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Data Flow 2: Visualizing Information in Graphic Design

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Data Flow 2: Visualizing Information in Graphic Design This is a preview PDF of the Gestalten book Data Flow 2: Visualizing Information in Graphic Design. This document is for preview purposes only and shall not in any way be copied or distributed. Please discard this document once you have finished viewing it for review. Copyright, Gestalten 2010 Die Gestalten Verlag GmbH & Co. KG Mariannenstrasse 9-10, 10999 Berlin www.gestalten.com DATA FLOW VISUALIZING I N F O R M A T I O N IN GRAPHIC DESIGN • The eight comprehensive chapters in Data Flow 2 expand the definition of contempo- rary information graphics. Wide-ranging examples introduce new techniques and forms of expression. In addition to the in- spiring visuals, interviews with The New York Times’s Steve Duenes, Infosthetics’s Andrew Vande Moere, Visualcomplexity’s Manuel Lima, Art + Com’s Joachim Sauter, and passionate cartographer Menno-Jan Kraak as well as text features by Johannes Schardt provide insight into the challenges of creating effective work. DATA FLOW VISUALIZING INFORMATION IN GRAPHIC DESIGN FOREWORD 4 INTERVIEW Andrew Vande Moere & Manuel Lima DATAPROCESS 10 ⁄ › P.28 ⁄ DATABLOCKS 52 DATAcIRCLES 80 DATAcURVES 102 INTERVIEW Steve Duenes ⁄ › P. 140 ⁄ DATALOGY 126 DATANETS 162 INTERVIEW Menno-Jan Kraak DATAMAps 188 ⁄ › P. 214 ⁄ INTERVIEW Joachim Sauter ⁄ › P. 250 ⁄ DATAESTHETIC 228 INDEX 269 IMPRINT 272 FOREWORD • FOREWORD 6 7 FOREWORD Within just a few years, the once unglamor- consumption, wacky film plots, emotional Twitter ous task of giving form to abstract data has messages, there are even web applications to track become a favorite among designers. This and visualize our sex lives. Often beautifully de- book serves as evidence. Published a signed, the purpose of many projects can be ques- mere 18 months after its predecessor, tionable, thus criticisms have often been voiced: Data Flow 2 is filled to the brim with “ These are just visualizations for visualization’s interesting, innovative and in- sake ” and “ There’s an overemphasis on style .” In- spiring examples of creative deed, we see a lot of projects that could be accused of data visualization. this, and some are featured in this very book. But as legitimate as these critiques might be, we shouldn’t forget that the overall quality of information visu- alization has leapfrogged in the last few years. We may see more visualizations that focus too much on “ looks ,” but thanks to the sprouting interest of de- signers, we also see less llegible, crude diagrams, unpleasant to the eye, made by people who might know lots about the data, but don’t have the means to communicate them properly. THE PURPOSE OF VISUALIZATION The enormous increase in interest shouldn’t come IS INSIGHT, NOT PICTURES. as any surprise: information visualization is an ideal challenge for graphic designers. Trained to commu- Experiments – be they of a visual nature or in inter- nicate precisely through visual language and experi- active design – are vital to thriving innovation, and enced in creative problem solving, designers can put since information visualization is just growing out all their skills to use. It just did not happen earlier of its baby shoes, we should embrace it. As this dis- because large amounts of data were only available cipline is maturing, best practice will prevail. There- in the elitist spheres of science and business. Even if fore, the selection shown here is broad by intention. they had been easily accessible, incomprehensible From individual student projects to comprehensive scientific data sets or boring business stats are usu- commercial commissions, from amusing topics to ally turn-offs for most creative folks. These days more serious ones, from handiwork to software- however, we have all kinds of data on our hands. based approaches, many different facets of the field We can pick almost any topic we are interested in are covered. Some examples do not even try to con- and retrieve corresponding data. We can record our vey information in a way that is easily understand- own data with GPS devices, pedometers and other able to everyone. They use data for artistic purpos- sensors, access huge databases from governments es, to express and address emotions. Of course, the and other institutions, or use the petabytes of data borders between art and design are blurry. generated in social networks. As important as experiments are, and with- That is exactly what designers, program- out denying the merits of data-based art, we should mers and even artists have been doing in the last be aware that the field of information visualization PREVIOUS PAGE few years. There seems to be almost nothing that is far more than a creative playground. It is an in- ORANGE ALERT USA Diana Cooper has not been turned into a graph. Personal beer dispensable instrument to cope with the massive ⁄2005 ⁄Acetate, acrylic, felt, neoprene, paper, foam core, corrugated plastic and map pins ⁄ 203 × 168 × 108 inches ⁄ Photographed by Bill Orcutt at Postmasters Gallery, NYC ⁄ FOREWORD 8 9 FOREWORD amounts of data we are confronted with. Every designer becomes an author, not just the narrator. click on a website leaves a digital trace and as soon Every visualization is an interpretation. By select- as sensory devices are ubiquitous, even our physi- ing the data and choosing how to display it, a mes- cal movements will be translated to ones and zeros. sage is formed. This might seem trivial, but it is We are just at the beginning of an era of recorded quite a shift for graphic designers. Previously, they data. To make sense of it, to turn it into informa- worked with material which already had a mes- tion which will lead to knowledge for us, and for sage – texts or pictures. By working with data how- future generations, is a tremendous call. With the ever, the designer makes the statement. The ability urgent problems our society and our planet are to misinform or even tell straight lies by the means facing, data visualization can be an effective tool of visualizations entails a huge responsibility. to spur us into much-needed action. Information can change people’s behavior. Making that infor- INFORMATION VISUALIZATION mation visible, easily understandable and enjoy- IS TOO POWERFUL AND IMPORTANT able to use, is probably one of the most interesting TO BE LEFT ONLY TO DESIGNERS. challenges designers have ever encountered. To live up to this task, a few things are to be In this respect, designers can learn a lot from jour- considered when approaching an information visu- nalists. Researching, reviewing, analyzing and con- alization. ⁄ 1 ⁄ A good guiding principle (which 1 textualizing facts to devise a message are part of An interesting read is the should be printed in large letters over the desk INFORMATION VISUALIZATION their daily work. That is one of the reasons we in- MANIFESTO of every information designer) comes from Ben on VISUALCOMPLEXITY.COM. terviewed Steve Duenes, who manages the graph- An interview with Manuel Lima, Shneiderman, a pioneer in his field: “ The purpose of the author of this manifesto, ics department at The New York Times. ⁄ see interview › PP. 140, 141 ⁄ can be found on page 28 2 visualization is insight, not pictures. ” ⁄ 2 ⁄ A vi- We also talked to Menno-Jan Kraak. ⁄ see interview › PP. 214, 215 ⁄ USING VISION TO THINK (1999) Stuart K. Card, Jock D. Mackinlay, sualization’s function is to facilitate understanding. The Dutch cartographer also knows How to Lie with Ben Shneiderman Form has to follow this function. This does not mean Maps ⁄ 3 ⁄ and is well aware of his responsibil- 3 HOW TO LIE WITH MAPS that aesthetics are not important – they are. Some ity when making maps, which are used in (some- is an acclaimed book by Mark Monmonier, researchers, among them Andrew Vande Moere, times critical) decision making. In terms of visual- demonstrating how maps can be manipulated – for better who is interviewed in this book, ⁄ see interview › PP. 28, 29 ⁄ have de- izing, designers can learn from cartography. After or worse. tected correlations between the aesthetic qualities all, this ancient discipline was using graphics to of a visualization and how well it is understood. represent information long before there was such a thing as graphic design. EVERY VISUALIZATION These are just two examples of other disci- Is AN INTERPRETATION. plines which incorporate an element of visualiza- tion. There are many more – programming, science However, it is not only aesthetics that help to in- and statistic to name a few. Information designers crease the information flow. Narrative is a very must broaden their horizons and collaborate with powerful tool as well. “ I try to write stories in an these related professions. In our complex world, appropriate and interesting way, ” says Joachim where everything seems to be interlinked with Sauter on his approach, ⁄ see interview › PP. 240, 241 ⁄ knowing that ev- everything else, interdisciplinary, or even better, eryone is a sucker for a good narrative. Employing transdisciplinary work, is a necessity. Information this, information can be conveyed more effectively. visualization is too powerful and important to be The relevance of storytelling hints at another im- left only to designers – or to any other profession portant issue that should be taken into account: the for that matter. DATAPROCESS • DATAPROCESS 12 13 DATAPROCESS When certain phenomena or aspects of a prob- psychological processes to food production chains, lem are better explained by images than words, from how-to instructions to anatomical studies of the designer has a large number of instru- movements, the examples in this chapter cover a ments at hand: flowcharts, landscape wide range of different topics, which are explained diagrams, schematics and technical in a sequential arrangement. illustrations – to name just a few. A flow chart however, does not have to This chapter shows various ways look like a dull gathering of bare rectangles and to represent workflows, shed arrows.
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