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The volume of data in our age is so vast that whole new research fields have blossomed to develop better and more efficient ways of presenting and organizing information. One such field is data visualization, which can be translated in plain English as visual representations of information.
The PBS “Off Book” series turned its attention to data visualization in a short video featuring Edward Tufte, a statistician and professor emeritus at Yale, along with three young designers on the frontiers of data visualization. Titled “The Art of Data Visualization,” the video does a good job of demonstrating how good design—from scientific visualization to pop infographics—is more important than ever.
In much the same way that Marshall McLuhan spoke about principles of communication, Tufte talks in the video about what makes for elegant and effective design. One of his main points: Look after truth and goodness, and beauty will look after herself.
What does Tufte mean by this? That design is only as good as the information at its core.
For those of us who aren’t designers, it’s refreshing to consider the elements of good visual story-telling. And that’s what the best design is, according to the experts in this video. Every data set, or big bunch of information, has its own core concept, just as every story has a main character. The designer’s job is to find the hero in the data and then tell the visual story.
So much of the information we encounter every day is hard to conceptualize. It’s so big and complicated that a visual rendering represents it the best. That’s because human brains are wired to take in a lot of information at once. Good designers know that decision-making isn’t linear. It’s a super-fast process of recognizing patterns and making sense of them.
Information may be more abundant but it isn’t new, and neither is data visualization. In the video, Tufte talks about stone maps carved by early humans and how those ancient graphics form the template for Google maps.
What comes across in PBS’s video is that data visualization is an art, and the simpler the better. Tufte seems to argue that good data guides the designer to do good work, which leads to the question: Is the medium no longer, as McLuhan famously commented, the message?
When it comes to title design, no one did it better than Saul Bass (1920–1996). During his long career in Hollywood, Bass designed sequences for Otto Preminger’s The Man with the Golden Arm, Scorsese’s Goodfellas and Cape Fear, Kubrick’s Spartacus, and several classic films by Alfred Hitchcock. And that’s just beginning to scratch the surface. (You can delve into Bass’ other creative work via the links below.)
From Gutenberg’s inky, monk-inspired Blacklister font to the ever-controversial Comic Sans, Barrett-Forrest employs stop motion to spell out the quantifiable reasons that certain serifs and stroke types are easy on the eye. Let’s not tell the creators of Llama Font or Mr. Twiggy, but legibility is the mother of survival in this arena.
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Ayun Halliday has devoted the last 15 years to producing The East Village Inky, an entirely handwritten zine whose aging readers complain that they can no long make out the tiny print.
In 1987, Compuserve begatteth Image Format 87A.
Image Format 87A begatteth Graphics Interchange Format or GIF (rhymes with a certain brand of peanut butter, the video history above helpfully points out).
The proliferations of free online GIF generators begatteth the countless annoying, smarmy, boneheaded animated loops you’ve seen junking up emails, profile pictures, and MySpace pages.
Of course, some of them are also pretty cool, which is why they’re being celebrated with a festival at the Brooklyn Academy of Music. No tickets necessary. Moving the Still: A GIF Festival will be screening through June on the outdoor electronic billboard meant to promote upcoming and current attractions. Conceivably, viewers with wheels and time to spare could take it in on an endless loop of their own, by circling up Flatbush to Lafayette, then moving up when the light changes, battling traffic from the nearby Barclays Center on the return leg.
What do we stand to see in this festival? The video history leads us to believe that anything is possible, though certain things—accidental happenings, laser cats, colorful barfing (…wait, colorful barfing?)—have a built in appeal.
This eighteen minute documentary takes you inside the work of David A. Smith, an English artist who specializes in “high-quality ornamental hand-crafted reverse glass signs and decorative silvered and gilded mirrors.” (Got that? You may want to read that last part again.) In something of a departure from earlier projects, Smith designed an ornate “turn-of-the-century, trade-card styled album cover” for John Mayer’s album Born &Raised. His work is meticulous and exacting. And this “Behind The Scenes” film, complete with commentary from Mayer and Smith, captures the artist’s process in loving detail. Now please sit back and enjoy.
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As gearheads go, Brendan Chilcutt’s a pretty sentimental guy, and not just because he signs his correspondence with “love.” In January, 2012, he founded the Museum of Endangered Sounds to keep outmoded technology’s most iconic noises from vanishing from the collective memory. Click on any image in the museum’s online collection to be transported in the Proustian sense.
Some of the exhibits—a manual typewriter, a rotary phone—were already amply preserved, thanks to a proliferation of cinematic appearances in their heyday.
Others might well have slipped away unnoticed, if not for Chilcutt’s curatorial efforts. Remember that number you could call to have a recorded voice inform you of the correct time? How about the static of an analog TV tuned to an empty station? The hum of a malfunctioning Discman, the chirp of a Tamagotchi…wait, what’s that I hear? The disconcerting whoosh of time speeding up?
Drown it out by activating all thirty exhibits at once. Let them sound their barbaric yawps simultaneously as the kids try to figure out what that racket is.
In some rare cases, adaptations and interpretations of a literary work can surpass the source. Despite hundreds of valiant efforts on the part of fans, filmmakers, game/toy designers, and radio producers, this has never been true of the fully-realized fantasy world in J.R.R. Tolkien’s The Hobbit and The Lord of the Rings trilogy. (not that it’s ever been anyone’s intent). As we noted in a post last week, Tolkien’s fictional world is so intricate, its sources so vast and varied, that Corey Olsen, “The Tolkien Professor,” has made it his entire life’s work to open that world up to students and curious readers, most recently with his eight-part lecture series on The Hobbit.
One might also add illustrators to the list of Tolkien interpreters above who have—in the almost eighty years since The Hobbit’s publication and sixty years since the first appearance of The Lord of the Rings trilogy—done their best to visualize Tolkien’s world. But perhaps no one did so better than the master himself. Long known as a visual artist as well as a literary one, Tolkien left behind over 100 illustrations for The Hobbit, one of which adorns 2011’s HarperCollins 75th anniversary edition of the book. He also created these original cover designs for each book in TheLord of the Rings trilogy.
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