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September 11, 2007

Robbins and Few

robbins.gif Creating More Effective Graphs
Naomi Robbins
Wiley-Interscience, 2005 • ISBN: 047127402X

This is a perfectly sensible, reasonable book, but it irritated me. First, it’s not that original: there’s extensive quoting from Cleveland’s books, including reproduction of many examples, while Playfair and Minard make their usual appearances, second-hand from Tufte. Recycling of previous authors’ examples seems to be endemic in this literature; Tufte even recycles himself. Perhaps recycling examples fights global warming. Anyway, Robbins’ debt to Cleveland is notable in the use of dot charts, and the proliferation of boxes around elements. I wouldn’t say the figures are particularly innovative or well-designed, and most of the text is just common sense, like “large markers are easier to read than small ones”, and “overlapping things are harder to read” (I’m paraphrasing, or course—the style is not this pithy.) There’s actually surprisingly little content; often a short paragraph will float in the middle of a page, padded with ornamental margin art, and a page or two after the graph it’s discussing. The whole thing could have easily been a quarter of the length. Plus it’s over US$40 and contains no color, which, given the fundamental importance and frequent misuse of color in amateur graph-making, seems unforgivable. So not a recommended purchase, particularly to the readers of this blog who may well have come across all this advice already.

few.gif Information Dashboard Design
Stephen Few
O’Reilly, 2006 • ISBN 0596100167

Few has a seemingly quite specific aim: producing a series of small charts and tables that fit onto a single screen—an information dashboard. It’s aimed at, but not limited to, businesses who need to summarize performance indicators at a glance—many of the principles are quite general, and in fact scientists presenting data would do well to think in terms of a cluster of small figures that present related information, rather than a few big independent ones. There is plenty of good sensible advice on toning down garish colors, reducing chartjunk, trimming away superfluous labels and gridlines and so forth, in much the same vein as Tufte. I wouldn’t say it’s an essential book, particularly if you already have a work or two by the usual suspects. Nor does it add much that’s new. It does, though, recontextualize good practices, differing from Tufte in that the writing is very clear and straightforward, and so far more likely to be tolerated by a down-to-earth managerial or administrative type. The best strategy would be to show them the chapter on simplifying charts, then Few’s elegant high-density redesigns at the end, so they leave you alone and stop asking for colorful banners and animated logos.

May 10, 2007

Beautiful Evidence

be.jpg Beautiful Evidence
Edward R. Tufte
Graphics Press, 2006 • ISBN: 0961392177

Of all Tufte’s books, I felt this was most like a curate’s egg. Good in parts, but quite a bit of stuff we’ve heard before, and some less-palatable portions.

It’s a bit of a grab-bag. One chapter, rather grandiosely titled Fundamental Principles of Analytical Design, is yet another discussion of the Minard graphic showing the retreat from Moscow. The fundamental principles, if you’re interested, are: use multivariate data, documented, integrated with explanation and text, showing causality and explanatory comparisons. There’s a chapter famously and largely justifiably condemning PowerPoint, already available for years as a separate pamphlet. There’s a nice explanation of sparklines, sparkline.jpg tiny trend lines that can be integrated into text, also posted online. There are photographs of Tufte’s sculptures, for some reason. And there’s a discussion of figure/text integration in the Hypnerotomachia Poliphili. Now, I confess to being a big typography nerd, so will happily read all about the Hypnerotomachia. But I wonder what most of the scientists I know with Tufte tucked dutifully on their shelves will make of it.

What I found most bothersome was the discussion of cladograms, (evolutionary trees inferred from attributes of living organisms). Tufte initially posted a much more critical analysis of a fairly typical cladogram, with jabs at the use of well-understood technical terms like “strict consensus” (Tufte wrote, “Sounds like cladogramette.jpg marketing, not science.”) There was a subsequent pile-on by some very reputable systematists, and Tufte backpedaled, claiming he was just a curious interloper in their field. Nevertheless, the watered-down version of the critique that made it into Beautiful Evidence still accuses biologists of using feel-good pitch words with “broad cheerleading meanings” to cloak their dodgy “editorial judgements” and questionable “statistical crunching”. Yes, cladograms are information-poor, and convey undue certainty to those who aren’t familiar with them, so Tufte’s skepticism is perhaps excusable, if not really justified. Skepticism vanishes a few pages later when lauding Feynman diagrams, which to me seem to contain far more dodgy handwaving than a good cladogram.

If you already have the first three books, this is by no means necessary. There seems to be a trend towards increasing length, cost, use of color, and hodgepodgery in Tufte’s books; perhaps the fifth in the series will buck this trend when it comes out it about (I predict) 2015.

July 30, 2006

A Tufte Library

To me, the most important books on presenting data graphics are by Edward Tufte. People who create charts as part of their job should keep one or more of them close by, and regularly reread them.

vdqi.jpg The Visual Display of Quantitative Information, 2nd ed.
Edward R. Tufte
Graphics Press, 2001 (orig. 1983) • ISBN: 0961392142

This is the most essential Tufte book, published over 20 years ago but so far ahead of its time it looks absolutely contemporary. (Compare it with some of the other data graphics books from the mid-1980s and you’ll see). Tufte here introduces his recurring themes: maximizing the data-ink ratio, stripping away unnecessary furniture and “chartjunk”, showing all the data, and graying out what’s less important. There’s elegant discussion of how readers perceive area changes, why we shouldn’t think of data as boring stuff that needs livening up, why pie charts suck, and when tables are better than graphs. Some of my favorite examples from here are Minard’s famous chart of the retreat from Moscow, the step-by-step erasure of needless ink from a bar chart, and the use of one of his own early graphs as an example of poor design. And the whole book is beautifully typeset and produced, with restrained use of color and plenty of white space.

ei.jpg Envisioning Information
Edward R. Tufte
Graphics Press, 1990 • 0961392118

Similar in subject and tone to the first book, though there’s more discussion of mapmaking. The most important concept discussed here is small multiples, the fruitful idea that six small graphs instead of one large one can add a new layer of information and reveal large patterns in the data. I’ve personally found this the most enlightening technique to share with newcomers to information design, and it’s often the best way to break out of the prison of an unsatisfactory design solution. Tufte also discusses how to use color effectively and with restraint, and how to successively reveal a process in a linked sequence of diagrams (such as dance notation or calligraphy). I particularly liked his coverage of tabular data, from train and bus timetables to the Vietnam War Memorial. Another fine book.

ve.jpg Visual Explanations
Edward R. Tufte
Graphics Press, 1997• 0961392126

This book wanders further out of strict chart-and-graph territory to cover depictions of processes, exemplified by the diagramming of magic tricks; if we understand how misdirection works, we can turn it around to draw the reader’s attention to what really matters. There are nice examples of the practical consequences of information graphics, discussing their role in the Challenger disaster and John Snow’s investigation of the London cholera epidemic. The most valuable concept to me was the notion of the smallest effective difference, with a useful discussion of just how little emphasis is needed to make a point clear in a graphic, and the power of using gray shades and faint lines. (There’s a fun genealogy of rock ’n’ roll too, illustrating parallelism as a graphical tool.) Lovely, but a less immediately practical book than the two preceding it.

Tufte’s newest, Beautiful Evidence, has just been published, and a review will appear here as soon as my copy arrives.

January 11, 2006

A Robin Williams Library

Robin Williams (no, not the once-funny-now-supposedly-heartwarming-but-actually-mawkish actor) writes about design and type for non-professionals. Not many years ago, authors did the typing and someone else made the figures and layout look nice. Now we’re all suddenly designers. Going to art school isn’t an option for most of us, but a crash course in page layout and print production is a good idea if you produce graphics and type as part of your job. A few hours invested in the following can save you from days of anguish and frustration when your print job doesn’t work, or your table columns aren’t lining up properly no matter what you do.

macnottypewriter.jpgThe Mac is Not a Typewriter (There's a PC version too)
Robin Williams
Peachpit Press, 2003 • ISBN: 0201782634 (PC: 0938151495)

This wonderful little book is very short, but so good it should be given out with every computer sold. Get three and pass them around. Williams covers not just basic typography (like why you shouldn’t type two spaces after periods) but also some more arcane topics, like hanging punctuation and the line spacing of capitals. What I think anyone who works with text for a living should know about type.

nondesignersdesign.jpgThe Non-Designer’s Design Book
Robin Williams
Peachpit Press, 2003 • 0321193857

I used this as a standard text for a course on desktop publishing and design. The students with pretensions to being graphic designers pooh-poohed it at first, since it was short and approachable, but were won over at the end. Williams walks you through half a dozen different kinds of typeface, so you’re able to mix them confidently on the page. Then she lays out the immortal CRAP principles: contrast, repetition, alignment, and proximity. Just these are enough to improve most people’s layouts about 300%.

scanandprint.jpgThe Non-Designer’s Scan and Print Book
Robin Williams and Sandee Cohen
Peachpit Press, 1999 • 0201353946

When creating your own graphics for publication, you always have to deal with file format issues (EPS or PDF? Vector or raster?), color models (CMYK or RGB?), resolution, scanning, paper size, embedding fonts, and so forth. Most people muddle through by following a list of arcane demands from their publisher, but wouldn’t it be great if you actually understood all this stuff and could chat with the printer ahead of time about spot colors and line screens? That’s what this book is for.

If you enjoy these, I recommend you check out:

How to Boss Your Fonts Around
The Robin Williams Design Workshop
The Non-Designer’s Web Book
The Non-Designer’s Type Book

All are easy reads, and full of good stuff. Get the most up-to-date edition of each of you can, as this field dates fast. By the way, I don’t get a cut from Amazon, and recommend you try a price comparison search on Addall or BestWebBuys.