Visualizing Complexity. Modular Information Design Handbook

Darjan Hil Nicole Lachenmeier

Visualizing Complexity

Modular Information Design Handbook

Birkhäuser Basel

Contents

6 8 11

Preface How the book is structured The MID system

1 Data dimensions

15 17

1A From text to data 1B From data to data cube

31

41

2 Diagrammatical dimensions

43 59 67

2A Quantity 2B Position 2C Relationship

77 79 87 97 107 115 123

3 Visual dimensions 3A 3B 3C 3D 3E 3F

Color Shape Line Pattern Contour Isotype

133 135 147

154

4 Structuring dimensions 4A Structuring by sorting 4B Structuring by grouping

5 The variety of ­multidimensional ­visualizations

156

Overview of all 80 elements

158

How the MID system works

160

Mapping four data dimensions — instructions

162

How sorting works

164

26 multidimensional ­visualizations

217 218 220

6 Appendix

The authors Further reading, sources, and tools

Preface

The title of this book, “Visualizing Complexity”, contains the word complexity, a frequently used term, which quite fittingly describes current thinking. We live in a time when, thanks to computers and an infinite amount of information, people are doing more and more tasks at the same time, taking on different roles and switching very quickly between subjects. In this context, we understand complexity to mean that an issue is impacted by many factors, all of them interwoven, and is obscure and difficult to grasp. But why visualize complexity? Quite simply because we firmly believe that many a seemingly complex issue can be better processed when it is externalized visually and can be viewed from some distance.

Initially, it is not about the quality of the visualization, but simply about the process of getting something out of one’s head onto the page (digital or analog) and thereby making it communicable.

In the context of this book, we understand issues to be data as a general concept. Whether we are dealing with text or numbers, in our opinion both are raw material, i.e. a data set to be processed.

Both can be considered in terms of quantity or quality, and can be processed visually. In this context it is important to be aware that any consideration of an issue assumes a certain perspective and tells an associated story. For each set of data there are various approaches and perspectives. Therein lies the complexity mentioned above. The aim is not to simplify the complexity, but to enable the reader to skilfully navigate through the different perspectives of the topic. To facilitate this navigation, we have developed a method called modular information design; MID for short. In this system, all elements, the smallest units of the system, are made combinable in modules similar to the periodic table system employed in chem­ istry. It is important to note that in order to facilitate simplified orientation in the MID system, elements are grouped into higherlevel dimensions. Dimensions are units used to organize elements at a certain level.

6

This book is the result of ten years of practical experience in which we enjoyed experimenting and carried out analysis work with the aim of making the little known — to date — but demanding interface discipline of information design more accessible through straight­ forward principles. We are convinced that visualization as a general problem-solving approach helps to create greater transparency and enables wider participation and better decision-making. In addi­ tion, people tend to prefer seeing and reading attractively presented text and figures — and understand them better — than the usual pre­ sentations with their standard diagrams. We want to demonstrate that the world of information design has many beautiful facets. We therefore dare — in an unconventional way — to make connections between disciplines and issues where before there were no obvious ones, the objective being to increase interdisciplinary understanding.

This book is intended to be a source of inspiration to all those who work with figures so that they may see data from a new per­ spective and are able to explore design options for the communica­ tion of information. For designers, this handbook can make figures more accessible, and thereby open up new design opportunities for the presentation of information. Generally speaking, we want to convey the joy of working correctly, but also creatively, with text and figures, and we want to motivate people to start their own visual­ ization of complexity. For this it is not necessary to have special talent, or a computer, or special training — but instead a pen and paper, an interest, and a willingness to experiment. We hope that you will enjoy working with this handbook and wish you every success.

Darjan Hil and Nicole Lachenmeier

7

How the book is ­structured

This book is structured visually and subdivided into color-coded sections.

The first four sections convey the necessary basic understanding and form the basis for the examples of multidimensional visualizations found in the fifth section.

It is important to know that the book does not have to be read from front to back, but can be skimmed for inspiration. The structure of the ex­ amples can easily be decoded at the end of the book, and details can be checked in the earlier sections.

Yellow section

In the yellow section, the structure of a double page consists of a data set, an explanation, a title, and an abstract icon as the representa­ tion of the principle explained therein. The yellow section, as well as the entire book, only uses a single small data set that describes a fictitious family history.

Blue, red, green sections

In the blue, red, and green sections, the ele­ ments of the modular information design are ex­ plained on a single page each. An abstract icon represents each principle, which is supple­ mented by an element title and an element ID. In this way, the elements can be traced through­ out the entire book. A simple example in the bottom left-hand corner and a short explanation gives each element a context for practical ­application.

Example section

In this section, each example of data select­ ed from the data set is combined on one page with the elements presented, thus creating a multi­dimensional visualization example. Each page consists of a listing of the data dimensions used and the used elements as icons with the element ID. Step by step, the structure becomes clear with the help of an accurate legend and a descriptive title, as well as a short highlighted text with the specific findings for telling the story from the diagram.

8

Explanation

Data set

Title

Icon

Simple example

Element–ID

Descriptive title

Legend Highlight

9

The MID system

The construction of the visualizations in this book is based on a system. We understand the term system to mean that a number of different components, together with certain principles, form a whole. When applying the principle of deliberately selecting ele­ ments from the modular system and combining them with different dimensions to create a new visualization, we speak of modular information design.

The MID system consists of four higher-level modules: the data dimensions (yellow), the diagrammatical dimensions (blue), the visual dimensions (red), and the structuring dimensions (green). Together, the last three dimensions form 80 distinctly identifiable elements.

The idea behind the MID system is that by combining a data set with selected elements of the three groups, a large number of multidimensional visualizations can be designed. Using a simple framework, it is possible to encode not only all known diagram types but also a nearly infinite number of new visualizations. This system can be understood as a visual algorithm. But likewise, it is also possible to use MID to analyze and decode existing visualiza­ tions. Multi­dimensional information design does not depend on specific tools. It is possible to use pen and paper and a wide range of different software tools. The fifth chapter contains step-by-step instructions.

11

1 Data dimensions What do we need to know about a data set in order to be able to decide which data dimensions should be used for the visualization?

Do we already at this stage need analyses or statistics methods to answer this question? Is it possible to look neutrally at a data set whilst observing a certain distance? Are there intermediate stagesat which visual patterns can be detected in the data set or in the different dimensions of the data set? In this chapter we illustrate approaches that answer these and other similar questions and demonstrate a flowing transition from analysis to visualization.

Regarding the conceptual consideration of a data set from its possible access points, a fundamentally open attitude is required.

This makes it possible to engage in interdisciplinary cooperation and communication on equal terms.

15

2C Relationship

The representation of relationships shows the connections between several points following a certain logic. Relationships can be represented as networks, hierarchically, and also nested.

In all cases, the specific content determines the form of representation.

67

Network Non-hierarchical

2C.1 Relationship

Family

The network without a hierarchical structure (direction) is the basic diagram used to represent relationships. It is based on the principle that elements (nodes) can be connected to each other by edges (connections).

A quantity can be represented using the number of connections. Furthermore, the length of the connecting line can be significant. Networks are used in a wide range of fields; how­ ever, sometimes — beyond a certain quantity of data — they are no longer clearly readable.

1 dot = 1 person

68

Network Hierarchical

2C.2 Relationship

Family

A hierarchical network is either nested or features a relationship sequence.

The principle is very similar to that of 2C.1; the difference is, that here, there is a higher-level structure, possibly also a specific direction of reading.

A family tree is an example of a type of diagram with a non-directional hier­ archy. When the lines indicate a direction (with an arrow), the hierarchy is shown to also indicate a process.

1 dot = 1 person

69

Network Linear

2C.3 Relationship

Family

A network presented in linear form contains all points on an axis, similar to a scale (2B.1). This opens up further possibilities for using the space differently and reordering the connections (nodes). Here too, it is possible to create applications with a fixed hierarchy or sequence. Overlaying lines indicate clusters.

1 dot = 1 person

70

Network Circular

2C.4 Relationship

Family

A network represented in a circle shows the relationships of a closed group. In this case the points (nodes) are placed on a circular line. Similar to the linear network (2C.3), clusters of connecting lines become apparent. In the case of a directional representation, it is also possible to represent two-way movements in the system.

1 dot = 1 person

71

Nesting Intersection sets

2C.5 Relationship

Family

Wagner

It is also possible to represent relationships without connecting lines in a defined space. In accordance with the basic rules of mathematical set theory, it is possible to form intersection sets, sub sets, and connection sets. In the example, the different levels and overlaps show specific information.

Brown

1 dot = 1 person

72

Nesting Stacking

2C.6 Relationship

Place of birth Family Paris W

Vienna

When relationships seem to indicate a hierarchical structure, but have no connecting lines (2C.2), stacking is a suitable form of representation; structures become clearly visible and have more detailed information at each level of this nesting.

London

W B

B

1 dot = 1 person

73

Tower Age as line length with line break, sorted by age, stacked on linear axis and grouped mirrored by relocation.

Otto (23) Hermann Jr. (52)

James (65) Marie Jr. (78) Relocated Not relocated

Marie (72)

Anna (83)

Emma (85)

Hermann (90)

Paul (97)

Elisabeth (99)

On average, the people who relocated lived to an older age than those who did not relocate.

170

Example 4

Age 2A.3

20 mm = 10 years 1 line = 25 years

Family

Gender

Home town

3C.1

3C.3

3C.7

Wagner Brown

Female Male

London Munich Paris

Relocation 4A.8

4B.4

Sorted by age

Grouped by relocation

Elements used 2A.3 3C.1 3C.3 3C.7 4A.8 4B.4

Quantity. Line length with line break Line. Color Line. Interruption Line. Detail. Beginning or end Sorting. Linear axis. Stacked Grouping. Mirroring 171

Vienna

Domino Age as countable line length with line break, sorted by age on linear axis with line break.

Otto (23) Hermann Jr. (52)

James (65)

Marie (72)

Marie Jr. (78) Anna (83)

Emma (85)

Hermann (90)

Paul (97) Elisabeth (99)

The three people who died at the youngest ages were all men.

172

Example 5

Age 2A.4

1 dot = 5 years ½ dot = 2 ½ years

Family

Gender

Relocation

3A.1

3E.2

3E.3

Wagner Brown

Female Male

Yes No

4A.2

Sorted by age

Elements used 2A.4 Quantity. Line length. Countable with line break 3A.1 Color. Basic colors 3E.2 Contour. Interruption 3E.3 Contour. Thickness 4A.2 Sorting. Linear axis with line break 173

Firework Age as a countable area, sorted radially by age evenly distributed and arranged freely without axis or point. Generation as area.

Otto (23) James (65)

Marie (72)

Hermann Jr. (52)

Marie Jr. (78)

Emma (85)

Anna (83)

Hermann (90)

Paul (97)

Elisabeth (99)

There are more Wagners than Browns.

174

Example 6

Generation

Age

2A.5

2A.6

S = 1st M = 2nd L = 3rd

1 line = 5 years

Family

Gender

Relocation

3C.1

3C.7

3A.2 3F.5

Wagner Brown

Female Male

4A.4

4A.9

Age

Sorted free without axis or point

Yes No

Elements used 2A.5 2A.6 3C.1 3C.7 3F.5 4A.4 4A.9

Quantity. Area size Quantity. Area size. Countable Line. Color Line. Detail. Beginning or end Isotype. Background / Foreground Sorting. Radially at an angle Sorting. Free without axis or point 175

Publication details

Concept and content

Darjan Hil, Nicole Lachenmeier

Layout and design Nicole Lachenmeier

Typesetting

Superdot • visualizing complexity

Translation from German into English

Hartwin Busch

Copyediting Patricia Kot

Project management Baharak Tajbakhsh, Freya Mohr

Production

Amelie Solbrig, Heike Strempel

Paper

Juwel Offset

Printing

Eberl & Kœsel GmbH & Co. KG Library of Congress Control Number: 2021953442

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ISBN 978-3-0356-2504-2 e-ISBN (PDF) 978-3-0356-2506-6 German Print-ISBN 978-3-0356-2505-9 © 2022 Birkhäuser Verlag GmbH, Basel P.O. Box 44, 4009 Basel, Switzerland Part of Walter de Gruyter GmbH, Berlin / Boston 9 8 7 6 5 4 3 2 1 www.birkhauser.com

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