Visualising data II

Practical steps for good visualisation
In my previous post on Data Visualisation, I highlighted the four key principles for good visualisation:

• Design for your audience: Think about how to emphasise the key point(s) that you are trying to convey to this audience with this particular visualisation
• Accurately represent the data: The visualisation should show the underlying data without distortion, and avoid common pitfalls that obscure the real information.
• Organise the information: The visualisation should have a clear purpose - communication, exploration, tabulation or decoration.
• Keep it clear: The visualisation should focus on the message(s) for the audience, and all visual clutter kept to a minimum (except where useful to highlight key points).

What does this mean in practical terms? For each principle there are a number of basic steps that can be taken to improve your data visualisation. Some of these are straightforward to implement, for example ensuring that you are not using decorative effects that hide the data. Others require more work, for example testing your visualisation with key audiences.

Design for your audience   

• Test your visualisation with your key audience
• Know when to use dynamic tools, when to use charts, and when to use tables
• Limit the number of categories shown in a visualisation - be selective in what you present in order to emphasise the key message(s)

Accurately represent the data   

• Don’t distort the scale to give undue weight to statistically insignificant data 
• Keep the zero on the axis scale
• For bar-charts, set the base of the bars to zero (not the lowest value)
• Avoid varying the size/area of objects in graphs, except to convey difference in values
• Avoid using line charts where data is only available for a small number of data points

Organise the information

• Bar graphs are good for showing how data changes over time.
• Pie charts are visually simple and easily understood, but can be manipulated to give a false impression.
• Scatter graphs or line graphs are used to investigate the relationship between two variables, providing sufficient data points are available.
• Bubble charts or triangular graphs can be used to show how the relative dominance of one or more factors combined can influence direction of travel.
• Radar or kite charts are good for comparing multiple factors for different options.
• Choropleth/Isopleth maps show areas shaded according to a prearranged key.
• Treemaps display hierarchical (tree-structured) data as a set of nested rectangles.
• Sound and motion can be used to show changes over time, or changes based on dynamic variables.

Keep it clear   

• Avoid using purely decorative effects such as 3D that can hide the data
• When choosing a colour palette, limit the number of colours used and ensure that different colours can be distinguished from each other
• Where colour is needed, use solid blocks of colour and avoid complex fill patterns
• Avoid using strong or bold colours for the background in a visualisation

Visualising data I

Although information design has always been one of the many skills a designer is required to have, the discipline of structuring information is now recognised as a distinct skill set within creative work. Data visualisation, made popular through the Guardian Datablog, is now a central tool in helping people to navigate and explore an increasingly complex data landscape.

Good data visualisation can help researchers and other users to explore datasets and identify patterns, associations and trends, and also to communicate that understanding to others.

Good data visualisations provide an effective representation of the underlying data that illustrates the answer to a particular question. They can inform non-specialist audiences and help decision makers make robust decisions based on the data being presented. Presenting data in this way can support strategic planning, performance monitoring or delivery improvement.

Good data graphics should:

• Make large data sets coherent, and encourage the audience to make comparisons between different data sets
• Reveal the data at several levels of detail, from a broad overview to the fine detail.
• Avoid distorting what the data has to say
• Present many numbers in a small space - but also emphasise any significant numbers
• Help the audience think about the important message(s) from the data, rather than about methodology

Principles of a good visualisation
Good data visualisation is simply another way to communicate with your audience, and the same principles of good communication design applies to data visualisation as with other ways of communicating;

• Identify your key audience;
• Set out the data accurately;
• Identify the point(s) that you want to make; and
• Create the clearest visualisation that conveys that message, using that dataset to that audience.

Design for your audience   
Think about the message that you are trying to convey to your audience with your visualisation - and focus on emphasising this message. Try not to cram too many key points into the visualisation.

Different audiences may need different visualisations. An appropriate design for a visualisation to be used by researchers exploring how economic indicators vary over time and between places may not be appropriate when showing the same data to non-specialists in order to emphasise key economic trends.

Accurately represent the data   
The visualisation should show the underlying data without distortion. For example, axes should always show zero to avoid exaggerating the importance of differences between data values.

Clear, detailed and thorough labelling should be used. Write out explanations of the data on the graphic itself, and label important events in the data.

Don’t try to do everything with one visualisation.
Organise the information in order to emphasise what you are trying to say to the audience. Don’t bury the key messages in a mass of detail.

Set out key points on the graphic itself, and label any significant or anomalous data events - the graphic should speak for itself.

Keep it clear   
The graphic should focus on the message(s) for the audience, and all visual clutter kept to a minimum. But don’t cut out all visual elements - things that emphasise the key message are useful if they help get your points across to the audience

Reduce and refine. Keep asking yourself whether your visualisation suffers any loss of meaning or impact for the audience if an element is taken out.

The next post looks at some practical steps for good visualisations.

*Santa*™

Its a bit late for this Christmas, but I came back to find a link to the Santa Brand Book from Quietroom in my inbox.

Ho, ho ho!

Imaginary customers

Designing a successful user experience requires a clear understanding of your audience –their wants, needs, likes, dislikes and likely behaviours. Put together, this information forms a user profile.

If your project has sufficient time and budget, a range of focus groups composed of people who fit the user profile (and there may be more than one) can be used to inform your initial designs and then test each stage of design development. Insights from focus group testing can be used to refine the design and make sure that it resonates with your target audience.

However, if time and budget are unavailable, even a little audience research goes a long way. One of the simplest and cost-effective ways of gaining insight into your audience is to use an imaginary user profile, or persona, created from desk research, project knowledge and a little common sense.

The level of detail that is required will vary depending on the nature of your project, but creating a relevant persona means that you and your team always have a touchpoint to refer to when designing. This helps make sure that design decisions remain in line with the needs and expectations of your audience.

The idea is to be able to imagine how a particular user will interact with your design. So if your audience has been identified as a young people not in employment, education or training (NEETs), your persona will outline their likely personality attributes, esteem, sense of belonging, security, and physical needs (based on Maslow’s hierarchy of needs).

• Identify the main audience types by talking to your client and researching their customer base at the start of the project.
• Create a shortlist of attributes including demographics (age, education, gender, location, profession) and psychology (attitude, interests, lifestyle, personality).
• Encourage empathy by giving each persona a name (and a stock photo also helps to bring it to life).
• Share the user profiles with your client and project team.

This fictional user profile represents your audience, and depending on the type of project, you may need three, four or five personas that reflect the range of your audience.

You can now imagine how your personas would interact with a piece of information and use the insight gained to help refine your design and make sure it meets the needs of your audience.

Behavioural science

Behavioural science and behavioural economics show us that, very often, we do not behave in ways we would expect to if we were perfectly ‘rational’ human beings. Many of us still have not insulated our lofts, despite the fact that doing so will reduce our energy bills; we very rarely switch our bank accounts, despite the fact that we may benefit from higher saving rates elsewhere; and we may not yet have committed to becoming an organ donor, despite the fact that the majority of us would be willing to do so if asked.

Many of today’s issues have a strong behavioural component. From tackling anti-social behaviour, to education and health – our behaviours as citizens, parents and neighbours significantly affect the quality of our lives and that of others.

We can influence people’s behaviour in a number of different ways. Tough laws can be made, with fines for those who fail to comply with new legislation, or bans can be introduced that prevent people from eating certain types of food or engaging in particular types of activities.

This is where advertising and design can make a difference. We can give citizens more or better information. We can prompt people to make choices that are in line with their underlying motivations. And we can help to encourage social norms around healthier behaviours in ways that avoid inadvertently communicating that the ‘problem behaviour’ – rioting or driving whilst using a mobile phone or dropping litter – is relatively widespread.

And, if we know anything from behavioural science, it is that behaviour is strongly influenced by what we think others are up to.

Governments, businesses and charities are using the behavioural change MINDSPACE framework to support advertising and design decision-making that impacts upon the behaviour of citizens.

M I N D S P A C E
Messenger  – We are heavily influenced by who communicates information
Incentives -– Our responses to incentives are shaped by predictable mental shortcuts such as strongly avoiding losses
Norms – We are strongly influenced by what others do
Defaults – We ‘go with the flow’ of pre-set options
Salience – Our attention is drawn to what is novel and seems relevant to us
Priming – Our acts are often influenced by subconscious cues
Affect – Our emotional associations can powerfully shape our actions
Commitment – We seek to be consistent with our public promises, and reciprocate acts
Ego – We act in ways that make us feel better about ourselves

For example, exercise is strongly affected by our tendency to discount future
gains, such as being fit and feeling good, relative to short-term pains. Turn this
problem around, such as by introducing an immediate pleasure through the fun of
the Stockholm Metro piano stairs (affect and salience). Making the stairs
eye-catching and fun to climb also had a motivating effect, in that once more people started taking the stairs, others tended to follow.

Or by changing the social norm around exercise with the London city bike hire scheme Seeing more people cycle creates a new social norm and visual prompt, encouraging more people to want to cycle.

In most cases, success will not come from a single design intervention. Instead it will come from a combined approach between many partners – local communities, professionals, businesses and citizens themselves.

A key objective is to try out a range of behavioural approaches – to experiment at local level – to find the most effective ways communicating and of ‘nudging’ citizens lifestyles in ways that make it easy for them to adopt 'good' behaviours.

Nine box brainstorming

A great technique for quickly generating ideas is to use nine-box brainstorming.

Draw a grid of nine boxes – like noughts and crosses (tic tac toe if you’re in the US) – and put your subject in the centre box.

Now fill the eight boxes that surround the centre box with ideas, one idea per box.

Take each idea, and place it in the middle of a new nine-box grid. Into each of the eight surrounding boxes put either a development of the idea or a visual treatment.

That’s 64 possible routes within 30 minutes.

Character archetypes and patterning

Thanks to Dr Janis Wilson from Archetypology for a fascinating presentation at Wednesday’s Language Consultancy Association event, The Archetypology of Brands.

Archetypes are derived from neuroscience, psychology and classical studies. Essentially they are groups of certain personality traits and behaviours that can be recognised, categorised and expressed as a persona.

These personality traits and behaviours are laid down in the subconscious brain as ‘loose patterns’. The power of these loose patterns is that the brain is programmed to respond to stimuli that are a close fit. If your message is a close fit to the pattern, it triggers a response that requires fulfillment. If your brand offers this fulfillment, then the loose pattern is reinforced in a feedback loop that is now conditioned by your brand message.

In simple terms, you can use a structure of 12 classic archetypal characters – Innocent, Regular guy, Caregiver, Explorer, Hero, Outlaw, Lover, Creator, Ruler, Sage, Jester and Magician - to describe both your customers and your brand. In theory, if you know what your brand character is, and whom you want to talk to, adopting the correct tone of voice for a conversation between the two archetypes triggers this patterning and helps you to deliver your message. The key is to use the appropriate language between brand and audience archetypes to trigger the loose patterning in the subconscious.

Where it gets interesting is the knowledge that people move through all 12 archetypes at different life stages (although they will have a preferred archetype that they return to), whilst successful brands tend to stick with the same archetypal character.

Then it gets more complicated.

Each archetype has a number of sub-archetypes, and within these are a number of different, sometimes opposing behaviours.

So character archetypes can have a dark side. When a brand expression loses its way it tends to exhibit these opposing behaviours. This could explain why successful brands, for example, British Airways, BP, Coca-Cola, Gap, sometimes get it so wrong. The message no longer resonates as it disrupts the expected pattern. Returning to their archetypal character normally sees the brand refreshed and revitalised as the fit with the audience archetype loose pattern is restored.

As brand strategists, brand managers and copywriters, you can leverage these patterns to connect with and influence your customers.