I have seen an intriguing and emotional talk about some statistical data of US citizens. I know, how can a talk about population data be exciting, but it really was! Chris Jordan manages to make these numbers come alive using large-scale visualizations. For instance, he creates a giant poster showing the plastic cups discarded every six hours by US airlines. TED (Technology, Entertainment, Design), describes Chris as one who “runs the numbers on modern American life—making large-format, long-zoom artwork from the most mindblowing data about our stuff.” Here a link to his 11 minute talk. Enjoy!

The widespread use of hue or color to represent quantities in graphs (e.g. blue for 10-20%, green for 21-30% etc.) is a habit that needs restraining. Don Norman* provides a superb explanation for why hue should not be used for displaying quantities:
“… hue is a substitutive representation, and the values of interest are usually additive scales. Hence hue is inappropriate for this purpose. The use of hue often leads to interpretive difficulties. Many colorful scientific graphics, usually generated by a computer, use different hues to represent numerical values. These graphics force the viewer to continually refer to the legend for mapping between the additive scale of interest and the hues. Density, saturation, or brightness would provide a superior representation.”

*More on graphical design principles can be found in Things That Make Us Smart (page 71) by Donald A. Norman. Cambridge, MA: Perseus Books, 1993

Legends explain graphics; at least, this is what we hope for. Humans are spatial animals very much dependent upon perceptual information. Keeping this in mind, graphics should use both perceptual and spatial relationships to make efficient use of our traits. Unfortunately, graphs that use arbitrary symbols require substantial cognitive overhead that takes away mental power we would otherwise use on understanding the main facts in the graph. This diversion of “brain power” may lead to errors and misinterpretations. To keep the naturalness principle* intact, ask yourself do I need a legend or can I design my graph without a legend and its arbitrary symbols, colors or shades? If you decide a legend is necessary, make the representation as meaningful as possible.

*More on naturalness can be found in The Design of Everyday Things by Donald A. Norman. Cambridge, MA: Perseus Books, 1990

Tufte points out that the “frame of a graphic can become an effective data-communicating element simply by erasing part of it.*” There is no need to start your vertical axis at zero if your smallest value is 13, for instance. On the other hand, starting the axis with a tick mark labeled 13 gives the reader an additional piece of information that is only possible by extrapolation and visual estimation if the graph is designed in Excel. The same applies for the maximum value and the upper limit of the axis. See Figure 1 below for an example.

When the data are magnitudes, it is helpful to have zero included in the scale so we can see its value relative to the value of data. But the need for zero is not so compelling that we should allow its inclusion to ruin the resolution of the data on the graph. There has been much polemical writing about including zero when graphs are used to communicate quantitative information to others. Too frequently zero has been endowed with an importance it does not have. Darrel Huff in his book How to Lie with Statistics goes so far as to say that a graph magnitudes without a zero line is dishonest**. Read more about range frames and how to create them in the booklet Data Visualization!


*Read on range frames in The Visual Display of Quantitative Information, 2nd edition by E. Tufte, Cheshire, Connecticut: Graphics Press. 2001. ISBN-13: 978-0961392147

** Cleveland,W.S.: The Elements of Graphing Data. Wadsworth & Brooks/Cole Advanced Books & Software. Pacific Grove, CA, 1985, p. 68-89

Recently, the National Science Foundation (NSF) has announced the winners of the 2008 International Science & Engineering Visualization Challenge. They do this together with the journal Science, which is published by the American Association for the Advancement of Science.
Since its all about how to show data in various ways, I recommend to take a look at what the brightest and most talented people in the field have produced. Winning entries can be viewed on the NSF website and on the Science website. The first place went to “The Glass Forest” by Mario De Stefano from The 2nd University of Naples showing diatoms which are tiny creatures playing a big role in creating breathable air.

Recently, I developed with my colleagues, Dr. Schleyer and Mei Song, a poster about a research study in relation to social networking. The task was to show researchers and how they use an electronic infrastructure in order to find collaborators. An early idea was to let them “walk” from unconnected via the system to connected groups. The lead researcher on this project, Dr. Schleyer, created a low-fidelity drawing on a white board which he then photographed to share with all collaborators. We use this method often which blends well a traditional low-tech approach (drawing with markers) with the high-tech needs of email (digital file) necessary to communicate with remote collaborators (see Figure 1).

A first digital mockup version was created which included mainly dummy text and the partially executed visual idea for evaluation purposes. We identified that the people were dominating too much in this rendition. During the creative session, it was decided that the people need to be more or less “background.” We also wanted a layout that is not completely angular (see Figure 2).

The final version was developed and finetuned for consistency and proper alignment of all image elements (see Figure 3).

Bibliographical information about the poster:
Schleyer T, Spallek H, Butler BS, Subramanian S, Weiss D, Poythress ML, Rattanathikun P, Mueller G. Requirements for expertise location systems and the Semantic Web. NCI/NCRI Joint Conference “Biomedical informatics without borders: Enabling collaboration to strengthen research and care”, September 2-3, 2008, Bethesda, MD

Frequently, I receive questions about designing posters. Over the years, I have come to notice that there are some peculiar myths about poster design which I have summarized below:

Myth 1. Poster size should dovetail with instructions for poster authors.
Not true. Often organizers convey the poster frame information to the presenters instead of the actual size of the poster board. This means that the margins of your poster are not on the poster board, but on the board’s frame, which usually cannot be used for attaching push pins. Thus, always make your poster two inches smaller than the advertised size to avoid curled-up edges. Remember, your poster will curl because you transport it rolled up in a tube.

Myth 2. The organizer provides material for attaching the poster to the board.
Probably true if announced that way, but bring your own clear plastic push pins. While it might look cute to have 10 push pins each in a different color, this superfluous post-production color decoration detracts from your carefully designed poster that only uses color to communicate specific details.

Myth 3. Glossy paper can display the most vibrant colors.
True, but only for professionally mounted high-gloss images in an art gallery under perfect lighting conditions. Posters are far from perfectly mounted and overhead fluorescence tubes in convention centers are not ideal lighting. Use satin or luster paper instead to avoid the unwanted reflections of glossy paper.

Myth 4. Use the name of your study for the poster title
This applies to papers but not to posters. With only a few seconds to interest the casual poster visitor, go for the attention grabber and use the conclusion of the investigation as your poster title.

Myth 5. Use all the space available on your poster.
OK, you want to use the entire available space appropriately, but pay attention to two things: First, do not create text lines the width of your 8-foot-wide poster. Lines of text should contain about 10 to 12 words. Second, leave enough white space between elements and around the margins. White space, which doesn’t actually have to be white just free of anything but the background color, provides separation between image elements and avoids the feeling of a jumbled design.

Myth 6. You can import MS-Excel tables and other elements into your design programs.
Sure, you can do this, but it is not uncommon for design software to mistranslate symbols when importing data from other file formats. Your table might look fine on first glance but the percent signs or Greek letters for statistical variables may be converted to little rectangles.

Myth 7. Viewers can get your contact information from the poster header or the conference program.

Yes, they can, but will they actually do it? Don’t rely on their willingness to track you down, instead have a stack of 8” x 10” reductions of your poster handy (black and white is fine). These may be difficult to read but the viewer will remember the look of your poster. On the back side, include your poster abstract as well as detailed contact information and, if available, a Website address for the project.

Recently, I became a member of the BioCommunications Association (BCA). I feel honored that they accepted my membership application given that people like Russel Brown who is certainly a Photoshop genius are members.
The BCA is an international professional association of people working in the biological communications field. The BCA offers educational resources, programs, materials and a network of colleagues able to offer advice and support. They say that “if you are concerned with effective visual communication in the life sciences and medicine, there is a place for you in the BCA.”
Check out their image gallery for the many excellent examples how to visualize information, for instance, the Best of Show 2008 is an amazing picture by Peter Berta of a storm called very appropriately “Devil’s Storm.”

This statement by Edward Tufte is the leading principle for the new booklet about data visualization using Photoshop CS3. Excellence in statistical graphics and visuals, Tufte believes, “consists of complex ideas communicated with clarity, precision and efficiency.” You will learn how to display quantitative data using Tufte’s design principles, which guide all descriptions and tutorials in this booklet. The tutorial will take a previously published data graph and provide you with the steps to meet the design goals and create the final visual. The example is contrasted with the conventional graphic approach if you were to use Excel. Get the booklet Data Visualization! Discover how to use Photoshop to display quantitative data and produce graphs that “sing” your message to colleagues and reviewers alike. After reading this booklet and completing the tutorial you will smirk at Excel template-based 3D bar charts.

Our need to communicate and disseminate research results has long outstripped the capacity of scientific sessions, which cannot be prolonged indefinitely due to the time constraints inherent in professional conferences. Thus, posters evolved into the third leg of the scholarly publication tripod (posters, abstracts, published papers). It is estimated that annually more than 500,000 scientific posters are presented worldwide.
In many academic disciplines, posters are relegated to second class citizens with diminished value compared to the esteemed paper submission. This lower status is often reflected in less comprehensive submission guidelines, later deadlines, and more lenient review criteria. Scientific posters allow you to make public your early work while full paper submissions require a completed evaluation and final results to pass the peer-review process. The American Medical Informatics Association’s Annual Symposium describes posters as “preferred format for presenting preliminary research results or results of small scale studies, illustrating and discussing innovative systems and services, describing experimental and in-practice projects,” which can be submitted with a one-page proposal, whereas paper submissions require a five-page proposal.
Scientific posters are also an excellent communication vehicle for obtaining feedback and valuable input from peers. A good poster will stimulate conversation between you and conference participants. After the poster presentation, you have an opportunity to assess the feedback, reevaluate your study, and tweak its design or research method. But these poster benefits are only possible if your poster does its job well: to pique an interest that results in someone reading about and discussing your research. Get the booklet Poster Presentations! Learn how to use Photoshop to create attention-grabbing posters that not only look compelling but tell your data story effortlessly. You’ll save money and time by submitting camera-perfect posters to your digital printing service.