CHAPTER 1

OVERVIEW

WHY THISGUIDE?

Graphics—visual representations of scientific data and concepts—arecritical components of science and engineering research. Images engage usin ways that words cannot. Explanatory graphics can clarify or strengthenan argument by guiding us through data or concepts. Exploratory graphicsdraw us into the research process, allowing us to discover patterns andrelationships ourselves.

Visual representations have long been a significant part of any scientist's andengineer's research. Until fairly recently it was standard practice for universitiesand research institutions to hire specialists to help researchers visuallycommunicate their work. Now the research community is primarily responsiblefor crafting its own graphics—and yet the typical researcher's trainingrarely includes the development of such skills and sensibilities.

This guide will help you create more effective graphics to support yourwork. Together, we will explore specific examples from journal articles,presentations, grant submissions, and other scientific contexts. We willmake practical suggestions, based on our work with science and engineeringresearchers, to help you answer the question, "What is the best graphic tocommunicate my work?"

It is important to remember that a visual representation of a scientific concept(or data) is a re-presentation, and not the thing itself—some interpretationor translation is always involved. There are many parallels betweencreating a graphic and writing an article. First, you must carefully plan whatto "say," and in what order you will "say it." Then you must make judgmentsto determine a hierarchy of information—what must be included and whatcould be left out? The process of making a visual representation requiresyou to clarify your thinking and improve your ability to communicate withothers. Furthermore, the process of making an effective graphic often leadsto new insights into your work; when you make decisions about how todepict your data and underlying concepts, you must often clarify your basicassumptions.

What we provide in the pages of this guide is an approach: a set of strategiesthat are a distillation of what we have learned, both independently andin collaborative projects, over many years. We believe these strategies willhelp you create improved representations of your work. These strategiesmight even make you reconsider your discipline's classic visualizations andask yourself, "How effectively do the standard approaches communicate?"Whether you are inventing a new representation or updating a classic, weencourage you to invest the time to create a good graphic. The best oneshave the power to shape new thinking and approaches in your field.

SPEAKING OFDESIGN:A CONVERSATION

We were privileged to work with designer Stefan Sagmeister for this guide.In many ways, good design is the kernel that began our thinking for thisproject. In addition to seeing his design on these pages, we wanted to bringyou his voice.

FCF, AHD The fact that you decided to design our book is pretty remarkable for us,Stefan. Is science something you were always interested in?

SKS No, not at all, in fact I had little interest in science when I was in school,received average grades, and took science education for the most part as anecessary evil. I only developed an interest after going to TED and hearingfrom all these amazing people talking about all these amazing developments.

FCF, AHD We have always believed there has been a desperate need for talented graphicdesigners to participate in the process of communicating scientific data andconcepts. Our readers might not immediately see the connection betweenyour world and theirs. We wonder if you can help them think about it.

SKS During the last decade scientific research has made fantastic progress, butthis has often been poorly communicated. This is true for communicationsbetween various scientific fields, science communications within peerreviewed media, as well as how science is treated in mass media.

FCF, AHD When you first saw some of the figures we were going to include, the"befores," did you see a visual thread of some sort in terms of the mistakesmost researchers make?

SKS I was surprised to see a lot of very basic design mistakes. It seems manyscientists creating complex visualizations are not aware of simple rulesregarding color, form, or hierarchy. In numerous cases all it would taketo fix this would be a design 101 course.

FCF, AHD That would be a fantastic idea, but realistically, in our experience, mostresearchers wouldn't give it the time. So, what would you think about thepossibility of engaging more designers in the process? For example, do youthink design schools might offer a specialized course for scientific graphics?

SKS Yes, I am convinced there is a tremendous interest among design students,specifically at the master's programs. Many are disillusioned with workingfor the commercial sector and would love the opportunity to sharpen theirdesign skills dealing with content that engages their minds to the fullest.

FCF, AHD Do you think the design community would embrace the idea of workingon material with which they are not familiar? Do you think it would beimportant for designers to understand the material?

SKS Yes and yes. Designers work with unfamiliar material all the time; learningabout a new sector, business, or scientific process is a very integral part ofthe job (and I'd say one part that makes that job rather enjoyable). And yes,they had better understand the material; otherwise, innovative thinking orfocused visualization will be impossible.

FCF, AHD And specifically addressing Visual Strategies, if you remember our meetingon that hot NYC day on your office terrace, your request to place a subtle5% yellow background behind all the images was a concern for the two ofus. We were worried, as most scientists tend to be, that we were changingthe data in a way—that we were augmenting the original content. However,you made the case that the design of the book warranted the change. Weare sure our readers will have their own opinions about that matter. Theywill have the opportunity to discuss the issue with us on our online VisualStrategies forum [see Appendix]. Can you clarify how a change like thatbenefits the design, and, more important, in general, what is your advice ondesign changes to a figure in science?

SKS This is a wonderful question: whether a visualization should be more"objective" or "subjective" comes up in various ways on almost every singlejob. Are we communicating more effectively by placing more value on theoverall form or are we better off sticking to the process in a literal way? Willmore people understand if we use a sexy visual conceit or are we better offsticking to established modernism?

Does the colorization undermine or promote understanding? In the case ofthe cream backgrounds within this book, I myself don't see a problem at all.They simply are a more orderly way of organizing the graphics on the page,a more sophisticated alternative to the black hairline.

FCF, AHD Thanks so much, Stefan. The process of working with you has inspired usto think differently about creating scientific graphics. Let's hope that morescientists and engineers...