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+% $Header: /cvsroot/pgf/pgf/doc/pgf/text-en/pgfmanual-en-guidelines.tex,v 1.1 2005/09/02 16:05:42 tantau Exp $
+
+% Copyright 2005 by Till Tantau <tantau@cs.tu-berlin.de>.
+%
+% This program can be redistributed and/or modified under the terms
+% of the GNU Public License, version 2.
+
+
+
+\section{Guidelines on Graphics}
+
+The present section is not about \pgfname\ or \tikzname, but about
+general guidelines and principles concerning the creation of
+graphics for scientific presentations, papers, and books.
+
+The guidelines in this section come from different sources. Many of
+them are just what I would like to claim is ``common sense,'' some
+reflect my personal experience (though, hopefully, not my personal
+preferences), some come from books (the bibliography is still missing,
+sorry) on graphic design and typography.
+The most influential source are the brilliant books
+by Edward Tufte. While I do not agree with everything written in these
+books, many of Tufte's arguments are so convincing that I decided to
+repeat them in the following guidelines.
+
+
+
+
+\subsection{Should You Follow Guidelines?}
+
+The first thing you should ask yourself when someone presents a bunch of
+guidelines is: Should I really follow these guidelines? This is an
+important questions, because there are good reasons not to follow
+general guidelines.
+\begin{itemize}
+\item
+ The person who setup the guidelines may have had other
+ objectives than you do. For example, a guideline might say ``use the
+ color red for emphasis.'' While this guideline makes perfect sense
+ for, say, a presentation using a projector, red ``color'' has the
+ \emph{opposite} effect of ``emphasis'' when printed using a
+ black-and-white printer.
+
+ Guidelines were almost always setup to address a specific
+ situation. If you are not in this situation, following a guideline
+ can do more harm than good.
+\item
+ The basic rule of typography is: ``Every rule can be broken, as long
+ as you are \emph{aware} that you are breaking a rule.'' This rule
+ also applies to graphics. Phrased differently, the basic rule
+ states: ``The only mistakes in typography are things done is
+ ignorance.''
+
+ When you are aware of a rule and when you decide that breaking the
+ rule has a desirable effect, break the rule.
+\item
+ Some guidelines are simply \emph{wrong}, but everyone follows them
+ out of tradition or is forced to do so. My favorite example is a
+ guideline a software company I used to work for has set in a big
+ project: All programmers had to declare the parameters of functions
+ in \emph{increasing order of size}. So, one-byte
+ parameters should come first, then two-byte parameters, and so on.
+
+ This guideline is total nonsense. An (arguably) sensible guideline
+ is ``parameters must be declared alphabetically'' so that parameters
+ are easier to find. Another (arguably) sensible guideline is
+ ``parameters must be declared in decreasing order of size'' so that
+ less byte-alignment cache misses occur when the stack is
+ accessed. The guideline the company used maximized cache misses and
+ resulted in a more or less random ordering so that programmers
+ constantly had to look up the parameter ordering.
+\end{itemize}
+
+So, before you apply a guideline or choose not to apply it, ask
+yourself these questions:
+\begin{enumerate}
+\item
+ Does this guideline really address my situation?
+\item
+ If you do the opposite a guideline says you should do, will the
+ advantages outweigh the disadvantages this guideline was supposed to
+ prevent?
+\end{enumerate}
+
+
+
+\subsection{Planning the Time Needed for the Creation of Graphics}
+
+When you create a paper with numerous graphics, the time needed to
+create these graphics becomes an important factor. How much time
+should you calculate for the creation of graphics?
+
+As a general rule, assume that a graphic will need as much time to
+create as would a text of the same length. For example, when I
+write a paper, I need about one hour per page for
+the first draft. Later, I need between two and four hours per page
+for revisions. Thus, I expect to need about half an hour for the
+creation of \emph{a first draft} of a half page graphic. Later on, I
+expect another one to two hours before the final graphic is finished.
+
+In many publications, even in good journals, the authors and editors
+have obviously invested a lot of time on the text, but seem to
+have spend about five minutes to create all of the
+graphics. Graphics often seem to have been added as an
+``afterthought'' or look like a screen shot of whatever the authors's
+statistical software shows them. As will be argued later on, the
+graphics that programs like \textsc{gnuplot} produce by default are of
+poor quality.
+
+Creating informative graphics that help the reader and that fit
+together with the main text is a difficult, lengthy process.
+\begin{itemize}
+\item
+ Treat graphics as first-class citizens of your papers. They deserve
+ as much time and energy as the text does.
+\item
+ Arguably, the creation of graphics deserves \emph{even more} time
+ than the writing of the main text since more attention will be paid
+ to the graphics and they will be looked at first.
+\item
+ Plan as much time for the creation and revision of a graphic as you
+ would plan for text of the same size.
+\item
+ Difficult graphics with a high information density may require even
+ more time.
+\item
+ Very simple graphics will require less time, but most likely you do
+ not want to have ``very simple graphics'' in your paper, anyway;
+ just as you would not like to have a ``very simple text'' of the
+ same size.
+\end{itemize}
+
+
+
+\subsection{Workflow for Creating a Graphic}
+
+When you write a (scientific) paper, you will most likely follow the
+following pattern: You have some results/ideas that you would
+like to report about. The creation of the paper will typically start
+with compiling a rough outline. Then, the different sections are
+filled with text to create a first draft. This draft is then revised
+repeatedly until, often after substantial revision, a final paper
+results. In a good journal paper there is typically not be a single
+sentence that has survived unmodified from the first draft.
+
+Creating a graphics follows the same pattern:
+\begin{itemize}
+\item
+ Decide on what the graphic should communicate. Make this a conscious
+ decision, that is, determine ``What is the graphic supposed to tell
+ the reader?''
+\item
+ Create an ``outline,'' that is, the rough overall ``shape'' of the
+ graphic, containing the most crucial elements. Often, it is
+ useful to do this using pencil and paper.
+\item
+ Fill out the finer details of the graphic to create a first
+ draft.
+\item
+ Revise the graphic repeatedly along with the rest of the paper.
+\end{itemize}
+
+
+
+
+\subsection{Linking Graphics With the Main Text}
+
+Graphics can be placed at different places in a text. Either, they can
+be inlined, meaning they are somewhere ``in the middle of the text''
+or they can be placed in standalone ``figures.'' Since printers (the
+people) like to have their pages ``filled,'' (both for aesthetic and
+economic reasons) standalone figures may traditionally be placed on
+pages in the document far removed from the main text that refers to
+them. \LaTeX\ and \TeX\ tend to encourage this ``drifting away'' of
+graphics for technical reasons.
+
+When a graphic is inlined, it will more or less automatically be
+linked with the main text in the sense that the labels of the graphic
+will be implicitly explained by the surrounding text. Also, the main
+text will typically make it clear what the graphic is about and what
+is shown.
+
+Quite differently, a standalone figure will often be viewed at a time
+when the main text that this graphic belongs to either has not yet
+been read or has been read some time ago. For this reason, you should
+follow the following guidelines when creating standalone figures:
+\begin{itemize}
+\item
+ Standalone figures should have a caption than should make them
+ ``understandable by themselves.''
+
+ For example, suppose a graphic shows an example of the different
+ stages of a quicksort algorithm. Then the figure's caption should,
+ at the very least, inform the reader that ``The figure shows the
+ different stages of the quicksort algorithm introduced on page
+ xyz.'' and not just ``Quicksort algorithm.''
+\item
+ A good caption adds as much context information as possible. For
+ example, you could say: ``The figure shows the different stages of
+ the quicksort algorithm introduced on page xyz. In the first line,
+ the pivot element 5 is chosen. This causes\dots'' While this
+ information can also be given in the main text, putting it in the
+ caption will ensure that the context is kept. Do not feel afraid of
+ a 5-line caption. (Your editor may hate you for this. Consider
+ hating them back.)
+\item
+ Reference the graphic in your main text as in ``For an example of
+ quicksort `in action,' see Figure~2.1 on page xyz.''
+\item
+ Most books on style and typography recommend that you do not use
+ abbreviations as in ``Fig.~2.1'' but write ``Figure 2.1.''
+
+ The main argument against abbreviations is that ``a period is too
+ valuable to waste it on an abbreviation.'' The idea is that a period
+ will make the reader assume that the sentence ends after ``Fig'' and
+ it takes a ``conscious backtracking'' to realize that the sentence
+ did not end after all.
+
+ The argument in favor of abbreviations is that they save space.
+
+ Personally, I am not really convinced by either argument. On the one
+ hand, I have not yet seen any hard evidence that abbreviations slow
+ readers down. On the other hand, abbreviating all ``Figure'' by
+ ``Fig.''\ is most unlikely to save even a single line in most
+ documents.
+
+ I avoid abbreviations.
+\end{itemize}
+
+
+
+\subsection{Consistency Between Graphics and Text}
+
+Perhaps the most common ``mistake'' people do when creating graphics
+(remember that a ``mistake'' in design is always just ``ignorance'')
+is to have a mismatch between the way their graphics look and the way
+their text looks.
+
+It is quite common that authors use several different programs for
+creating the graphics of a paper. An author might produce some plots
+using \textsc{gnuplot}, a diagram using \textsc{xfig}, and include an
+|.eps| graphic a coauthor contributed using some unknown program. All
+these graphics will, most likely, use different line widths, different
+fonts, and have different sizes. In addition, authors often use
+options like |[height=5cm]| when including graphics to scale them to
+some ``nice size.''
+
+If the same approach were taken to writing the main text, every
+section would be written in a different font at a different size. In
+some sections all theorems would be underlined, in another they would
+be printed all in uppercase letters, and in another in red. In
+addition, the margins would be different on each page.
+
+Readers and editors would not tolerate a text if it were written in
+this fashion, but with graphics they often have to.
+
+To create consistency between graphics and text, stick to the
+following guidelines:
+\begin{itemize}
+\item
+ Do not scale graphics.
+
+ This means that when generating graphics using an external program,
+ create them ``at the right size.''
+\item
+ Use the same font(s) both in graphics and the body text.
+\item
+ Use the same line width in text and graphics.
+
+ The ``line width'' for normal text is the width of the stem of
+ letters like T{}. For \TeX, this is usually
+ $0.4\,\mathrm{pt}$. However, some journals will not accept graphics
+ with a normal line width below $0.5\,\mathrm{pt}$.
+\item
+ When using colors, use a consistent color coding in the text and in
+ graphics. For example, if red is supposed to alert the reader to
+ something in the main text, use red also in graphics for important
+ parts of the graphic. If blue is used for structural elements like
+ headlines and section titles, use blue also for structural elements
+ of your graphic.
+
+ However, graphics may also use a logical intrinsic color
+ coding. For example, no matter what colors you normally use, readers
+ will generally assume, say, that the color green as ``positive, go,
+ ok'' and red as ``alert, warning, action.''
+\end{itemize}
+
+Creating consistency when using different graphic programs is almost
+impossible. For this reason, you should consider sticking to a single
+graphic program.
+
+
+\subsection{Labels in Graphics}
+
+Almost all graphics will contain labels, that is, pieces of text that
+explain parts of the graphics. When placing labels, stick to the
+following guidelines:
+
+\begin{itemize}
+\item
+ Follow the rule of consistency when placing labels. You should do
+ so in two ways: First, be consistent with the main text, that is,
+ use the same font as the main text also for labels. Second, be
+ consistent between labels, that is, if you format some labels in
+ some particular way, format all labels in this way.
+\item
+ In addition to using the same fonts in text and graphics, you should
+ also use the same notation. For example, if you write $1/2$ in your
+ main text, also use ``$1/2$'' as labels in graphics, not
+ ``0.5''. A $\pi$ is a ``$\pi$'' and not ``$3.141$''. Finally,
+ $\mathrm e^{-\mathrm i \pi}$ is ``$\mathrm e^{-\mathrm i \pi}$'',
+ not ``$-1$'', let alone ``-1''.
+\item
+ Labels should be legible. They should not only have a reasonably
+ large size, they also should not be obscured by lines or other
+ text. This also applies to of lines and text \emph{behind} the
+ labels.
+\item
+ Labels should be ``in place.'' Whenever there is enough space,
+ labels should be placed next to the thing they label. Only if
+ necessary, add a (subdued) line from the label to the labeled
+ object. Try to avoid labels that only reference explanations in
+ external legends. Reader have to jump back and forth between the
+ explanation and the object that is described.
+\item
+ Consider subduing ``unimportant'' labels using, for example, a gray
+ color. This will keep the focus on the actual graphic.
+\end{itemize}
+
+
+
+\subsection{Plots and Charts}
+
+One of the most frequent kind of graphics, especially in scientific
+papers, are \emph{plots}. They come in a large variety, including
+simple line plots, parametric plots, three dimensional plots, pie
+charts, and many more.
+
+Unfortunately, plots are notoriously hard to get right. Partly, the
+default settings of programs like \textsc{gnuplot} or Excel are to
+blame for this since these programs make it very convenient to create
+bad plots.
+
+The first question you should ask yourself when creating a plot is the
+following:
+\begin{itemize}
+\item
+ Are there enough data points to merit a plot?
+\end{itemize}
+
+If the answer is ``not really,'' use a table.
+
+A typical situation where a plot is unnecessary is when people present
+a few numbers in a bar diagram. Here is a real-life example: At the
+end of a seminar a lecturer asked the participants for feedback. Of
+the 50 participants, 30 returned the feedback form. According to the
+feedback, three participants considered the seminar ``very good,''
+nine considered it ``good,'' ten ``ok,'' eight ``bad,'' and no one thought
+that the seminar was ``very bad.''
+
+A simple way of summing up this information is the following table:
+
+\medskip
+\begin{tabular}{lp{3.75cm}r}
+ \emph{Rating given} & \raggedright\emph{Participants (out of 50) who gave this rating} &
+ \emph{Percentage} \\[1.75em]
+ ``very good'' & \hfil\hphantom{0}3\hfil & \hphantom{0}6\% \\
+ ``good'' & \hfil\hphantom{0}9\hfil & 18\% \\
+ ``ok'' & \hfil10\hfil & 20\% \\
+ ``bad'' & \hfil\hphantom{0}8\hfil & 16\% \\
+ ``very bad'' & \hfil\hphantom{0}0\hfil & \hphantom{0}0\% \\[2mm]
+ none & \hfil20\hfil & 40\% \\
+\end{tabular}
+
+\bigskip
+What the lecturer did was to visualize the data using a 3D bar
+diagram. It looked like this:
+
+\bigskip
+\par
+\begin{tikzpicture}[y=0.03cm,z=3mm]
+ \foreach \y in {0,20,40,60,80,100}
+ \draw[dashed] (0,\y,0) node[left] {\y} -- (0,\y,1) -- (6,\y,1);
+
+ \draw (0,0,0) -- (0,100,0) (0,0,1) -- (0,100,1);
+ \draw (0,0,0) -- (6,0,0);
+
+ \foreach \x/\xtext/\height in {1/very good/10,2/good/30,3/ok/33,4/bad/27,5/very bad/0}
+ {
+ \draw (\x,0) node[rotate=90,anchor=east] {\xtext};
+
+ \begin{scope}[xshift=\x cm]
+
+ \filldraw[fill=blue!50] (-.3,0,0) rectangle (.3,\height,0);
+ \filldraw[fill=blue!30] (.3,0,0) -- (.3,0,1) -- (.3,\height,1) -- (.3,\height,0) --cycle;
+ \filldraw[fill=blue!20] (-.3,\height,0) -- (.3,\height,0) --
+ (.3,\height,1) -- (-.3,\height,1) --cycle;
+ \end{scope}
+ }
+\end{tikzpicture}
+\bigskip
+
+Both the table and the ``plot'' have about the same size. If your first
+thought is ``the graphic looks nicer than the table,'' try to answer
+the following questions based on the information in the table or in
+the graphic:
+\begin{enumerate}
+\item
+ How many participants where there?
+\item
+ How many participants returned the feedback form?
+\item
+ What percentage of the participants returned the feedback form?
+\item
+ How many participants checked ``very good''?
+\item
+ What percentage out of all participants checked ``very good''?
+\item
+ Did more than a quarter of the participants check ``bad'' or ``very bad''?
+\item
+ What percentage of the participants that returned the form checked ``very good''?
+\end{enumerate}
+
+Sadly, the graphic does not allow us to answer \emph{a single one of these
+ questions}. The table answers all of them directly, except for the last
+one. In essence, the information density of the graphic is very
+nearly zero. The table has a much higher information density; despite
+the fact that it uses quite a lot of white space to present a few numbers.
+
+Here is the list of things that went wrong with the 3D-bar diagram:
+\begin{itemize}
+\item
+ The whole graphic is dominated by irritating background lines.
+\item
+ It is not clear what the numbers at the left mean; presumably
+ percentages, but it might also be the absolute number of
+ participants.
+\item
+ The labels at the bottom are rotated, making them hard to read.
+
+ (In the real presentation that I saw, the text was rendered at a very
+ low resolution with about 10 by 6 pixels per letter with wrong
+ kerning, making the rotated text almost impossible to read.)
+\item
+ The third dimension adds complexity to the graphic without adding
+ information.
+\item
+ The three dimensional setup makes it much harder to gauge the height
+ of the bars correctly. Consider the ``bad'' bar. It the number this
+ bar stands for more than 20 or less? While the front of the bar is
+ below the 20 line, the back of the bar (which counts) is above.
+\item
+ It is impossible to tell which numbers are represented by the
+ bars. Thus, the bars needlessly hide the information these bars are
+ all about.
+\item
+ What do the bar heights add up to? Is it 100\% or 60\%?
+\item
+ Does the bar for ``very bad'' represent 0 or~1?
+\item
+ Why are the bars blue?
+\end{itemize}
+
+You might argue that in the example the exact numbers are not
+important for the graphic. The important things is the ``message,''
+which is that there are more ``very good'' and ``good'' ratings than
+``bad'' and ``very bad.'' However, to convey this message either use a
+sentence that says so or use a graphic that conveys this message more
+clearly:
+
+\medskip
+\par
+\begin{tikzpicture}
+ \colorlet{good}{green!75!black}
+ \colorlet{bad}{red}
+ \colorlet{neutral}{black!60}
+ \colorlet{none}{white}
+
+ \node[text centered,text width=3cm]{Ratings given by 50~participants};
+
+ \begin{scope}[line width=4mm,rotate=270]
+ \draw[good] (-123:2cm) arc (-123:-101:2cm);
+ \draw[good!60!white] (-36:2cm) arc (-36:-101:2cm);
+ \draw[neutral] (-36:2cm) arc (-36:36:2cm);
+ \draw[bad!60!white] (36:2cm) arc (36:93:2cm);
+
+ \newcount\mycount
+ \foreach \angle in {0,72,...,3599}
+ {
+ \mycount=\angle\relax
+ \divide\mycount by 10\relax
+ \draw[black!15,thick] (\the\mycount:18mm) -- (\the\mycount:22mm);
+ }
+
+ \draw (0:2.2cm) node[below] {``ok'': 10 (20\%)};
+ \draw (165:2.2cm) node[above] {none: 20 (40\%)};
+ \draw (-111:2.2cm) node[left] {``very good'': 3 (6\%)};
+ \draw (-68:2.2cm) node[left] {``good'': 9 (18\%)};
+ \draw (65:2.2cm) node[right] {``bad'': 8 (16\%)};
+ \draw (93:2.2cm) node[right] {``very bad'': 0 (0\%)};
+ \end{scope}
+ \draw[gray] (0,0) circle (2.2cm) circle (1.8cm);
+\end{tikzpicture}
+
+\bigskip
+The above graphic has about the same information density as the table
+(about the same size and the same numbers are shown). In addition, one
+can directly ``see'' that there are more good or very good ratings
+than bad ones. One can also ``see'' that the number of people who gave
+no rating at all is not negligible, which is quite common for feedback
+forms.
+
+Charts are not always a good idea. Let us look at an example
+that I redrew from a pie chart in \emph{Die Zeit}, June 4th, 2005:
+
+\bigskip
+\par
+\begin{tikzpicture}
+ \begin{scope}[xscale=3.2,yscale=1.2]
+
+ \sffamily
+ \coordinate (right border) at (2.0cm,-1.7cm);
+ \coordinate (left border) at (-2.5cm,2.1cm);
+
+ \fill[black!25] ([xshift=-2mm,yshift=1.1cm]left border) rectangle ([xshift=2mm,yshift=-.3cm]right border);
+
+ \node[below right,text width=10cm,inner sep=0pt] at ([yshift=.9cm,xshift=-1mm]left border)
+ { {\color{black!75} \Large Kohle ist am wichtigsten}\\
+ Energiemix bei der deutschen Stromerzeugung 2004};
+
+ \filldraw[draw=gray,fill=white] ([xshift=-1mm]left border) node[below right,black]
+ {\footnotesize Gesamte Netto-Stromerzeugung in Prozent, in
+ Milliarden Kilowattstunden (Mrd.\ kWh)}
+ rectangle ([xshift=1mm]right border);
+
+ % The 3D stuff
+ \pgfdeclarehorizontalshading{zeit}{100bp}
+ {color(0pt)=(black);
+ color(25bp)=(black);
+ color(37bp)=(white);
+ color(50bp)=(black);
+ color(62bp)=(white);
+ color(75bp)=(black);
+ color(100bp)=(black)}
+
+ \shadedraw[very thin,shading=zeit,yshift=-1.5mm] (0,0) circle (1cm);
+
+ \fill[green!20!gray] (0,0) -- (90:1cm) arc (90:-5:1cm);
+ \fill[white!20!gray] (0,0) -- (-5:1cm) arc (-5:-105:1cm);
+ \fill[orange!20!gray] (0,0) -- (-105:1cm) arc (-105:-180:1cm);
+ \fill[orange!60!white] (0,0) -- (180:1cm) arc (180:150:1cm);
+ \fill[black!75!white] (0,0) -- (150:1cm) arc (150:145:1cm);
+ \fill[blue!90!white] (0,0) -- (145:1cm) arc (145:135:1cm);
+ \fill[blue!50!white] (0,0) -- (135:1cm) arc (135:92:1cm);
+ \fill[yellow!50!black] (0,0) -- (92:1cm) arc (92:90:1cm);
+
+ \begin{scope}[very thin]
+ \draw (0,0) -- (90:1cm);
+ \draw (0,0) -- (-5:1cm);
+ \draw (0,0) -- (-105:1cm);
+ \draw (0,0) -- (-180:1cm);
+ \draw (0,0) -- (150:1cm);
+ \draw (0,0) -- (145:1cm);
+ \draw (0,0) -- (135:1cm);
+ \draw (0,0) -- (92:1cm);
+
+ \draw(0,0) circle (1cm);
+ \end{scope}
+
+ \node (Regenerative) at (115:.75cm) {\bfseries 9,4\%};
+ \node (Kernenergie) at (30:.5cm) {\bfseries 27,8\%};
+ \node (Braunkohle) at (-45:.6cm) {\bfseries 25,6\%};
+ \node (Steinkohle) at (-135:.6cm) {\bfseries 22,3\%};
+ \node (Erdgas) at (168:.75cm) {\bfseries 10,4\%};
+ \coordinate (Mineral) at (147:.9cm);
+ \coordinate (Sonstige) at (140:.9cm);
+
+ \small
+ \draw (Regenerative.north) |- ([yshift=.25cm]Regenerative.north -| right border) coordinate (Regenerative label);
+ \draw (91:.9cm) |- (Regenerative label);
+ \node[above left] at (Regenerative label) {Regenerative\
+ {\footnotesize (53,7 kWh)/davon} Wind \textbf{4,4\%} \footnotesize (25,0 kWh)};
+
+ \draw (Kernenergie.base east) -- (Kernenergie.base east -| right border) coordinate (Kernenergie label);
+ \node[above left] at (Kernenergie label) {Kernenergie};
+ \node[below left] at (Kernenergie label) {\footnotesize (158,4 kWh)};
+
+ \draw (Braunkohle.south) |- ([yshift=-.75cm]Braunkohle.south -| right border) coordinate (Braunkohle label);
+ \node[above left] at (Braunkohle label) {Braunkohle\ \ \footnotesize (146,0 kWh)};
+
+ \draw (Steinkohle.south) |- ([yshift=-.75cm]Steinkohle.south -| left border) coordinate (Steinkohle label);
+ \node[above right] at (Steinkohle label) {Steinkohle\ \ \footnotesize (127,1 kWh)};
+
+ \draw (Erdgas.base west) -- (Erdgas.base west -| left border) coordinate (Erdgas label);
+ \node[above right] at (Erdgas label) {Erdgas\ \ \footnotesize (59,2 kWh)};
+
+ \draw (Mineral) -- (Mineral -| left border) coordinate (Mineral label);
+ \node[above right] at (Mineral label) {Mineral\"olprodukte\ \
+ \footnotesize (9,2 kWh) \ \ \normalsize\textbf{1,6\%}};
+
+ \draw (Sonstige) |- (Regenerative label -| left border) coordinate (Sonstige label);
+ \node[above right] at (Sonstige label) {Sonstige\ \
+ \footnotesize (16,5 kWh) \hskip1.5cm\
+ \normalsize\textbf{2,9\%}};
+ \end{scope}
+\end{tikzpicture}
+
+This graphic has been redrawn in \tikzname, but the original looks very
+similar.
+
+At first sight, the graphic looks ``nice and informative,'' but there
+are a lot of things that went wrong:
+
+\begin{itemize}
+\item
+ The chart is three dimensional. However, the shadings add
+ nothing ``information-wise,'' at best, they distract.
+\item
+ In a 3D-pie-chart the relative sizes are very strongly
+ distorted. For example, the area taken up by the gray color of ``Braunkohle''
+ is larger than the area taken up by the green color of
+ ``Kernenergie'' \emph{despite the fact that the percentage of
+ Braunkohle is less than the percentage of Kernenergie}.
+\item
+ The 3D-distortion gets worse for small areas. The area of
+ ``Regenerative'' somewhat larger than the area of ``Erdgas.''
+ The area of ``Wind'' is slightly smaller than the area of
+ ``Mineral\"olprodukte'' \emph{although the percentage of Wind is
+ nearly three times larger than the percentage of
+ Mineral\"olprodukte.}
+
+ In the last case, the different sizes are only partly due to
+ distortion. The designer(s) of the original graphic have also made
+ the ``Wind'' slice too small, even taking distortion into
+ account. (Just compare the size of ``Wind'' to ``Regenerative'' in
+ general.)
+\item
+ According to its caption, this chart is supposed to inform us that
+ coal was the most important energy source in Germany in
+ 2004. Ignoring the strong distortions caused by the superfluous and
+ misleading 3D-setup, it takes quite a while for this message to get
+ across.
+
+ Coal as an energy source is split up into two slices: one for
+ ``Steinkohle'' and one for ``Braunkohle'' (two different kinds of
+ coal). When you add them up, you see that the whole lower half of
+ the pie chart is taken up by coal.
+
+ The two areas for the different kinds of coal are not visually
+ linked at all. Rather, two different colors are used, the labels are
+ on different sides of the graphic. By comparison, ``Regenerative''
+ and ``Wind'' are very closely linked.
+\item
+ The color coding of the graphic follows no logical pattern at
+ all. Why is nuclear energy green? Regenerative energy is light blue,
+ ``other sources'' are blue. It seems more like a joke that the area
+ for ``Braunkohle'' (which literally translates to ``brown coal'') is
+ stone gray, while the area for ``Steinkohle'' (which literally
+ translates to ``stone coal'') is brown.
+\item
+ The area with the lightest color is used for ``Erdgas.'' This area
+ stands out most because of the brighter color. However, for this
+ chart ``Erdgas'' is not really important at all.
+\end{itemize}
+Edward Tufte calls graphics like the above ``chart junk.''
+
+Here are a few recommendations that may help you avoid producing chart junk:
+\begin{itemize}
+\item
+ Do not use 3D pie charts. They are \emph{evil}.
+\item
+ Consider using a table instead of a pie chart.
+\item
+ Due not apply colors randomly; use them to direct the readers's
+ focus and to group things.
+\item
+ Do not use background patterns, like a crosshatch or diagonal
+ lines, instead of colors. They distract. Background patterns in
+ information graphics are \emph{evil}.
+\end{itemize}
+
+
+
+\subsection{Attention and Distraction}
+
+Pick up your favorite fiction novel and have a look at a typical
+page. You will notice that the page is very uniform. Nothing is there
+to distract the reader while reading; no large headlines, no bold
+text, no large white areas. Indeed, even when the author does wish to
+emphasize something, this is done using italic letters. Such letters
+blend nicely with the main text---at a distance you will not be able to
+tell whether a page contains italic letters, but you would notice a
+single bold word immediately. The reason novels are typeset this way
+is the following paradigm: Avoid distractions.
+
+Good typography (like good organization) is something you do
+\emph{not} notice. The job of typography is to make reading the text,
+that is, ``absorbing'' its information content, as effortless as
+possible. For a novel, readers absorb the content by reading the text
+line-by-line, as if they were listening to someone telling the
+story. In this situation anything on the page that distracts the eye
+from going quickly and evenly from line to line will make the text
+harder to read.
+
+Now, pick up your favorite weekly magazine or newspaper and have a
+look at a typical
+page. You will notice that there is quite a lot ``going on'' on the
+page. Fonts are used at different sizes and in different arrangements,
+the text is organized in narrow columns, typically interleaved with
+pictures. The reason magazines are typeset in this way is another
+paradigm: Steer attention.
+
+Readers will not read a magazine like a novel. Instead of reading a
+magazine line-by-line, we use headlines and short abstracts to check
+whether we want to read a certain article or not. The job of
+typography is to steer our attention to these abstracts and headlines,
+first. Once we have decided that we want to read an article, however,
+we no longer tolerate distractions, which is why the main text of
+articles is typeset exactly the same way as a novel.
+
+The two principles ``avoid distractions'' and ``steer attention'' also
+apply to graphics. When you design a graphic, you should eliminate
+everything that will ``distract the eye.'' At the same time, you
+should try to actively help the reader ``through the graphic'' by
+using fonts/colors/line widths to highlight different parts.
+
+Here is a non-exhaustive list of things that can distract readers:
+\begin{itemize}
+\item
+ Strong contrasts will always be registered first by the eye. For
+ example, consider the following two grids:
+
+ \medskip\par
+ \begin{tikzpicture}[x=40pt,y=40pt]
+ \draw[step=10pt,gray] (0,0) grid +(1,1);
+ \draw[step=2pt] (2,0) grid +(1,1);
+ \end{tikzpicture}
+
+ \medskip
+ Even though the left grid comes first in our normal reading order,
+ the right one is much more likely to be seen first: The
+ white-to-black contrast is higher than the gray-to-white
+ contrast. In addition, there are more ``places'' adding to the
+ overall contrast in the right grid.
+
+ Things like grids and, more generally, help lines usually should not
+ grab the attention of the readers and, hence, should be typeset with
+ a low contrast to the background. Also, a loosely-spaced grid is
+ less distracting than a very closely-spaced grid.
+\item
+ Dashed lines create many points at which there is black-to-white
+ contrast. Dashed or dotted lines can be very distracting and, hence,
+ should be avoided in general.
+
+ Do not use different dashing patterns to differentiate curves in
+ plots. You loose data points this way and the eye is not
+ particularly good at ``grouping things according to a dashing
+ pattern.'' The eye is \emph{much} better at grouping things
+ according to colors.
+\item
+ Background patterns filling an area using diagonal lines or
+ horizontal and vertical lines or just dots are almost always
+ distracting and, usually, serve no real purpose.
+\item
+ Background images and shadings distract and only seldom add
+ anything of importance to a graphic.
+\item
+ Cute little cliparts can easily draw attention away from the
+ data.
+\end{itemize}
+