When I woke up this morning, the BBC was reporting that the Duchess of Cambridge was in labour. Clearly by the time I sat down to write today’s blog post, she gave birth to the child, a boy. And so now we have this graphic from the BBC showing how the new child fits into the line of succession to the British throne.
Family trees always fascinate me
In all likelihood, the BBC had this graphic prepared well in advance. And once the child’s name is announced, it can be rapidly updated to include that additional information.
An interesting quirk I wanted to point out was the graphic’s use of orange. The graphic clearly shows how purple is used for the line of succession (and the dotted lines for divorce). But, what about the two orange circles, one for Philip, Duke of Edinburgh, and the other Prince Harry? Interestingly, those two are both in the line of succession as well, just not directly.
For example, Harry becomes monarch only if William and his children all die without heirs. But we all sort of knew that. Philip, on the other hand, is a few hundred down on the list, but is himself also eligible. Though the odds of that happening are so remote it’s a wonder it was put on the graphic. But still a neat little piece of trivia.
Credit for the piece goes to the BBC graphics department.
On Tuesday, Southwest Flight 1380 made an emergency landing here in Philadelphia after the Boeing 737-700’s port engine exploded. One passenger died, reportedly after being partially sucked out of the aircraft after the explosion broke a window. But the pilot managed to land the aircraft with only one engine and without any further deaths.
I wanted to take a look at some of the eventual graphics that would come out to visually explain the story. And as of Thursday, I have seen two: one from the Guardian and another from the New York Times.
The Guardian’s piece is the simpler of the two, but captures the key data. It locates the engine and the location of the window blown out by debris from the engine.
The Guardian’s graphic
The New York Times’ piece is a bit more complex (and accompanied elsewhere in the article by a route map). It shows the seat of the dead passenger and the approximate locations of other passengers who provided quotes detailing their experiences.
The Times’ graphic
So the first thing that struck me was the complexity of the graphic. The Times opted for a three-dimension model whereas the Guardian went with a flat, two-dimensional schematic of the aircraft. Notice, though, that the seating layout is different.
Four rows ahead of the circled window location are two seats, likely an exit row, in the Guardian’s graphic where in the Times’ piece they have a full three-seat configuration. If you check seating charts—seatguru.com was the first site that came up in the Google for me—you can see that neither configuration actually matches what the seating chart says should be the layout for a 737-700. Instead it, the Guardian’s more closely resembles the 737-800 model.
The 737-700 layout from SeatGuru.comThe 737-800 layout from SeatGuru.com
Nerding out on aircraft, I know. But, it is an interesting example of looking at the details in the piece. The Guardian’s piece is far closer to the layout, as least as provided by SeatGuru, and the New York Times’ is more representative of a generic narrow-body aircraft.
Personally, I prefer the Guardian in this case because of its improved accuracy at that level of detail. Though, the New York Times does offer some nice context with the passenger quotes. Unfortunately, the three-dimensional model ultimately provides just a flavour of the story, compared to the drier, but more accurate, schematic depiction of the Guardian.
Credit for the Guardian piece goes to the Guardian’s graphics department.
Credit for the New York Times piece goes to Anjali Singhvi, Sahil Chinoy, and Yuliya Parshina-Kottas.
So two weeks ago I posted about the graphics in a BBC article about how London has surpassed New York in terms of murders, due to a spate of stabbings in the British capital. Well, somehow I missed this: an article from the Economist that rebuts that point. And it does it brilliantly.
Lies, damned lies, and statistics.
I think everybody who works with data knows that adage. Now, I am not using it to say that the BBC—or the numerous other media outlets that ran the story—lied. Just that it is easy to change the story based on the data, how it is presented, or which subsets of the data are selected.
The Economist’s article points out that the surpassing of New York is a short term data point, a worrying short term trend, definitely, but they then look at the data. They select two timeframes and look at them side-by-side.
It’s all about what data you show, choose to highlight, and then how you show it.
And that is what I love about this piece. It shows the long-term context of New York having a far-higher medium-term history of murder (some 28 years of data is shown). When I was growing up in the 90s, murders in New York—and to be fair almost all large American cities—was just something that was a known fact. During that time, London hovered below 200 or so, compared to the 2000+ in early 90s New York.
But then they also show the short term, which does point to a steady rise in London murders. But, the data could also show a one-time dip in the murders in New York. But they also show that the total number of deaths is still higher in New York than London, despite the three months of data.
Murder is not good. But these graphics are a good example of how selecting different time series for the same data set, and then showing which parts of the data to show. The earlier BBC piece, and my revision of it, did not show the total deaths. Nor did either piece show the longer timeline of data.
Credit for the piece goes to the Economist graphics department.
Yesterday we looked at the shrinking Denver Post. Today we have a graphic from a related story via Politico. The article explores the idea that President Trump performs better in what the article terms “news deserts”, those counties with a very low level of newspaper circulation. (The article explains the methodology in detail.) This piece we are looking at here shows how those counties performed against the circulation rate and their 2016 presidential election result.
How the news deserts performed
Overall, the work is solid. But I probably would have done a few things differently. First, the orange overlay falls in the middle of one column of dots. Do those dots then fall inside or outside the categorisation of news desert?
Secondly, the dots. If this were perhaps a scatter plot comparing the variables of circulation rates and, perhaps, election vote results as a percent, dots would be perfect. Here, however, they create this slightly distracting pattern in the the main area of counties. When the dots are stacked neatly and apart from other columns, as they are more often on the right, the dots are fine. But in the packed space on the left, not as much.
As I was reading through the article I had a couple of questions. For example, couldn’t the lack of newspapers be reflective of the urban–rural split or the education split, both of which can be seen in the same election results. Thankfully the article does spend time going through those points as well. It is a bit lengthy of a read—with a few other perfectly fine graphics—but well worth it.
Yesterday was murders in London and New York. Today, we have a nice article from FiveThirtyEight about deaths more broadly in America. If you recall, my point yesterday was that not all graphics need to be full column width. And this article takes that approach—some graphics are full width whereas others are not.
This screenshot shows a nice line chart that, while the graphic sits in the full column, the actual chart is only about half the width of the graphic. I think the only thing that does not sit well with me is the alignment of the chart below the header. I probably would align the two as it creates an odd spacing to the left of the chart. But I applaud the restraint from making the line charts full width, as it would mask the vertical change in the data set.
The screenshot is of the graphic’s full width, note the lines only go a little over half the width.
Meanwhile, the article’s maps all sit in the full column. But my favourite graphic of the whole set sits at the very end of the piece. It examines respiratory deaths in a tabular format. But it makes a fantastic use of sparklines to show the trend leading towards the final number in the row.
Loving the sparklines…
Credit for the piece goes to Ella Koeze and Anna Maria Barry-Jester.
The 2018 season starts today with I think every team playing—the Red Sox open down in St. Petersburg against the Rays. So today’s post is on the light side as I could not find the awesomest baseball graphic. But FiveThirtyEight did at least preview the season and ran some projections. Naturally, I disagree with their projections. But I think finally this year the Yankees will be more of a threat to the Red Sox than they have been in years. The rivalry is back. (Though it never really went away in my mind.)
Switch numbers one and two and I think this might be okay…
The above is the screenshot for the American League East, because Boston. But, the rest of the AL is on that page as well. For those of you from my more National League-following cities like Philadelphia and Chicago, FiveThirtyEight also previewed the NL divisions here.
I know I’ve looked at the Times a few times this week, but before we get too far into the next week, I did want to show what they printed on Saturday.
It is not too often we get treated to data on the front page or even the section pages. But last Saturday we got just that in the Business Section. Two very large and prominent charts looked at federal government borrowing and the federal deficit. Both are set to grow in the future, largely due to the recently enacted tax cuts.
That’s about half the page on those two charts.
The great thing about the graphic is just how in-the-face it puts the data. Do two charts with 14 data points (28 total) need to occupy half the page? No. But there is something about the brashness of the piece that I just love.
And then it continues and the rest of the article points, at more normal sizes, to treasury bill yields and car loan rates. The inside is what you would expect and does it well in single colour.
The New York Times has posted a nice piece with an animated graphic. No, not that piece, I’ll probably cover that next week. This one looks at demographic changes in the United States, specifically in the population change at county levels. A number you arrive at by subtracting deaths from births and excluding migration.
That is a lot of red, especially in the Northeast and Midwest…
Basically what we are seeing is a whole lot of red outside the major cities, i.e. the outer suburbs. The article does a nice job of explaining the factors going into the declines and is well worth its quick read.
In news that surprises absolutely nobody, Russia “re-elected” Vladimir Putin as president for another six-year term. The Economist recently looked at what they termed the Puteens, a generation of Russians born starting in 1999 who have no memory of a Russia pre-Vladimir Putin.
This piece features a set of interactive dot plots that capture survey results on a number of topics that are segmented by age. It attempts to capture the perspective of Puteens on a range of issues from their media diet to foreign policy outlook to civil rights.
The ideas of youth…
The design is largely effective. The Puteen generation sticks out clearly as the bright red to the cool greys. And more importantly, when the dots would overlap they move vertically away from the line so users can clearly see all the dots. And on hover, all the dots of the same age cohort’s interest are highlighted. I think one area of improvement would have been to apply that same logic to the legend to allow the user to scroll through the whole dataset without always having to interact with the chart. But that is a minor bit on an otherwise really nice piece.
Credit for the piece goes to the Economist’s graphics department.
