Advanced Visual Design Design Portfolio

Visual Design Treatment

by ward2021

In this post, I will explore Edward Tufte’s five theories, understand what they entail, and how they can be applied in design. Additionally, I’ll explore how these theories can be used in my 3D metamorphosis animation.

Edward Tufte’s Five Principles

Comparison of Small Multiples

For a wide range of problems in data presentation, small multiples are the best design solution.

E. Tufte, Envisioning Information (1990)

Small Multiples are condensed representations of multiple images displayed at the same time, allowing readers to quickly and simultaneously examine the differences between each frame. These illustrations, which resemble postage stamps in size, can be categorised, arranged in chronological order like movie frames, or organised based on a quantitative variable unrelated to the individual images.

Figure 1: This image presents data from the US election represented in percentages, utilising maps and colours to convey the information effectively. Instead of traditional graphs, the data is visually portrayed on maps, offering a clear view of which states of the US voted for various candidates and the popularity of those votes, all through the clever use of colour. This approach enhances the reader’s understanding of the election results, making interpreting the geographic distribution of support for each candidate easier. By utilising repeated maps, the image employs the concept of small multiples. This approach ensures that the data presented in the image is easily comparable and allows for seamless visual analysis.

Incorporation Example

An excellent way to incorporate the comparison of small multiples into my animation would be by using grapes as the subject. The grapes will be depicted in a small and condensed manner, arranged in an organised fashion that emphasises realism. Each grape will vary in size, further enhancing the visual contrast and adding depth to the portrayal.

Layering and Separation

Layering and separation pertain to the visual organisation and arrangement of data, as described by Tufte. Layering encompasses the structuring or stratification of data to establish significant connections between various types of information. Layering aims to create a visual hierarchy that accentuates crucial content while minimising the prominence of less essential elements. This methodology facilitates effective communication by guiding focus towards the most pertinent information.

Figure 2: The industrial diagram skillfully dissects one component into 300 parts, employing layering and separation techniques. In this image, each individual part is distinctively isolated from the overall component, offering a comprehensive view of their appearance. This approach parallels modern examples, such as Lego instruction manuals, where individual parts are showcased to assemble a more significant and meaningful structure. The annotations within the diagram further enhance its layering effect, providing valuable information about each part, while colour coding adds clarity to the representation. For easy identification, such layering separates each component’s images, labelled with corresponding numbers. In practical applications, this type of diagram proves immensely valuable in a mechanic setting, enabling efficient troubleshooting. The clear visual breakdown of the component aids in identifying specific parts and facilitating repairs or replacements as needed.

Macrocosm

It is not how much empty space there is, but rather how it is used. It is not how much information there is, but rather how effectively it is organised.

Tufte.E, Applying Tufte’s Principles of Information Design to Creating Effective Web Sites, (1990, p.50)

Macrocosm refers to the larger or broader universe, system, or structure encompassing everything within it. It is often used to describe the entire world or the whole of existence. In Edward Tufte’s theory, the Macrocosm refers to considering the larger context and structure when designing visualisations, considering the comprehensive organisation and presentation of information to convey the overarching patterns and relationships within the data.

Full view image
Close up image
Figure 3: An image of The Vietnam Veterans Memorial in Washington, D.C. The memorial utilises a unique micro/macro design to create a visually and emotionally powerful impact. From afar, the wall displays the names of over 50,000 deceased soldiers on black granite, forming a collective grey shape that represents the scale of the loss. As visitors approach, the individual names become apparent, allowing for personal reflections, and many seek out the name of a particular soldier.

Incorporation Example

Integrating the Macrocosm theory into the animation could prove seamless. One idea is to design a scene featuring a wine cellar adorned with numerous barrels along the walls. A gradual zoom-in effect could be employed during the animation sequence, drawing the viewer’s attention to a specific barrel.

Narrative over Space and Time

Edward Tufte’s theory on space and time focuses on creating visualisations that effectively represent events occurring in specific places and times. By logically organising information and using visual cues, Tufte aims to ensure that data placement on a page corresponds to its spatial and temporal context. The goal is to provide clear and understandable visualisations that enable viewers to comprehend the narrative, patterns, and relationships associated with space and time.

Figure 4: The image depicts the positions of Jupiter’s moons on a corkscrew chart, showcasing the theory and narrative over space and time. In modern illustrations of Jupiter’s moons, they are connected using a corkscrew diagram, forming continuous spirals. These diagrams use a grid that stretches over time and looks like timetables. The smooth trajectories in the modern diagram precisely show the moons’ positions, making it useful for analysing even a few hours of observations.

Incorporation Example

The interplay between space and time narrative is evident in almost all animations and various media platforms. This concept is inherently embodied by showcasing the creation of wine, and the theory naturally finds its application.

Use of colour

To label (colour as a noun), to measure (colour as quantity), to represent or imitate reality (colour as representation), and to enliven or decorate (colour as beauty).

Tufte.E, Applying Tufte’s Principles of Information Design to Creating Effective Web Sites, (1990, p.81)

Edward Tufte’s theory on colour in visualisations emphasises clarity and functionality, advocating for a minimalist approach with a limited colour palette. Colours should represent meaningful differences in data, follow consistent standards, and be accessible to all users, considering various colour perception abilities. The primary goal is to enhance understanding and convey information effectively, avoiding visual clutter and unnecessary distractions.

Figure 5: In the image, a series of illustrations showcase air marshal signalling. It highlights the importance of colour, presenting the top image in monochrome and the bottom using colours. The focus is directed to the foreground elements by reducing the intensity of background colours. In the bottom image, the strategic use of colour draws attention to significant parts of the illustration while also separating information. For example, the inclusion of red helps to depict the actions portrayed in the illustrations.

Incorporation Example

Through advocating for a minimal approach, the theory can seamlessly integrate into the animation by using a limited colour palette and emphasising the most significant elements with a more prominent colour. The theme of the animation naturally aligns with this theory, as most components share the same materials and colours, while the grapes and the wine stand out in different colours, effectively highlighting the significance of the final product.

References

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