I am a graphic designer who focuses on information design. My day job? Well, they asked me not to say. But to be clear, this blog is my something I do on my own time and does not represent the views of…my employers. I think what I can say is that given my interest in information design—be it in the shape of clear charts, maps, diagrams, or wayfinding systems—I am fortunate that my day job focuses on data visualisation. Outside of work, I try to stay busy with personal design work. Away from the world of design, I have become an amateur genealogist and family historian. You will sometimes see that area of work bleed into my posts.
(and when I learn that reason, I shall let you know)
FlowingData has an interesting post today. It is less about an awesome graphic and more about the best practices of creating, well, an awesome graphic. Largely it makes sense. Learn the rules. And then learn how people break them. And then when you should break them.
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.
The Washington Post has released an in-depth article, or series of articles, about the intelligence community of the United States and its growth since 11 September 2001. There are several visualisations of data and relationships between government agencies and companies along with a video introduction and, well, a traditional written article or two.
Overall, the piece is quite interesting to look through—although I have not yet had the time to do just that. Some of the visualisations appear a bit thin. But, that may be just because I have not yet had time to play with them enough to draw out any particular insights.
What is nice, however, is again having visualisations supporting editorial content in such a fashion.
A brief bit of background before I begin, a few months ago, a South Korean warship, a corvette, was sunk in waters claimed by both South Korea and North Korea. And technically speaking, the Korean War has never ended and the two countries remain at war. An independent commission studied the situation and determined that a North Korean submarine sank the ship with a torpedo. It did not help North Korea that North Korean markings were found on the remnants of a torpedo not far from the submerged wreckage.
Regardless, North Korea claimed innocence and the case went before the United Nations. The UN expressed, per usual, its toothless displeasure at the entire affair and everything has since sort of faded away—at least here in the United States it has. However, apparently somebody has smuggled a poster out of North Korea that hints at responsibility. According to the article, the text in the poster reads “If they attack, we will smash them in a single blow”.
photo uncredited, via the New York Times
I just found it fascinating that in 2010 we can still see good, old-fashioned propaganda posters. Even if we can only get them smuggled out of North Korea.
This is not strictly related to information design or maps or any such things, however, India has adopted a new symbol for their currency, the rupee. The symbol joins the dollar, the pound, the euro, and the yen in having a special symbol. According to the article in the New York Times, adding the symbol to unicode will take some time. But when it eventually happens I will probably have to learn a new shortcut.
Photo is from the Associated Press via the article.
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.
Today the New York Times published an in-depth examination of NYPD stops of individuals ‘based on a reasonable suspicion of a crime’. The item includes a lengthy article; a printed, full-page information graphic; and an online, interactive piece from which the printed piece appears to be derived. The print piece is credited to Ford Fessenden and Janet Roberts, the online piece to the same along with Matthew Bloch.
Each version of the information graphic centres upon a street map of the five boroughs. Data for the number of stops is graphed at the appropriate addresses, thus making a geographically-correct map appropriate for the type of data. What is interesting is that a decision was made to represent the number of stops by means of the area of circles presumably centred upon the address or the street—each police stop is encoded into the circle by an incremental edit to the circle’s radius. This is despite the fact that area is less than an ideal means of discerning comparisons between discrete datapoints. I am left to wonder if other means of representing the data could have been perhaps more effective. Perhaps if individual streets were coloured according to a carefully crafted distribution one could see a better examination of individual streets. For while absolute fidelity would be lost in grouping datapoints into bins, individual streets and intersections would become far more visible and, perhaps, accessible. Perhaps there are even other ways of representing the data that are not so readily apparent to me.
And while on the topic of street-specific data, an interesting point about these pieces is that the online piece displays the circles atop a desaturated Google map of the region whereas the print piece is atop a stripped-down outline of the five boroughs. Some of this may well be due to the difference between the screen and print resolutions. However, I find that the Google map is distracting for displaying too much in a nearly garish fashion. To the designers’ credit, they reduced much of those distracting elements by eliminating colour from the equation. However, and perhaps this is an issue of personal aesthetics, the map is still competing too much with the circles. Despite the reduction in quality on the newsprint, I prefer the print version of the map.
That all, of course, assumes that one is looking at the full picture of the city. The online version allows one to zoom into particular neighbourhoods and intersections. To some degree this alleviates the clutter of Google’s maps but for the loss of realising the larger message. From my perspective, the printed piece provides a more interesting view of the whole story, for the large map is clearer through the reduction of extraneous map data but the interesting neighbourhood stories are highlighted on the large map with the most interesting given a detailed review. And it is in this review that the specific features of street names, buildings, &c. are made available to the audience. Indeed, the detailed look at Brownsville, Brooklyn is not available in the same level of clear, concise depth as it is in the online version.
Another advantage of the print format is the ability to present the map in a larger context and integrate stories and supplemental charts in the white space carved out by the natural geography of the boroughs. Combined, these elements occupy all the space above the fold whereas in the browser windows I used at both work and at home, only the map and one story for the selected neighbourhood is immediately visible. Thus the print’s integration, albeit made at the expense of the online’s interactive map, makes for a more inviting initial experience.
The remainder of the print and online versions are largely the same with the exception of the detail about Brownsville—which, as aforenoted, is available as a subset of of the online map and is provided outright in the print version. The space of the print version allows for the charting elements to be laid out amongst two columns whereas the online version is a single, vertical column down the webpage. Between the two versions, the largest difference is colour. I would suspect this is due to the differences in fidelity between printing the charts and viewing the charts online. I think both colours work in their respective medium.
Of the remaining graphics, the most interesting is that which displays the breakdown of stops by age in comparison to the city’s population as broken down by age. The first interesting point is the omission of a vertical scale; I can only assume that the scales are identical in both positive and negative directions. I did, however, readily understand the chart. Some may not ‘get it’ as quickly as one is asked to add the city population as it heads in a typically ‘negative’ direction. However, that the entire piece is designed to invite one to explore the statistics in detail, I think creating charts that may require some to think just a few seconds more are perfectly acceptable.
When the information graphic is combined with the whole of the article, the New York Times has again pulled off an impressive feat of editorial design that combines adeptness at the use of the English language with video and photography—from the associated multimedia from the article—along with the here-critiqued information design. Such level of depth provides a well-rounded examination of the issue or subject at hand and better informs the audience by way of both anecdote and fact while photography brings the audience visually into the story.
This post’s image comes from my coworker Darrough, though I know not the original author of the piece. The graphic is a periodic table of swear words and so for those with sensitive ears—or perhaps eyes—I shall advise you to skip forthwith this post. Now, in general, there is little remarkable about the graphic. Many different subject matters have borrowed the motif to organise themselves.
There are a few things lacking that would make the graphic a touch more interesting; one would be some sort of rationale for as to why the author placed certain swear words into different groups. In the table for the chemical elements, the elements are arranged by their electron shells and number of protons, groups and periods. For example, the alkali metals are the first group and are among the most reactive chemical elements. Is there a link between the reactivity of lithium to that of saying cunt? Is there a link between the non-reactive elements in the noble gases, e.g. argon, and those swear words originating with the word tit? One might ordinarily assume that the first group are the most reaction-provoking swear words whereas the last group is the least reactive. However, I know people equally offended by both words.
Another interesting consideration is the colour of the piece. Broadly speaking, the colours resemble those typically seen in colouration of groups of similar elements. For example, the first few periods of Groups 14–16 share either a pink or violet-red depending upon where they fall along a diagonal axis. In the chemical element table, a three-way division of elements appears with the divisions delineating the non-metals from the metalloids from the metals. Is there a similar reasoning for the division in this chart? If so, the reason does not readily appear to me.
Another interesting note is that the ‘pissed up’ group replaces the lanthanides and actinides—which contain uranium and plutonium. However, the ordering by atomic number is incorrect and I would be curious in knowing if there is any particular reason for that decision.
One final consideration is that because I know not the origin of the piece, I cannot know the cultural background by the selection. For example, as an Anglophile American, I know well the use of bloody, twat, arse, and bollock among other words. However, most Americans would have other choice words to use in their place. Is this piece an attempt to classify perhaps British/English/Scottish swearing or is it an attempt to try and fit many English-language swear words into a single table? If the latter, I would be curious to see if there are any words of, say, Canadian, Australian, South African, or New Zealander origin that have been excluded.
All told, however, this piece is just downright entertaining and in all likelihood the author intended it to be as such. (Though I would be most curious to see an etymologically correct attempt at defining English swear words.) Aesthetically, the piece fits into the style of most old-fashioned textbook diagrams that I have seen in old textbooks.
So, all-in-all, I can sum this piece up in two words. Fucking brilliant.
Not quite of the New Earth (and therefore the 15th reincarnation of New York) variety, but, with maps being a key means of defining a city, state, or country, when a map is changed its meaning can also be changed. So, the new MTA map for New York presents some interesting changes summarised in this piece by the New York Times.
When you compare the new map to the most recent, a few things stand out. The blue is much brighter—which I think detracts from the purpose of communicating rail routes over land—for starters. Beyond that we see that the boroughs are all larger with the exception of Staten Island. An unfortunate implication is that reducing the prominence of Staten Island on the map will, well reduce the prominence of the island to those who ride the MTA. To be fair, that is likely an acceptable trade-off given what I understand about the demographic, commercial, and cultural scales of importance between Staten Island and the other four boroughs when you factor in the need to display routes and other such transit information.
Another key change is the reduction in the additional information at the bottom of the map. Removing the text—perhaps the bus connection information referenced in the article, but as a non-New Yorker I cannot say for certain—allows one the space to make the boroughs larger. This allows the rail map to be more a map about rails than about bus connections.
All in all, the map appears an improvement. I disagree with some of the colour choice and the drop shadowing of the lines over the map. But for making the map larger and more about being a map, I could live with those changes. On the other hand, I still prefer non-geographic maps for transit maps. And so I shall never quite understand why they dismissed the Vignelli map.
The election has come and gone yet very little is resolved; the UK now has a hung parliament. Labour, the Tories, and the Lib Dems are now left to negotiate on the details of forming a coalition government, wherein two parties formally agree to cooperate in governing the country, or a minority government, wherein the Tories try to govern with the most seats but less than a majority. Or does Labour try to work with the Lib Dems and achieve something of a minority coalition government. The one certain thing about the election is that we now have loads of electoral data that wants to be visualised.
A few things at the top, as an American, despite my following of British politics, I am, well, an American. I am more familiar with the American system and so some of what may follow may be inaccurate. If at all, please do speak up. I should very much like to understand an electoral system that may now change entirely.
I wanted to point out a couple of sites real quick and some advantages and disadvantages thereof. Most of these were likely around before the election, however, I have been a tad busy with work and some other things to provide any commentary until now.
Auntie. The Beeb. The BBC. They have done a pretty good job at playing with four variables and the results. Are pie charts great? No. Not at all. However, they naturally limit us to 100% whereas bar charts displaying share are not necessarily as limiting—understanding that, yes, such things can be coded into the system.
Another interesting thing about the BBC’s electoral map is their cartographic decision to represent each constituency as a hexagon instead of overlaying the constituencies over a political map. This actually makes quite a lot of sense, however, if one considers that British constituencies are supposed to be rather equal in terms of population—not geographic area. And so while a traditional map will portray vast swathes of Tory blue and Lib Deb yellow, Labour counters in holding numerous visually insignificant constituencies in the inner cities of the UK.
Does the BBC need to represent each Commons seat as a square and arrange them to cross the majority line? Most likely not. However, it does keep with the idea of displaying each constituency as the boxes are placed next to the hexagons.
All in all, I think the BBC’s piece is quite effective. I do miss seeing the actual geography of the UK. But I understand how it is less useful in displaying the outcome of one’s playing with the electoral swing. Useful, but not necessarily needed, is the provision of several historical elections as comparisons to one’s playing.
The Guardian is next, in no particular order. Their swingometer is a bit less interesting than that of the BBC’s. Certainly in some senses it makes more sense, any bi-directional swing, while easier to grasp, ignore the complexities in having the Liberal Democrats as a viable third party and thus third axis. The circular swingometer attempts to rectify that. However, what the BBC does with their pie chart version is delve into the politics of the regional and fourth party candidates. For example, the Greens won a single constituency in southern England. In a hung parliament a single vote may be the difference between passing and defeating a bill. The BBC accounts for this while the Guardian does not.
What is particularly interesting about their calculator, however, is the ability to track individual seats and watch as one’s changes affect that particular constituency. As I play with the calculator, I can watch as Brighton Pavilion, where the Green party candidate won, changes from Labour to Conservative. However, nowhere in my exercises, have I managed to switch the seat to a fourth party candidate. The BBC solves this by not allowing one to select particular constituencies; one can only guess which seats they are looking at.
Also interesting about the Guardian’s version is their provision of different data displays. The default is a proportional representation, with each seat equating to a single square. However, they also allow one to view the results on a natural geographic level and strictly in terms of number of results and how close said results are to the magic number of 326. Additionally, the map allows you to filter for only that region of particular interest to you. If I only wish to look at, for example, the West Midlands, I can look at just the West Midlands without being distracted by additional regions. (The West Midlands provides another interesting example of being unable to factor in the role of fourth party players as Wyre Forest switched to the Conservatives, a result I cannot here duplicate.)
Overall, I really like how the Guardian provides different ways of viewing the data and the ability to track those changes to a particular constituency—even across the changes in data views. However, the Guardian is lacking at least in the ability to address the role of independents and regional parties. Perhaps this is do to a level of difficulty in predicting results at that level of granularity; something that is wholly understandable. However, that the BBC does just that is unfortunate for the rest of the Guardian’s piece because the rest of it is so nice. Even aesthetically, I find the Guardian’s to be appealing.
Next is the Sun. This, admittedly, is not so much a calculator but more a results map. And as such, it is effective in its simplicity. There is no messing about with swing or such—again probably because it is simply filling in constituencies by result. However, where the Sun’s piece fails is that to see any result, one needs to click a specific region. When selecting the UK, one can only see the outlines of the various regions of the UK. There appears to be no way of seeing UK-wide results.
Additionally, the data is presented strictly on a natural geography. This has the deficits as outlined above. And while the Guardian does present the results in such a fashion, it is not the only fashion in which data can be presented. Further, to see any results for a particular constituency, one must click all the way through the map before seeing data. None of this helps one access the actual data. And while one could say that the results are less important than showing the victor, one still needs to click into a specific region to see a victor thereby requiring a click whereas the other pieces provide results at an instant view.
Aesthetically, while both the BBC and Guardian favour a lighter, more open space the Sun’s piece feels trapped in a claustrophobic space surrounded by dark advertisements and flush against menus and heavy-handed navigation. All in all, I must confess that the Sun’s piece strikes me as an underwhelming piece that is less than wholly successful. It could have been made at least wholly successful if I needed not navigate into a particular region to mouseover a constituency.
The last piece I am going to look at is that from the Times. While there appears to be no way of playing with possible outcomes, the Times provides interesting ways of slicing the data in a more narrative structure. In terms of the map, the display suffers from being viewable only as the natural geography of the United Kingdom without being able to even toggle to a proportional view.
The additional data is displayed nicely in a side panel. I have to say that from an aesthetic standpoint, the Times’ mini site for the election results is my favourite. The black banner and main navigation sits well against the light colours used for the remainder of the piece. The serifed typeface for the numbers fits well with the newspaper feel and the black and serif combined works well to recall No. 10, Downing Street. A very nice touch and design decision.
As noted, the display fails in that only shows the data in a natural geographic sense. Now, the site overall provides links to news coverage of the event; these are accessible through a dropdown menu in the black banner. But, when clicked, these stories alter the map and highlight the particular constituencies in question. This approach provides a nice touch on straight data visualisation in linking the data to the editorial content of the newspaper. Which seats were taken or lost by independents? On a broad and filled-in map of the United Kingdom, I may not be able to know. But by clicking on that story, the map filters appropriately and I can click each constituency and get the story.
And so while the data visualisation is not necessarily on par with that of the BBC and the Guardian, the tie-in with the editorial emphasis—in my mind—makes up for the lack of detail in data visualisation. Data is wonderful, however, the narrative is what helps us make sense of what is otherwise just numbers and figures.
That editorial link and the subtle design decision to link the minisite to the sort of 10 Downing Street aesthetic makes the Times version my favourite and the best designed experience. Besides the lack of detail in the data visualisation aspect, the only other drawback is perhaps the load time for each change in display.