summaryrefslogtreecommitdiff
path: root/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-guidelines.tex
diff options
context:
space:
mode:
Diffstat (limited to 'Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-guidelines.tex')
-rw-r--r--Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-guidelines.tex873
1 files changed, 400 insertions, 473 deletions
diff --git a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-guidelines.tex b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-guidelines.tex
index 5a5a7b75957..a91cd43452b 100644
--- a/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-guidelines.tex
+++ b/Master/texmf-dist/doc/generic/pgf/text-en/pgfmanual-en-guidelines.tex
@@ -10,304 +10,267 @@
\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.
+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.
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 question, because there are good reasons not to follow
-general guidelines. The person who set up 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 set up to
-address a specific situation. If you are not in this situation,
-following a guideline can do more harm than good.
-
-The second thing you should be aware of is 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 in ignorance.'' When you are
-aware of a rule and when you decide that breaking the rule has a
-desirable effect, break the rule.
+guidelines is: Should I really follow these guidelines? This is an important
+question, because there are good reasons not to follow general guidelines. The
+person who set up 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 set up to address a
+specific situation. If you are not in this situation, following a guideline can
+do more harm than good.
+
+The second thing you should be aware of is 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 in
+ignorance.'' When you are aware of a rule and when you decide that breaking the
+rule has a desirable effect, break the rule.
\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.
+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.
- Indeed, the creation of graphics might deserve \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.
+ \item Treat graphics as first-class citizens of your papers. They deserve
+ as much time and energy as the text does. Indeed, the creation of
+ graphics might deserve \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
+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.
+ \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 stand-alone ``figures.'' Since printers (the
-people) like to have their pages ``filled,'' (both for aesthetic and
-economic reasons) stand-alone figures may traditionally be placed on
-pages in the document far away 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 stand-alone 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 stand-alone figures:
+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 stand-alone ``figures''. Since printers (the people) like to have
+their pages ``filled'', (both for aesthetic and economic reasons) stand-alone
+figures may traditionally be placed on pages in the document far away 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 stand-alone 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 stand-alone figures:
+%
\begin{itemize}
-\item
- Stand-alone 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.
+ \item Stand-alone 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
+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:
+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.''
+ \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
-graphics program.
+impossible. For this reason, you should consider sticking to a single graphics
+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:
-
+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 labels 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.
+ \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 labels 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.
+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.
+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:
-Are there enough data points to merit a plot? If the answer is ``not
-really,'' use a table.
+The first question you should ask yourself when creating a plot is: Are there
+enough data points to merit a plot? 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 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:
@@ -324,10 +287,9 @@ A simple way of summing up this information is the following table:
\end{tabular}
\bigskip
-What the lecturer did was to visualize the data using a 3D bar
-diagram. It looked like this (except that in reality the numbers
-where typeset using some extremely low-resolution bitmap font and
-were near-unreadable):
+What the lecturer did was to visualize the data using a 3D bar diagram. It
+looked like this (except that in reality the numbers where typeset using some
+extremely low-resolution bitmap font and were near-unreadable):
\bigskip
\par
@@ -353,72 +315,58 @@ were near-unreadable):
\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:
+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''?
+ \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
-close to 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:
+questions}. The table answers all of them directly, except for the last one. In
+essence, the information density of the graphic is very close to 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?
+ \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:
+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
@@ -455,15 +403,14 @@ clearly:
\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.
+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:
+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
@@ -557,168 +504,148 @@ that I redrew from a pie chart in \emph{Die Zeit}, June 4th, 2005:
\end{scope}
\end{tikzpicture}
-This graphic has been redrawn in \tikzname, but the original looks
-almost exactly the same.
-
-At first sight, the graphic looks ``nice and informative,'' but there
-are a lot of things that went wrong:
+This graphic has been redrawn in \tikzname, but the original looks almost
+exactly the same.
+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.
+ \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.'' (I am happy
-to announce, however, that \emph{Die Zeit} has stopped using 3D pie
-charts and their information graphics have got somewhat better.)
+%
+Edward Tufte calls graphics like the above ``chart junk''. (I am happy to
+announce, however, that \emph{Die Zeit} has stopped using 3D pie charts and
+their information graphics have got somewhat better.)
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
- Do 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}.
+ \item Do not use 3D pie charts. They are \emph{evil}.
+ \item Consider using a table instead of a pie chart.
+ \item Do 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.
+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 English 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 lose 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 seldomly add
- anything of importance to a graphic.
-\item
- Cute little clip arts can easily draw attention away from the
- data.
+ \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 English 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 lose 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 seldomly add
+ anything of importance to a graphic.
+ \item Cute little clip arts can easily draw attention away from the data.
\end{itemize}