opinion


5
Aug 12

The secret of good presentations

In the course of other work I am repeatedly asked to help with creating better presentations.

I don’t claim any expertise in this area other than being someone – admittedly with a background in visual communication – who’s been both on the receiving end of presentations, and given many myself.

But in the course of these conversations I always come to the same conclusion. The problem is in the type of document people are trying to create. The solution is there should be two documents. Two different documents. One is the presentation, the other is the handout. The former is accompanied by a well-informed, engaging human. The latter isn’t.

And so I was delighted to see that Tim Harford has just published his observations on the same subject: Three PowerPoint tips you really need to know. I shall be forwarding these to every presenter I see going forward that doesn’t follow his really simple suggestions.

And one more tip: I get approached because the client generally believes ‘infographics’ are a solution. Infographics don’t have transformative powers to make a presentation amazing. Not until you’ve addressed the above anyway.


17
Mar 12

Tower graphics

I get at least two enquiries a month to create these* so it’s time to put down my thoughts about them.

In a nutshell remember tower graphics are a piece of journalism as much as they are a piece of design, and with that comes a set of standards.

From TechCrunch

Infographics v editorial design & illustration
If we’re talking semantics, tower graphics are not infographics, rather editorial design, heavy on illustration.

If we’re talking plain english, what infografistas do better than editorial designers and illustrators is to grapple with information. It is this which leads them to a graphic, or several, that best show(s) visually what the information is saying.

What editorial designers and illustrators do better than infografistas is to create designs that can hold together all the elements of a whole page or screen, some, all or none of which can be an infographic.

The two fields are not mutually exclusive, tower graphics would benefit from both, but on the whole they fall between the two, erring on the side of style with little regard to substance.

An example from the other end of the spectrum that showcases what can result from bringing together people from both areas of expertise would be Eureka and Bloomberg Business Week. These are my current favourite examples of editorial design that seamlessly integrate journalism, infographics and illustration. I can stop worrying about semantics and just enjoy a good read.

Pros and cons
(See also Max Gadney’s good blog on them here.)

Tower graphics are good for going viral. They’re friendly and engaging. Their style is ‘of the moment’. Everyone wants one.

Tower graphics are bad for their treatment of information. See the one from earlier this week on Pinterest as a case in point. For starters the three bar charts centrally are all incorrect which leads you on to question the integrity of the whole thing. And with that many sources cited – listed at the bottom – are the figures they compare really comparable?

A form of journalism
I don’t mean to single out the above Pinterest tower graphic, and I don’t need to. Those points apply to the majority of tower graphics I’ve ever seen. But (I get the impression) tower graphics are by and large generated as a piece of visual collateral, by designers with no analysts or journos involved. Hence the ‘con’ above: the quality of journalism is poor.

Scrolling infographics
A tower graphic is distinct from a deep infographic that plays to the scrolling nature of a browser to tell it’s story better. A nice recent example being the BBC’s Ocean trench.

Tower graphics: Let’s make them better
*I get at least two enquiries a month to create these, and being of a purer infographic persuasion they are not really my cup of tea. If there is a talented illustrator or editorial designer out there who’d like this kind of work please get in touch. If you’re good with numbers so much the better. If not, I’m happy to collaborate on that bit.


23
Feb 12

Magic in graphs

There’s a lot of blog-debate over what’s good and what’s not in the fields of data visualisation, data journalism, storytelling, infographics at the moment. Given it’s a growing field this isn’t hugely surprising, the old hands having their experienced feathers ruffled by faster, cheaper, easier, shallower, stylised mass production for mass consumption. I could have re-posted several treatises on this recently, but if you’re interested you’ll have found and read them anyway.

The net effect of this on me since Christmas is that it’s getting me down: it makes for too much heavy reading at the expense of showcasing good work. I haven’t come across anything I’ve really wanted to post about. Until, that is, …

The commentary under each example doesn't hold back be it positive - as in this example - or not.

…Willard C. Brinton’s two primers on the ground rules.

They’ve been around for a long time, but were recently posted on Chart Porn. These gloriously thorough books Graphic Methods for Presenting Facts (1914) and Graphic Presentation (1939) remind me of the underlying reasons I do what I do which is summed up by the 1939 preface’s title Magic in graphs.

The first principles haven’t changed. I’d have liked to meet Willard Cope Brinton.

And this all puts me in mind of someone who’s work I was browsing recently, an example of a modern day practitioner who manages to cut the crap and just get on with doing lovely work: Nicolas Rapp.


19
Dec 11

Thought for Christmas

Merry Christmas!
See you in 2012.


27
Oct 11

Working with numbers

It was three ‘zero-confused’ examples from last week – see bottom of this post – that got me thinking about tackling this topic. The result is wordy, but I hope helpful. Feedback welcome, I’d love to nail down some good guidance on this topic.

Click image to see full graphic

This table used in an earlier post – that compares who was and wasn’t affected by the New Orleans flooding – is a good example of how to present numbers with the appropriate amount of detail for the context they are being used in. Populations are given as 346,000 and 138,000, percentage breakdowns as 76%, 18% or 2%: enough detail for the desired comparison, and a consistent level of detail throughout.

This sort of simple and confident handling of numbers is deceptively hard to achieve, especially if you’re someone who shudders at the mention of ‘significant figures’, ’rounding’, ‘decimal places’. While they are the names for the tools that enable us to deal sensibly with the presentation of numbers I know their very mention can transport people straight back to their school maths class which, by and large, they were hating every minute of.

So maybe looking at the principles behind why it’s worth it is a better approach: clarity, context, precision, relevance, audience rather than those maths-y labels. Here goes…

When we say on the phone “I’ll be there in half an hour” it’s quite likely we’ll arrive sometime in the next 25 to 35 minutes. But for the context of meeting up with a friend “half an hour” will do. If you said “see you in 27 minutes” that would raise a laugh being an odd level of precision for the given context. The same ideas apply to numbers in journalism.

In the interest of telling your audience something as clearly and simply as possible less is more. Leave out as much detail as you can. Consider the comparison of two populations given above: 346,000 and 138,000. This could have been given as 345,983 and 138,031. But it’s much quicker and easier to make a comparison between the simplified numbers. Precision down to the last person just isn’t relevant in this context.

Another way of saying this is that you only need to continue to include figures up until the point they’re no longer needed to distinguish the things you’re comparing. Take for example the finishing times of the athletes in the last World Championship men’s 100m final: 9.92, 10.08, 10.09, 10.19, 10.26, 10.27, 10.95 (Usain Bolt was the other one but he was disqualified). There is enough detail to let us put them in a winning order. So a further figure added to the end isn’t needed. But if the times had been given with one less figure then 10.08 and 10.09 both would have been reported at 10.1 and you’d not have had a winning order.

This next point might sound obvious but don’t report numbers to a more precise degree than the source material you’re working from. The temptation to do this comes from the fact that your calculator screen will present back to you as many figures as it has got room for. However they are just the product of an inanimate object performing a mathematical process and it doesn’t know or care how precise the input numbers were. You do know how precise the input numbers were, so the responsibility lies with you to take notice only of the first few figures if all you that you input were numbers with only a few figures. An example: the average finishing time from the 100m final above. My calculator says 10.25142857 seconds (because its screen can display 10 figures). I would report this as 10.25 seconds, the same level of precision as the input numbers.

That calculation is slightly misleading given that the input numbers for it are highly accurate having been recorded on cutting-edge precision instruments. Never forget that economic data and population estimates are much more woolly, as are numbers that have already been simplified, for example the 346,000 and 138,000 population figures given above. You have two options when performing further calculations on these type of less precise numbers. Either go back and find the raw figures they came from or reduce the level of precision of the answer you get to reflect the fact the numbers you input into the calculation were already simplified. 10.3 seconds would therefore do for 100m finishing time average.

Maintaining a consistent level of precision across all the figures quoted in a single table or story means you are comparing apples with apples. So if you quote a percentage share of 76% black, then don’t quote 18.1% white, 2.8% hispanic, 2% asian and 0.8% other. Keep them all the same. In practice I think it is the zeros combined with a decimal point that confuse people and lead to the comparing of apples and pears: ‘zero-confusion’.

Three recent examples of 'zero-confusion' from The Guardian, Information is Beautiful, BBC

Often people think that after a decimal point the zero has no meaning. When they see 2.0 the 0 gets dropped. This is wrong. The 0 in 2.0 is as important as the 4 or 7 is in 2.4 or 2.7. Another way of looking at it is to pretend you were looking at 20, 24 and 27. You wouldn’t drop the 0 from 20. It’s what makes it 20 and not 24 or 27 or twenty-anything-else.

Comparing this ‘zero-confusion’ with my “see you in half an hour” example, it’s a bit like a bunch of friends all letting you know when they are going to arrive: “Stuck on tube, still 20 mins away”, “There in 10 mins”, “I’ll be there in 6 mins and 45 seconds”. Two give a sensible level of precision, and the last one is a bit strange (possibly better suited to the context of boiling eggs?). There’s nothing wrong with mixing up how precise you’re being, you just wouldn’t do it. There’s no reason to do it. It’s out of place. And ultimately it just trips your audience up.


18
Oct 11

To map or not to map

Click image to see full graphic

A bugbear of mine is people who jump at using a map as a solution for a set of data that happens to include place names.

“But what’s the story?” I ask.

Matt Ericson explains so eloquently, with examples, why maps aren’t always the best solution even if at first glance they might seem the most obvious.


20
Jul 11

Wow v ah-ha

This title captures so perfectly a current theme in the ever more data driven infographic-land that I haven’t changed it. It’s lifted from a recent blog post from Juice Analytics that caught my eye a couple of weeks back.

Whether a data graphic is more ‘wow’ or more ‘ah-ha’ all depends on your audience and your aim. Like most things it’s a spectrum, and probably worth being honest whereabouts on it you’re aiming for when you set out creating any graphic.

In an editorial world more often than not it’s about achieving an ‘ah-ha’. And this is neatly illustrated by all the different ways I’ve heard this same thing expressed recently. I’ve pulled them together here.

‘What do you want to find out from the data?’ not ‘what can you do with the data?’
Simon Rogers, Guardian Datablog (related post)

Less noise, more story
My observation
from this year’s Malofiej infograpic conference

Not ‘what does the data show’ but ‘how did the data get that way’
Joe Ward, sports graphics editor, New York Times (interview)

Start with a concept to pilot you through the data
David McCandless

And since it’s always good to have an example, here’s an interactive graphic from the OECD that conveniently illustrates both concepts. Click on the image to go and explore it.

Designed and created by Moritz Stefaner, Jonas Leist, Timm Kekeritz (for Raureif design consultancy)

Being both ‘wow’ and ‘ah-ha’ clearly isn’t something every graphic needs to do but happens to be something this one manages to do well. Which is impressive given it’s a fine line to tread stylistically too, with ‘wow’ being easier to make engaging and playful and ‘ah-ha’ which can err on the side of dry.