but data-driven content piece.
Last Monday I stated that I would attempt a longer piece on the graphics explaining the shootings in Orlando. Since I do not have access to the print versions, I am examining only the digital versions here. Go grab a cup of tea, because this is certainly one of my longer pieces.
One of the most common ways sites covered the story was through maps of the club, Pulse. It makes a lot of sense—if we want to understand what happened inside the building we need to be able to place ourselves inside the building. So how to do that?
The first thought would be photography. But, the site is a crime scene likely riddled with bullets and stained with blood. Probably not the best thing for publications to use. So we are left with illustrations of the interior. But what level of detail do readers need to understand the story?
At the one end of the spectrum we have the stripped-down and simplified graphic from the BBC.
In many respects this could offer the clearest explanation. Unlike the next versions, we have no graphical elements with which to confuse and clutter the drawing. Walls are omitted for a far more architectural layout. Doors are clearly marked, but that is it. We have no indication of where other key places are located. Where are the restrooms into which the attacker fled with hostages? Where are the dance floors? Where is the patio through which people escaped? We get some indication through the timeline annotations, but a lot of the detail needed to provide context is missing.
First you can see that the graphics, while smaller, are interspersed within a text-driven timeline of events. Key areas at that point in the timeline are highlighted on the graphic. For the graphic itself, the Times opts for a high-angle view with walls extending from the floor plan and the three key areas are annotated within the graphic. Colour is kept to a minimum with only whites and greys used in addition to the highlight. However, the high grey walls overlap with each other and the unidentified white boxes. What are the white boxes? Are they important? Do the walls need to be grey? Do they need to be so high that they interfere with the graphic?
We can see some different answers to those questions from the Wall Street Journal.
Here the graphic is lighter in overall tone, with white and very faint greys replacing the darker tones in the New York Times’ piece. They Journal opts for the same graphics within timeline treatment. They also highlight the areas of the club relevant to the story at that moment in time. But here we first find a larger graphic. The Times could have had space limitations on their online site or they could have had to reuse graphics from their print edition for their online edition. While the Times could have very real reasons for the smaller images, the Journal’s larger graphic gives the content the space it needs to be read and understood comfortably. Also note how the use of grey vs. white for emphasis is reversed. Whereas the Times used white for unmarked boxes and grey for walls and floors, the Journal uses white for the floors and the walls. Grey is used to callout important parts of the club that are then crucially labelled, e.g. where the bars are located. Another really nice touch missing from my screenshot is how the Journal only labels the elements in the first graphic in the timeline. The second graphic only calls out the newly important elements.
The Washington Post takes a similar approach to that of the Journal.
We see above the timeline a large graphic identifying the key areas of the club. The use of the small multiples in the timeline then allows the graphics to be smaller and thus accompanied by more text. But in the graphics, the Post diverges from the Journal’s direction in the graphic’s design. We find the layout depicted at a lower angle. And instead of a restrained palette, we find warm beiges and ochres depicting the floors and key elements like the bars. The shadows here begin call more attention to themselves than in the previous designs. We also find high levels of detail with the inclusion of bar stools and seat cushions. On the large graphic, the colour and detail, while distracting, still work because of the space. But in the small multiples for the timeline, a simplified version without stools and seats and a toned-down palette could make the graphic easier to understand.
We return to a restrained palette with colour used sparingly to emphasise key parts of the narrative. Detail is limited to the key elements, without any illustrative adornments like furniture. Typographic distinctions, bold vs. italic, delineate the important areas of the club from the remainder of the context. Elements like service alleys, fences, and the patio gate are clearly marked and provide that context of the possible escape routes for patrons attempting to flee the attacker. The graphic then repeats through the timeline, but the subsequent graphics reflect a missed opportunity. Each remains as labelled as this first, and the labels begin to distract from understanding the narrative.
Note any similarities in this graphic to the preceding one? The Tribune Publishing Company, to be rebranded as tronc, owns both the Los Angeles Times and the Orlando Sentinel. So my guess would be the graphics departments collaborated or one of them created a shared asset to be used across the Tribune Publishing Company’s—sorry, tronc’s—media platforms. The Sentinel’s version lacks the finer design details of the LA Times’s, for example note how the typographic treatment here lacks the clearer hierarchy present in the LA Times’ version. I doubt the small type size increase would be noticed by the audience, though I could be wrong. But in terms of providing a timeline of events, the Sentinel’s version, which incorporates the above graphic as well as other media, is the most detailed and complete.
As you can likely tell from the screenshot, this is a graphic where the entire piece is designed as a large graphic file instead of components on the page. It could be because the piece was designed primarily for print and not digital consumption. The layout of the club draws heavily on the BBC’s architectural drawing concept, but here is executed far more awkwardly. Instead of including hallways in the schematic, they are indicated by coloured rectangles. And we also know from the other graphics that almost the entirety of the wall at the graphic’s top supported the club’s main bathrooms. The graphic itself is sourced from The Villages Daily Sun, but the OC Register would have been better served by sourcing a more accurate and more clearly designed graphic for the layout. I should also point out the photograph at the top of the graphic appears to have come directly from the New York Times.
Per the style of the National Post, this graphic is more illustrative in its quality than the others. Like the Orange County Register, the National Post designed an entire graphic instead of smaller components on a webpage. The timeline occupies the left column and numbers correspond to locations in the club. However, I think the graphic could have been made more clear if the roof illustration were removed and a higher angle taken to make the back of the club easier to see.
Different publications included different amounts and types of supplemental context. The Washington Post and Wall Street Journal, for example, included additional graphics on mass shootings. Others, like the New York Times, provided links to pieces that examined the context separate from the timeline of events.
Is there a best design among these? Well, design exists to solve problems, and those problems could vary from publication to publication. How soon did the graphics needed to be published? How many people worked on the design? How much information was available when producing the work? Were print considerations necessary?
For me, the Orlando Sentinel’s work, in toto, most clearly presented the narrative. While I quibble with particular elements of the design, again, I would have removed most of the text labels after their first appearance, it provides a balanced amount of detail and broad overviews in a clear fashion. Colour is used to emphasise elements in that moment. The illustration itself does not distract and allows the reader to focus on the story itself.
Credit for the pieces goes to a lot of people.
BBC: BBC graphics department
New York Times: Gregor Aisch, Larry Buchanan, Joe Burgess, Ford Fessenden, Josh Keller, K.K. Rebecca Lai, Iaryna Mykhyalyshyn, Haeyoun Park, Adam Pearce, Yuliya Parshina-Kottas, Sergio Peçanha, Anjali Singhvi, Derek Watkins, and Karen Yourish.
Wall Street Journal: Wall Street Journal graphics department
Washington Post: Weiyi Cai, Emily Chow, Chiqui Esteban, Lazaro Gamio, Chris Ingraham, Laris Karklis, Denise Lu, and Tim Meko.
Los Angeles Times: Eben McCue and Angelica Quintero.
Orlando Sentinel: Gal Tziperman Lotan, Charles Minshew, Mike Lafferty and Andrew Gibson.
Ocean County Register: Ocean County Register graphics staff
Monday I examined a chart from the BBC that in my mind needlessly added confusing visual components to what could have been a straight table. So here we take a look at some other options that could have been used to tell the same story. The first is the straight forward table approach. Here I emphasised the important number, that of those killed. I opted to de-emphasise the years and the injured in the table. Also, since the bulk of my audience is from the United States, I used the two-letter states codes.
But let us presume we want a graphic because everyone wants everything to be visual and graphic. Here are two different options. The first takes the table/graphic from the BBC and converts it into a straight stacked bar chart, again with emphasis on the dead. I consolidated the list into a single column so one need not split their reading across both the horizontal and vertical.
And then if you examine the dates, one can find an interesting component of the data. Of the top-eight shootings, all but two occurred within the last ten years. So the second version takes the graphic component of the stacked bars from the first and places them on a timeline.
For those that wonder about the additional effort needed to create three different options from one data set, I limited myself to an hour’s worth of time. A little bit of thought after examining the data set can save a lot of time when trying to design the data display.
I spent the weekend in Ganister, Pennsylvania (shameless plug, you can learn more about the town on the website I built for it) where my immediate family gathers for Easter. The Orthodox version was obviously far later than the Catholic version this year. When here I try to do research on the town and the families who lived there. One of my long-standing projects includes researching the history of the church of my ancestors, St. Mary’s Holy Assumption Church. I wanted to understand who were the pastors over the almost 100 years the church was open. In a local library I found copies of a few anniversary service souvenirs and I used that to create this first draft of that timeline.
Beyond Donald Trump, Capitol Hill finds itself consumed by the vacancy left by Antonin Scalia. Democrats insist President Obama’s eventual nomination should be considered by the Senate. Senate Republicans rebut saying that a vote should not happen until the next presidential term. That would be the longest, by nearly a factor of three, the Supreme Court has had a vacant seat.
The New York Times put together a graphic article exploring the timeline of Supreme Court nominations: when the seat became vacant; when the successor was nominated; and whether the nominee was accepted or rejected.
What I really enjoy is the reversed convention of a timeline. I have made timelines myself on a few occasions and placed recent events at the top, as like here, or to the left in a horizontal format. The idea being recent data and history is more relevant than distant historic information. But placing the relevant data at the bottom or far right makes it more difficult to access.
The timeline bit I like also finds itself in the representation of presidential terms, which the designers chose to display as a countdown from four years from left-to-right. That works very well given the narrative.
And it goes without saying that the annotations add invaluable context.
Overall, a very solid piece.
Credit for the piece goes to Gregor Aisch, Josh Keller, K.K. Rebecca Lai, and Karen Yourish.
As I mentioned earlier this week, I visited London for work for a week and then took some rollover holiday time to stay around London and then visit Dublin. But now I am back. And this week that has meant all the jet lag. And while everybody experiences jet lag and recovers from it differently, I wanted to take a look at my experience. The data and such is below. But the basic point, it is about four days before I return to normal.
What is missing, unfortunately, is the Chicago-to-London data. Because anecdotally, that was far, far worse than the return flight.