DOCSLIB.ORG

Fundamentals of Data Visualisation & Information Design

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fundamentals of Data Visualisation & Information Design Fundamentals of Data Visualisation & Information Design Using information design and data visualisation to effectively communicate project ideas and results Introduction to Data Visualization & Information Design. Data Visualization is the representation of data or information in a graph, chart, or any other visual format. It communicates the relationship of data using images. It enables one to see trends and patterns easily. Information Design is the practice of presenting information in a way that makes it most accessible and easily understood by users.This targets specific audiences by organizing and simplifying information in ways they can quickly grasp. Data Visualization Vs Information Design Vs Data Visualization Information Design Raw data that has not been Data used as a storytelling Purpose designed with a purpose. tool. It’s data with a purpose. Permits the viewer to make Informs the viewers about a Viewer their own conclusions. data set and it’s specific parts. Data organized in a way that Data presented in a snackable Design inspired a distinctive reaction. design. Can be ever-evolving with Conclusions have already Conclusion new data added regularly. been made for the data. Data Visualization Data visualization is raw data visualized in a way that permits the viewer to make their own conclusions. It has the ability to always evolve with new data and information being updated regularly. It provides analysis and is open to viewers having personal conclusions derived from specific points in time and can be organised in ways that inspire a distinctive reaction. A data visualisation displays measured quantities by use of points, lines, shapes, letters and digits all quantified by visual attributes; General Context free Automatically generated Information Design Information design is data used as a storytelling tool. Information design is more about informing the viewer about a data set and its specific parts. It has conclusions derived already and is simply being presented in a consumable design. Information design goes hand-in -hand with user experience design. The information must be presented in a clear, concise manner to aid users navigation through it without confusing or overwhelming them. Information design is a visual representation of information, data and knowledge often used to support information, strengthen it and present kit with a sensitive context; Specific Context sensitive Often Hand crafted Common Misconceptions Of course, there are common misconceptions about information design and its similarity to data visualization. The line between the two, while it exists, is pretty blurry. The tricky part is here; Infographics are technically a type of information visualisation but they can also include a data visualisation in them. A data visualisation can look like an infographic in terms of design parameters. Analytics dashboards are data visualisation, but good looking reports are considered information. The apparent confusion is a common but acceptable err as there’s a term that encompasses both information design and data visualisation - Information Visualization. Main Difference - Information design tells a story or answer whereas Data visualisation makes users find their own story or answer. Main Relationship - Both can be static, animated and interactive. Why Data Visualization & Information Design Explaining, Exploring and Analyzing. Visuals describe situations, answer questions, support decisions, and communicate information. Data and Information is much more valuable when visualized. Charts and graphs make communicating data findings easier. Without information design, life would be boring. It’s as simple as that. Imagine this; Maps without color-coding or legends. Infographics wouldn’t exist. All websites would be the same. Textbooks would be plain and hard to follow. Bored yet? We rely so much on it, that we don’t usually stop to think about how important it is. At this point you might be wondering, are all graphic designers information designers? Well, that’s a tricky question. Most graphic designers study information design but don’t necessarily apply it to their work. You could technically say that all graphic design is information design because they are working with information and putting it together in a design. The thing is, information design is more about a data set with a purpose. A packaging label, for example, has information but it’s not a collected set of data that tells a story. Information design is more about using collected data that helps users understand something better or more efficiently. Furthermore, as the term “Information Design” is used more and more, it’s becoming widely incorporated in all design fields. Many universities offer courses, career paths, and Ph.D.’s in this discipline. You’ll be witness to more conversations around information design as the design thinking and user experience community expands into all design fields. This is an exciting time for data and information. There’s so much around us that the possibilities of how to use it are endless. Data Storytelling & some favorite visualizations Data storytelling is the process of creating a narrative out of data analysis findings, allowing laymen to understand the possibility of complex insights so as to make informed decisions or actions. Case 1 This visual from Afrobarometer made via infographic shows polls from citizens on who they think is the most corrupt in Tunisia from the year 2018. Case 2 John Snow and his use of small bar charts to mark the number of cholera deaths at each household in a London neighborhood. It was a massive revelation as to the cause of cholera! The data viz revealed a root cause problem and inspired a solution! The dark bars show the number of cases. Once they shut off that pump there, the number of cholera cases plummeted. Thus, alerting them to the fact that cholera was likely water-borne disease. Case 3 “I Agree”, a student project by Dima Yarovinsky. Most of us don’t read the terms and conditions before we click on “I agree” for the web services we use. They’re too long, and we need likes right away. For a student project, Dima Yarovinsky printed the terms and conditions on paper for major social apps — WhatsApp, Google, Tinder, Twitter, Facebook, Snapchat, and Instagram, respectively — which highlights what we’re getting into. Case 4 Another one that shows Disney movie screenplay dialogue broken down by Gender. You can see the dismal gender balance. Case 5 Interesting graphic on the top 15 best global brands ranking between 2000 - 2018. - https://www.youtube.com/watch?v=BQovQUga0VE&feature=youtu.be Case 6 This racing bar chart shows a visual timeline of the coronavirus diseases by country from December 2020 until March 2020 - https://www.youtube.com/watch?v=plddyiCw_AM Data Visualization Types Line Chart Bar Chart This reveals trends, progress, or changes This is one of the most common visualization that occur over time, best works for tools, they are a simple, time-honored way continuous datasets. to show the comparison among different data sets. 50 1000 40 800 600 30 400 20 200 10 2 4 6 6 10 0 Item 1 Item 2 Item 3 Item 4 Area Chart Bubble Chart Based on a line chart, area chart Just like a scatter plot, a bubble chart also represents graphically quantitative data. shows relationships or distribution. 1000 2.5 800 2.0 600 1.5 400 1.0 200 0.5 0.0 0 0 1 2 3 4 5 6 7 8 9 2 4 6 8 10 Pie Chart Heat Map Chart This best represents static numbers, divided This is a specialized chart that uses colors into categories that make its individual to represent data values in a table. Most portions. Summing up separate portions useful when plotting large and complex should add up to 100%. data. 25% A B C D 9 8 35% 5% 7 6 5% 5 4 30% 3 2 1 Word Cloud Scatter Plot This gives prominence to words appearing The position of each dot on the horizontal in the source text. You can tweak your and vertical axis indicates values for an words with different color schemes, fonts, individual data point. These are used to and layouts observe relationships between variables. 2.0 1.5 1.0 0.5 0.0 0 1 2 3 4 5 Data Visualization Tools It allows users to create social media graphics, presentations, posters, and other visual content. Web-based allows users to create and share digital charts, infographics, and maps. Comes with pre-loaded templates for making interactive map visualizations. Produces semi-finished visualizations that you can improve in your graphics editor. User friendly & compatible with all browsers & platforms, allows users to create a wide range of visualizations from line graphs, bar graphs to complex visuals. Data Visualization Process Overview Understand the data set that you have, explore the various existing relationships to get a snapshot of the visuals that could come out. In our case, we explored the relationship between malaria cases and months of the year, another could be recoveries and deaths over months. Zoom & Filter Zoom in and out of the data, and pick out interesting subsets that data that speaks to the cause you want to reflect. In our case, we picked the number of cases and the month of the year. Details on demand Concentrate on a narrow data subset that is mostly needed in your situation and represent that. Viewers may demand to know how many recoveries happened each month. Information Design Types Curated Information Curated information that follows a storyline. For example; infographics, recipe books. Museums and galleries have curators to select and interpret data about items for collection and display. Content curation is the process of gathering information relevant to a particular topic or area of interest, usually with the intention of adding value select, organize, and look after the items in a collection or exhibition.
Load more

Recommended publications
  • Planning Curriculum in Art and Design
    Planning Curriculum in Art and Design Wisconsin Department of Public Instruction Planning Curriculum in Art and Design Melvin F. Pontious (retired) Fine Arts Consultant Wisconsin Department of Public Instruction Tony Evers, PhD, State Superintendent Madison, Wisconsin This publication is available from: Content and Learning Team Wisconsin Department of Public Instruction 125 South Webster Street Madison, WI 53703 608/261-7494 cal.dpi.wi.gov/files/cal/pdf/art.design.guide.pdf © December 2013 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, color, religion, creed, age, national origin, ancestry, pregnancy, marital status or parental status, sexual orientation, or disability. Foreword Art and design education are part of a comprehensive Pre-K-12 education for all students. The Wisconsin Department of Public Instruction continues its efforts to support the skill and knowledge development for our students across the state in all content areas. This guide is meant to support this work as well as foster additional reflection on the instructional framework that will most effectively support students’ learning in art and design through creative practices. This document represents a new direction for art education, identifying a more in-depth review of art and design education. The most substantial change involves the definition of art and design education as the study of visual thinking – including design, visual communications, visual culture, and fine/studio art. The guide provides local, statewide, and national examples in each of these areas to the reader. The overall framework offered suggests practice beyond traditional modes and instead promotes a more constructivist approach to learning.
    [Show full text]
  • EDUCATOR GUIDE Story Theme: the Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual)
    EDUCATOR GUIDE Story Theme: The Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual) SECTION I - OVERVIEW ......................................................................................................................2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEBSITES RESOURCES – VIDEO BAY AREA FIELD TRIPS SELECTED CONCEPTUAL ARTISTS SECTION III – VOCABULARY.............................................................................................................9 SECTION IV – ENGAGING WITH SPARK ...................................................................................... 10 Artist David Ireland beside the entrance to his retrospective exhibition at the Berkeley Art Museum. Still image from SPARK story, 2004. SECTION I - OVERVIEW To learn to “read” Conceptual Artworks and EPISODE THEME understand how they communicate The Grey Eminences To help students think conceptually by looking at, talking about and making conceptual art SUBJECT To introduce students to creative ideation by David Ireland beginning instead of materials GRADE RANGES K-12 & Post-secondary EQUIPMENT NEEDED SPARK story about David Ireland on DVD or VHS CURRICULUM CONNECTIONS and related equipment Visual Art
    [Show full text]
  • Video Stylization: Painterly Rendering and Optimization with Content Extraction Liang Lin, Kun Zeng, Yizhou Wang, Ying-Qing Xu, Senior Member, IEEE, and Song-Chun Zhu
    IEEE TRANSACTIONS ON CIRCUITS AND SYSTEMS FOR VIDEO TECHNOLOGY, VOL. 23, NO. 4, APRIL 2013 577 Video Stylization: Painterly Rendering and Optimization With Content Extraction Liang Lin, Kun Zeng, Yizhou Wang, Ying-Qing Xu, Senior Member, IEEE, and Song-Chun Zhu Abstract—We present an interactive video stylization system an example produced by our system. Although similar oil- for transforming an input video into a painterly animation. painting effects can be generated manually by the paint- The system consists of two phases: a content extraction phase on-glass technique, such animation production is not only to obtain semantic objects, i.e., recognized content, in a video and establish dense feature correspondences, and a painterly laborious but also requires considerable artistic skills. For rendering phase to select, place, and propagate brush strokes example, it took over two years for artists to manually produce for stylized animations based on the semantic content and object the 22-min Oscar-winning animation Old Man and the Sea.In motions derived from the first phase. Compared with the previous comparison, our interactive system allows an amateur player work, the proposed method has the following three advantages. to produce painterly animations from real-life video clips with First, we propose a two-pass rendering strategy and brush strokes with mixed colors in order to render expressive visual effects. far less time and effort. Second, the brush strokes are warped according to global object In the following, we review the related work for painterly deformations, so that the strokes appear to be naturally attached rendering and video stylization in the literature and provide to the object surfaces.
    [Show full text]
  • 2021-22 Bulletin: Graduate School Of
    2021–22 Bulletin Graduate School of Art Bulletin 2021-22 Table of Contents (07/22/21) Table of Contents About This Bulletin .......................................................................................................................................................................................... 2 About Washington University in St. Louis ...................................................................................................................................................... 3 Trustees & Administration ........................................................................................................................................................................ 3 Academic Calendar .................................................................................................................................................................................. 3 Campus Resources .................................................................................................................................................................................. 4 University Policies .................................................................................................................................................................................... 7 University Affiliations .............................................................................................................................................................................. 12 Graduate School of Art ................................................................................................................................................................................
    [Show full text]
  • Art and Artificial Life – a Primer
    Art and Artificial Life – a Primer Simon Penny University of California, Irvine [email protected] ABSTRACT December 2009) which is a testament to the enduring and It was not until the late 1980s that the term ‘Artificial Life’ arose inspirational intellectual significance of ideas associated with as a descriptor of a range of (mostly) computer based research Artificial Life. practices which sought alternatives to conventional Artificial Intelligence methods as a source of (quasi-) intelligent behavior in technological systems and artifacts. These practices included Artificial Life could not have emerged as a persuasive paradigm reactive and bottom-up robotics, computational systems which without the easy availability of computation. This is not simply to simulated evolutionary and genetic processes, and are range of proclaim, as did Christopher Langton, that Artificial Life was an other activities informed by biology and complexity theory. A exploration of life on a non-carbon substrate, but that Artificial general desire was to capture, harness or simulate the generative Life is ‘native’ to computing in the sense that large scale iterative and ‘emergent’ qualities of ‘nature’ - of evolution, co-evolution process is crucial to the procedures which generate (most) and adaptation. ‘Emergence’ was a keyword in the discourse. Two artificial life phenomena. The notion that Artificial Life is life decades later, the discourses of Artificial Life continues to have created an ethico-philosophical firestorm concerning intelligence, intellectual force,
    [Show full text]
  • MEDIA ARTS Standards Glossary
    Media Arts Glossary Media Arts Glossary New York State Learning Standards for the Arts MEDIA ARTS GLOSSARY of Discipline-Specific Terms & Concepts Copyright 2017 The New York State Education Department New York State Learning Standards for the Arts – Media Arts Page 2 of 16 NOTES: The letters “VA” in the next-to-right-hand column indicate that part or all of the definition is the same in the New York State Visual Arts and Media Arts standards. √ A checkmark in the far right-hand column indicates that a significant part or all of the definition is a New York State addition to defintions published by the National Core Arts Standards (SEADAE, 2014). When only a small part of a definition is added by NYS authors, that part is underlined. NCAS definitions can be found at http://www.nationalartsstandards.org/content/glossary. Media Arts Media art is understood to apply to all forms of time-related art works which are created by recording sound and/or visual images. Media artwork usually depends on a technological component to function. It includes both fine art and commercially-oriented works presented via film, television, radio, audio, video, the internet, interactive and mobile technologies, transmedia storytelling, and satellite. Forms that are shared with contemporary visual arts/fine arts include kinetic sculpture, information art, organic and algorithmic art, interactive art, multimedia installations, etc. Other more commercially- oriented forms include news reporting, documentaries, advertisements, music videos, animation, machinima, video games and game design, and/or a combination of any of these. Media art forms are constantly evolving in response to technological innovations.
    [Show full text]
  • Download Document
    Quantifying The Value And Impact Of Cultural Seasons Submitted to: Department of Arts and Culture Submitted by: Nelson Mandela University In Partnership with: Rhodes University, University of Fort Hare and University of KwaZulu-Natal RESEARCH 1 South African Cultural Observatory KDI Report Quantifying The Value And Impact Of Cultural Seasons December 2019 Prepared by: André Gouws Brendan Verster Submitted to the Department of Arts and Culture: 2 Summary Within the field of international relations, it is recognized that Cultural Diplomacy is a key diplomatic tool is used to advance their national interests by governments. Globalization links people, cities, regions and countries closer together that has led to our lives being intertwined with people in all parts of the world. Globalization has an impact on how diplomacy is executed and stresses the importance of Cultural Diplomacy. If there is no certain way to measure it, then how do we know if a Cultural Diplomacy is a success or not? Should Cultural Diplomacy change the target's way of thinking? How long does the process of Cultural Diplomacy work? While the concept of Cultural Seasons may be a new concept in South African, the practice is not. At the height of apartheid, South African diplomats crafted and re-packed cultural activities to appeal to foreign audiences for years. The South African season in France, organized by the French Institute and the National Arts Council, took place from May to December 2013. It was the very first time that a Southern African country was honoured in France in the framework of Cultural Seasons.
    [Show full text]
  • Art Digital Media
    DIABLO VALLEY COLLEGE CATALOG 2021-2022 any updates to this document can be found in the addendum at www.dvc.edu/communication/catalog Art digital media plus at least 3 units from: ARTDM-117 Digital Illustration .............................................3 ART DIGITAL MEDIA – ARTDM ARTDM-140 Motion Graphics ...............................................3 Janette Funaro, Dean plus at least 6 units from: ARTDM-160 3D Modeling and Animation I ..........................3 Arts and Communication Division ARTDM-161 3D Modeling and Animation II .........................3 ARTDM-165 Drawing for Digital Animation ..........................3 Possible career opportunities ARTDM-166 Intermediate Drawing for Digital Animation .....3 Digital media or graphic design jobs cover all ends of the cre- total minimum units for the major 21 ative spectrum. Some possible career options include website designer/developer, multimedia designer, computer-graphic artist, animator and cartoonist, interface designer, instruc- Associate in arts degree tional designer, production artist, video specialist, audio Art digital media specialist, multimedia programmer, technical writer, infor- Students completing the program will be able to... mational designer, multimedia company executive, internet consultant, and computer game designer. A. demonstrate an understanding of basic drawing tech- niques. B. produce a digital image from scanned or digital photo- Associate in arts degree graphs. Animation C. utilize digital images for exports to websites, multimedia Students completing the program will be able to... presentations, and print. A. visually and verbally conceptualize in a clear and concise D. utilize production tools for digital audio for multimedia way the artistic/technical direction for an animation proj- projects. ect. E. demonstrate basic techniques for video capture and edit- B. develop technical proficiency using computer hardware ing.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality o f this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. IBgher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed> Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 MUSEUMS, GALLERIES, ART SITES, VIRTUAL CURATING AND THE WORLD WIDE WEB DISSERTATION Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Markus Kruse, B.F.A., M.A.
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Contemporary Data Visualization: A Cultural History and Close Readings Permalink https://escholarship.org/uc/item/8vs4b9w1 Author Zepel, Tara Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Contemporary Data Visualization: A Cultural History and Close Readings A Dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory and Criticism by Tara Zepel Committee in charge: Professor Lev Manovich, Co-Chair Professor Peter Lunenfeld, Co-Chair Professor Benjamin Bratton Professor William N. Bryson Professor James Hollan Professor Elizabeth Losh 2018 © Copyright Tara Zepel, 2018 All rights reserved. Signature Page The Dissertation of Tara Zepel is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Co-Chair University of California, San Diego 2018 iii TABLE OF CONTENTS Signature Page ............................................................................................................. iii Table of Contents ......................................................................................................... iv Table of Figures ........................................................................................................... vii Vita................................................................................................................................
    [Show full text]
  • Study to Support the Commission in Gathering Structured Information and Defining of Reporting Obligations on Waste Oils and Other Hazardous Waste”
    Study to support the Commission in gathering structured information and defining of reporting obligations on waste oils and other hazardous waste Final Report Contract Number 07.0201/2018/789021/ENV.B.3 02/2020 - I European Commission – Study on waste oils, spent solvents/hazardous liquid waste Freiburg, 31 January 2020 Client: European Commission – DG Environment Service Request 04 “Study to support the Commission in gathering structured information and defining of reporting obligations on waste oils and other hazardous waste” Contract No 07.0201/2018/789021/ENV.B.3 Authors: Hartmut Stahl, Cornelia Merz (Oeko-Institut e.V.) 02/2020 - II European Commission – Study on waste oils, spent solvents/hazardous liquid waste Contract Contract No 07.0201/2018/789021/ENV.B.3 Implementing Framework Contract No ENV.B.3/FRA/2017/0005 Assistance to the Commission on the implementation of the revised waste legislation, assessment of Waste Management Plans and monitoring of compliance with the Waste Framework Directive Client: European Commission DG Environment Directorate B.3 – Waste Management & Secondary Materials Contractor: Öko-Institut e.V. – Institute for Applied Ecology Merzhauser Str. 173, 79100 Freiburg, Germany Disclaimer The information and views set out in this report are those of the author(s) and do not necessarily reflect the official opinion of the Commission. The Commission does not guarantee the accuracy of the data included in this study. Neither the Commission nor any person acting on the Commission´s behalf may be held responsible for the use which may be made of the information contained therein. 02/2020 - III LEGAL NOTICE This document has been prepared for the European Commission however it reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
    [Show full text]
  • The Effect of Manager's Frequency and Quality of Communication on Team's Performance Michal Franc1, Radvan Bahbouh1,2 & Rudolf Kubík1 1QED GROUP A.S
    The effect of manager's frequency and quality of communication on team's performance Michal Franc1, Radvan Bahbouh1,2 & Rudolf Kubík1 1QED GROUP a.s. 2Charles University, Faculty of Arts, Department of Psychology, Czech Republic Abstract Objective. This paper wants to empirically test hypothesis that team leader's (who is the strongest determinant of communication climate and shared mental models within the team) higher frequency and quality of communication leads to higher performance. Method. Hypothesis was tested on a sample of 237 leaders of sales teams from a large financial institution. The team leaders were rated based on quality and frequency of their communication by their subordinates. Team leaders had to be in their positions at least for 1 year. Standard sociomapping items with previously demonstrated reliability and validity were used to measure communication. Team performance was measured by average team member's annual revenue. Results. Regression analysis showed positive effect of quality and frequency of team leader's communication on team performance. Conclusions. From theoretical perspective, the paper follows up on studies investigating relationship between communication satisfaction and team performance. Practical implications lie mainly in s interventions and other efforts to improve communication within organizations. Further, it highlights the necessity to consider managers' communication- related competencies during their selection and consecutive development. Limitations. The main limitations of this study are its cross-sectional character and specificity of the sample (effect of intervening variables such as company culture cannot be excluded). Keywords. team leader; quality of communication; frequency of communication; team performance; sociomapping https://doi.org/10.5817/CZ.MUNI.P210-9488-2019-4 44 Introduction Work teams are a group of people striving to achieve a shared goal.
    [Show full text]