DATA VISUALIZING

WITH AI

VALAN P
 Introduction What is data
Data visualization visualization?

Data visualization is the process of acquiring, interpreting

and comparing data in order to clearly communicate
The ways we structure and visualize information are changing
complex ideas, thereby facilitating the identification and
rapidly and getting more complex with each passing day.
analysis of meaningful patterns.
Thanks to the rise of social media, the ubiquity of mobile
devices, and service digitaliza- tion, data is available on
any human activity that utilizes technology. The
generated information is hugely valuable and makes it
possible to analyze trends and patterns, and to use big data
to draw connections between events. Thus, data visualization
can be an effective mechanism for presenting the end user
with understandable information in real time.

Data visualization can be essential

Every company has data, be it to communicate with
to strategic communication: it
clients and senior managers or to help manage the
organization itself. It is only through research and
helps us interpret available data;
interpretation that this data can acquire meaning and be detect patterns, trends, and
transformed into knowledge. anomalies; make decisions; and
This ebook seeks to guide readers through a series of
analyze inherent processes.
basic references in order to help them understand data All told, it can have a powerful
visualization and its component parts, and to equip impact on the business world.
them with the tools and platforms they need to create
interactive visuals and analyze data. In effect, it seeks
to provide readers with a basic vocabulary and a crash
course in the principles of design that govern data visu-
alization so that they can create and analyze interactive
market research reports.
netquest.com
The data
visualization process

Several different fields are involved in the data visual-

ization process, with the aim of simplifying or revealing
existing relationships, or discovering something new
within a data set.

Visualization process

Filtering & processing. Refining and cleaning data to convert

it into information through analysis, interpreta- tion,
contextualization, comparison, and research.

Translation & visual representation. Shaping the visual

representation by defining graphic resources, language,
context, and the tone of the representation, all of which are
adapted for the recipient.

Perception & interpretation. Finally, the visualization

becomes effective when it has a perceptive impact on the
construction of knowledge.

1 Pérez, J. and Vialcanet, G. (2013). Guía de visualización de datos

aplicada al marketing digital: Cómo transformar datos en conocimiento
(p.5-6).
Why is data All of this indicates that human beings are better at Identifying the evolution of sales over the course of the
visualization so processing visual information, which is lodged in our year isn’t easy. However, when we present the same

important in reports long-term memory. information in a visual, the results are much clearer (see
the graph below).

and statements? Consequently, for reports and statements, a visual rep-

resentation that uses images is a much more effective The graph takes what the numbers cannot communi-
way to communicate information than text or a table; it cate on their own and conveys it in a visible, memorable
We live in the era of visual information, and visual also takes up much less space. way. This is the real strength of data visualization.
content plays an important role in every moment of
our lives. A study by SH!FT Disruptive Learning demon- This means that data visuals are more attractive,
strated that we typically process images 60,000 simpler to take in, and easier to remember.
times faster than a table or a text, and that our brains
typically do a better job remembering them in the long Try it for yourself. Take a look at this table:
term. That same research detected that after three days, Graphical excellence is that which gives to the
Month Jan Feb Mar Apr May Jun
analyzed subjects retained between 10% and 20% of viewer the greatest number of ideas in the
written or spoken information, compared with 65% of shortest time with the least ink in the smallest
Sales 45 56 36 58 75 62
visual information. space.”
- Edward Tufte (2001)
Sales

The rationale behind the power

100
of visuals:

80
• The human mind can see an image for just 13 mil-
liseconds and store the information, provided that it is
75 62
56 58
60
associated with a concept. Our eyes can take in 36,000
visual messages per hour.
45
40
• 40% of nerve fibers are connected to the retina.
36
20

Month Jan Feb Mar Apr May Jun

Data visualization chiefly helps in 3 key aspects of For example: an interactive graphic from The Guardian2 invites us to explore how the
reports and statements: linguistic standard of U.S. presidential addresses has declined over time. The visual is
interactive and explanatory, in addition to indicating the readability score of various
presidents’ speeches.
1) Explaining
Visuals aim to lead the viewer down a path in order to describe situations, answer questions,
support decisions, communicate information, or solve specific problems. When you attempt to 3) Analyzing
explain something through data visualization, you start with a question, which interacts with the
data set in such a way that enables viewers to make a decision and, subsequently, answer the Other visuals prompt viewers to inspect, distill, and transform the most significant
question. information in a data set so that they can discover something new or predict upcom-
ing situations.
For example: This graphic below could clearly explain the country with the greatest
demand for a certain product compared globally, in a concrete month. For example: this interactive graphic about learning machine3 invites us to explore
and discover information within the visual by scrolling through it. Using the machine
500 learning method, the visual explains the patterns detected in the data in order to cate-
400 gorize characteristics.
300

200
We’ll close this introduction with a 2012 reflection by Alberto Cairo, a specialist in
100
information visualization and a leader in the world of data visualization. For the
0 author, a good visual must provide clarity, highlight trends, uncover patterns, and
United Russia South Europe Canada Australia Japan
States Africa reveal unseen realities:

2) Exploring
We create visuals so that users can analyze data and, from it, dis- cover
realities that not even the designer, in some instances, had
Some visuals are designed to lend a data set spatial dimensions, or to offer numerous
considered.”
subsets of data in order to raise questions, find answers, and discover opportunities.
When the goal of a visual is to explore, the viewers start by familiarizing themselves
with the dataset, then identifying an area of interest, asking questions, exploring, and 2 Available at: https://www.fusioncharts.com/whitepapers/downloads/Principles-of-Data-Visualization.pdf
finding several solutions or answers. 3 Available at: http://www.r2d3.us/visual-intro-to-machine-learning-part-1/
 Data types, relationships,
and visualization formats

netquest.com 8
Data types, 2 kinds of data
relationships, and Before we talk about visuals themselves, we must first understand the different

visualization formats kinds of data that can be visualized and how they relate to one another.
The most common kinds of data are4:

There are a number of methods and approaches to

creating visuals based on the nature and complexity
1) Quantitative (numeric) 2) Qualitative (categoric)
of the data and the information. Different kinds of
Data that can be quantified and measured. This kind of This kind of data is divided into categories based on
graphics are used in data visualizations, including
data explains a trend or the results of research through non-numeric characteristics. It may or may not have a
representations of statistics, maps, and diagrams.
numeric values. This category of data can be further logical order, and it measures qualities and generates
These schematic, visual representations of content
subdivided into: categorical answers. It can be:
vary in their degree of abstraction.

In order to communicate effectively, it is important to

• Discrete: Data that consists of whole numbers (0, 1, 2, • Ordinal: Meaning it follows an order or sequence.
understand different kinds of data and to establish
3...). For example, the number of children in a family. That might be the alphabet or the months of the year.
visual relationships through the proper use of graphics.
• Continuous: Data that can take any value within an • Categorical: Meaning it follows no fixed order. For
Enrique Rodríguez (2012), a data analyst at DataNauta,
interval. For example, people’s height (between 60 - example, varieties of products sold.
once explained in an interview that...
70 inches) or weight (between 90 and 110 pounds).

A good graphic is one that synthesizes and

contextualizes all of the information that’s
necessary to understand a situa- tion and
decide how to move forward.”
Quantitative Qualitative

5 Source: Hubspot, Prezy, and Infogram (2018). Presenting Data People Can’t
Ignore: How to Communicate Effectively Using Data. | p.10 of 16 | Available at:
https://offers.hubspot.com/presenting-data-people-cant-ignore.
7 data relationships
Data relationships can be simple, like the progress of a single metric over time (such as visits to a blog over the course of 30 days or the number of users on a social network),
or they can be complex, precisely comparing relationships, revealing structure, and extracting patterns from data. There are seven data relationships to consider:

Ranking: A visualization that relates two or more values Series over time: Here we can trace the changes in the
Nominal comparisons: Visualizations that compare
with respect to a relative magnitude. For example: a values of a constant metric over the course of time. For
quantitative values from different subcategories. For
company’s most sold products. example: monthly sales of a product over the course of two
example: product prices in various supermarkets.
years.

Correlation: Data with two or more variables that can

demonstrate a positive or negative correlation with one
another. For example: salaries based on level of education.

Deviation: Examines how each data point relates to the Distribution: Visualization that shows the distribu-
others and, particularly, to what point its value differs tion of data spatially, often around a central value.
from the average. For example: the line of deviation for For example: the heights of players on a basketball team.
tickets to an amusement park sold on a rainy versus a Partial and total relationships: Show a subset of data
normal day. as compared with a larger total. For example: the per-
centage of clients that buy specific products.
11 formats 1. Bar chart

There are two types of visualizations: static and Bar charts are one of the most popular ways of visual- izing They are very versatile, and they are typically used
interactive. Their use depends on the search and data because they present a data set in a quickly to compare discrete categories, to analyze changes
analysis dimension level. Static visuals can only understood format that enables viewers to identify highs over time, or to compare parts of a whole.
analyze data in one dimension, whereas inter- and lows at a glance. The three variations on the bar chart are:
active visuals can analyze it in several.

As with any other form of communication, familiar- ity with

the code and resources that are available to us is
essential if we’re going to use them successfully our goal. Vertical column Horizontal column Full stacked column
In this page, we present the different kinds of graphics
that we can use to transform our data into information. Used for chronological data, and it Used to visualize categories. Used to visualize categories that
This group of visualization types is listed in order of should be in left-to-right format. collectively add up to 100%.
popularity in the “Visualization Universe” project by
Google News Lab and Adioma, as of the publication of
this report. 6,000

5,500
5,000
4,500 Jan
Education
4,000
3,500
3,000
Feb
2,500 Entertainment

2,000
1,500
Mar
1,000 Heatlh
500

0
Jan Feb Mar Apr May 0% 20% 40% 60% 80% 100% 0% 20% 40% 60% 80% 100%
2. Histograms

400K
Histograms represent a variable in the form of bars, where
>120
the surface of each bar is proportional to the frequency of 350K

the values represented. They offer an overview of the 300K

101-120
distribution of a population or sample with respect to a given
250K
characteristic. The two variations on the histogram are:
200K 81-100
150K

60-80
• Vertical columns 100K

• Horizontal columns 50K

<60
0

25 30 35 40 45 50 55 60 65 -60 -40 -20 0 20 40 60

Vertical columns Horizontal columns

3. Pie charts

Pie charts consist of a circle divided into sectors, each of

which represents a portion of the total. They can be
subdivided into no more than five data groups. They can be
useful for comparing discrete or continuous data. The two
variations on the pie chart are:

• Standard: Used to exhibit relationship between parts.

• Donut: A stylistic variation that facilitates the inclu-
sion of a total value or a design element in the center.
A B A B C D

Standard pie chart Donut pie chart

4. Scatter plots
1.0 30.000

Scatter plots use the spread of points over a Car- 25.000

0.8
tesian coordinate plane to show the relationship
20.000
between two variables. They also help us determine 0.6
whether or not different groups of data are correlated. 15.000

0.4
10.000

00
0.2 5.000 5.0 0
.00
10 0
.00
0 0 15 0
.00
0 20 0
0.2 0.4 0.6 0.8 1.0 1.2 .00
25 00
.0
30 0
Scatter plot Scatter plot with grid 35.00
0
.00
40
5. Heat maps 45
.00
0

Heat maps represent individual values from a data

set on a matrix using variations in color or color
intensity. They often use color to help viewers com- E
pare and distinguish between data in two different
categories at a glance. They are useful for visualizing D
2
webpages, where the areas that users interact with most
are represented with “hot” colors, and the pages that C 1

receive the fewest clicks are presented in “cold” colors. 0

B
The two variations on the heat map are: -1

A
• Mosaic diagram
1 2 3 4 5 6 0% 10% 30% 50% 70% 100%
• Color map
Mosaic diagram Color map
6. Line charts 7. Bubble charts 8. Radar charts

These are used to display changes or trends in data These graphics display three-dimensional data and These are a form of representation built around a regular
over a period of time. They are especially useful for accentuate data in dispersion diagrams and maps. polygon that is contained within a circle, where the radii
showcasing relationships, acceleration, deceleration, and Their purpose is to highlight nominal comparisons and that guide the vertices are the axes over which the values
volatility in a data set. classification relationships. The size and color of the are represented. They are equivalent to graphics with parallel
bubbles represent a dimension that, along with the coordinates on polar coordinates. Typically, they are used to
data, is very useful for visually stressing specific values. represent the behavior of a metric over the course of a set
The two variations on the bubble chart are: time cycle, such as the hours of the day, months of the year,
or days of the week.
• The bubble plot: used to show a variable in three
dimensions, position coordinates (x, y) and size.

Line chart
• Bubble map: used to visualize three-dimensional
values for geographic regions.

Radar chart
9. Waterfall charts

400K
These help us understand the cumulative effect
350K
of positive and negative values on variables in a
sequential fashion. 300K

250K

200K

150K

100K

50K

0
Start A B C D E F G H I J K L End

Fall Rise

10. Tree maps

A
Tree maps display hierarchical data (in a tree struc- B C
A
ture) as a set of nested rectangles that occupy sur-
200
face areas proportional to the value of the variable
they represent. Each tree branch is given a rectangle, E H

which is later placed in a mosaic with smaller rectangles B C

80 120
that represent secondary branches. The finished prod-
uct is an intuitive, dynamic visual of a plane divided into
areas that are proportional to hierarchical data, which
has been sorted by size and given a color key. D E F G H D
G
F
30 50 20 40 60
11. Area charts Selecting the right graphic to effectively communicate

1.0
through our visualizations is no easy task. Stephen
These represent the relationship of a series over Few (2009), a specialist in data visualization, proposes
time, but unlike line charts, they can represent 0.8 taking a practical approach to selecting and using an
volume. The three variations on the area chart are: appropriate graphic:
0.6
• Standard area: used to display or compare a pro- • Choose a graphic that will capture the viewer’s
gression over time. 0.4 attention for sure.
• Stacked area: used to visualize relationships as part
of the whole, thus demonstrating the contribution of 0.2 • Represent the information in a simple, clear, and
each category to the cumulative total. precise way (avoid unnecessary flourishes).
0
• 100% stacked area: used to communicate the dis-
1 2 3 4 5 6
tribution of categories as part of a whole, where the • Make it easy to compare data; highlight trends
cumulative total does not matter. Standard area and differences.

• Establish an order for the elements based on the

quantity that they represent; that is, detect maxi-
1.0 mums and minimums.
1.0

0.8
0.8 • Give the viewer a clear way to explore the
graphic and understand its goals; make use of
0.6
0.6 guide tags.

0.4
0.4

0.2
0.2

0
0
0 1 2 3 4 5 6
0 1 2 3 4 5 6

A B C

Stacked area 100% stacked area

Basic principles for
data visualization
Basic principles for Shneiderman introduces his famous mantra on how

data visualization to approach the quest for visual information, which he

breaks down into three tasks:

Graphics with 1. Overview first: This ensures viewers have a general 1.

an objective: seeking understanding of the data set, as their starting point for
System Context
your mantra
exploration. This means offering them a visual snapshot of the
The system plus users and
different kinds of data, explaining their relation- ship in a single
system dependencies
glance. This strategy helps us visualize the data, at all its
different levels, at one time.
OVERVIEW
FIRST

The goal of data visualizations is to help us understand 2. Zoom and filter: The second step involves supple- menting 2.
the object they represent. They are a medium for com- the first so that viewers understand the data’s underlying
municating stories and the results of research, as well structure. The zoom in/zoom out mechanism enables us to
Containers
as a platform for analyzing and exploring data. There- select interesting subsets of data that meet certain criteria
The overall shape of the archi-
tecture and technology choices.
fore, having a sound understanding of how to create while maintaining the sense of position and context.
data visualizations will help us create meaningful and
easy-to-remember reports, infographics, and dash-
boards. Creating suitable visuals helps us solve problems
and analyze a study’s objects in greater detail.
3. Details on demand: This makes it possible to select
a narrower subset of data, enabling the user to interact
3.
Components ZOOM AND
with the information and use filters by hovering or click-
FILTER
The first step in representing information is trying ing on the data to pull up additional information. Logical components and their
to understand that data visualization. interactions within a container.
The chart on the right side summarizes the key points to
Ben Shneiderman gave us a useful starting point in his designing such a graphic, with an eye to human visual
text “The Visual Information-Seeking Mantra” (1996), perception, so that users can translate an idea into a set 4.
which remains a touchstone work in the field. This of physical attributes.
Classes DETAILS ON
author suggests a simple methodology for novice users DEMAND
Component or pattern imple-
to delve into the world of data visualization and experi- These attributes are: structure, position, form size,
mentation details.
ment with basic visual representation tasks.5 and color. When properly applied, these attributes can
5 Shneiderman, B. (1996). The Eyes Have It: A Task by Data Type Taxonomy for
Information Visualizations. Visual Information Seeking Mantra (p. 336). Available at:
present information effectively and memorably.
https://www.cs.umd.edu/~ben/papers/Shneiderman1996eyes.pdf
Layout and design: Structuring: the importance
Furthermore, the visual hierarchy of elements plays a role in
of layout
communicative this encoding process, because the elements’ organization
and distribution must have a well-defined hierarchical system
elements All visual representations begin with a blank dimensional in order to communicate effec- tively (Meirelles: 2014). In a
space that will eventually hold the information which will be sense, visualizations are paragraphs about data, and
communicated. The process of spatial coding is a fundamental they should be treated as such. Words, images, and
part of visual representation because it is the medium in which numbers are part of the information that will be visualized.
In order to begin designing our reports and state- ments, it the results of our compositional decisions and the meaning of When all of the elements are integrated in a single structure
is essential to understand that visual repre- sentations are our visual statement will be visualized, thereby having an and visual hierarchy, the infographic or report will organize
cognitive tools that complement and strengthen our mental impact on the user. space properly and communicate effectively, according to
ability to encode and decode your user’s needs.
information6. Meirelles (2014) notes that: “All Edward Tufte (1990) defines “layout” as a scheme for
graphic distributing visual elements in order to achieve organi- zation
representation affects our visual perception, and harmony in the final composition. Layout planning and
because the elements of transmission utilized act design serve as a template for applying hierarchy and control
as external stimuli, which activate our emotional to information at varying levels of
state and knowledge.” detail.7 In his book Envisioning Information, Tufte offers

Thus, when our mind visualizes a representation, it several guidelines for information design:

transforms the information, merges it, and applies a

hierarchical structure to it to facilitate interpretation. • Have a properly chosen format.
• Give a broad visual tour and offer a focused reading
For this reason, in order to have an efficient per- at different detail levels.
ceptive impact, it is important to adhere to a series • Use words, numbers, and drawings.
of best practices when creating reports and info- • Reflect a balance, a proportion, a sense of relevant
graphics. As with any other form of communication, scale, and a context.
success depends largely on the business’s familiarity
with the established code and the resources available. Spatial encoding requires processing spatial proportions
Space, shapes, color, icons, and typography are a (position and size), which have a determining role in the
few of the essential elements of a striking visual with organization of perception and memory.
communicative power.

6 Meirelles, I (2014). “La información en el diseño,” (p.21-22). Barcelona: Parramón. 7 Tufte, E. (1990). Envisioning Information. Cheshire: Graphics Press.
Visual variables
and their semantics

Visual variables are the building blocks of visual repre-

sentation. They conform to an order and spatial con- Variables Point Line Area
text in order to convey a quantitative message. These
resources can be used to categorize meaningful prop-
erties and amplify the message being represented. Let’s 2 dimensions
take a look at their semantics: (X,Y)

• Point: Has no dimensions and indicates a place.

• Line: Has one dimension and indicates length Size

and direction.

• Plane: Has two dimensions and indicates space

and scale.

Jacques Bertin, cited in Meirelles (2014), used the term

Value
“visual variables” for the first time in his book Semiol-
ogie Graphique, where he presented them as a system
of perceptive variables with corresponding properties
of meaning. He offered a guide for combining graphic Visual variables
elements in an appropriate way according to their order,
position, orientation, size, texture, and value.
Using consistent and attractive
color schemes

Color is one of the most powerful resources for data

visualization, and it is essential if we are going to under-
stand information properly. Grayscale

Color can be used to categorize elements, quantify

or represent values, and communicate cultural attri-
Double complementary
butes associated with a specific color.

It dominates our perception and, in order to analyze it,

we must first understand its three dimensions.
Complementary

Hue: this is what we normally imagine when we picture

colors. There is no order to colors; they can only be dis-
tinguished by their characteristics (blue, red, yellow, etc.). Monochromatic

Brightness: the color’s luminosity. This is a relative mea-

sure that describes the amount of light reflected by one
object with respect to another. Brightness is measured Split complementary

on a scale, and we can talk about brighter and darker

values of a single hue.

Cool colors
Saturation: this refers to the intensity of a given color’s
hue. It varies based on brightness. Darker colors are less
saturated, and the less saturated a color is, the closer
it gets to gray. In other words, it gets closer to a neutral Saturated colors
(hueless) color. The following graphic offers a brief sum-
mary of color application.
Isabel Meirelles (2014) notes that selecting a color pal- 2. Diverging palettes TIP: The qualitative color scheme is perfect for visualiz-
ette in order to visualize data is no easy task, and she ing data because it affords a high degree of contrast and
recommends following Cynthia Brewer’s advice uses These are more suitable for ordering categorical data, helps you draw attention to important points, especially
three different kinds of color schemes, based on the and they are more effective when the categorical if you use one predominant color and use the second as
nature of the data: division is in the middle of the sequence. The change in an accent in your design.
brightness highlights a critical value in the data, such as
the mean or median, or a zero. Colors become darker to
1. Monochromatic sequential palettes or represent differences in both directions, based on this Finally, don’t forget to use palettes that are comprehen- sible
their analogue meaningful value in the middle of the data. to people who can’t see color. Color blindness is a disability or
limited ability that makes it difficult to distin- guish certain pairs
These palettes are great for ordering numeric data that of colors, such as blue and yellow, or red and green. One
progresses from small to large. It is best to use brighter strategy for avoiding this problem is to adapt designs that use
color gradients for low values and darker ones for more than just hue to codify information; create schemes that
higher values. TIP: Try to emphasize the most important information slightly vary another channel, such as brightness or
using arrows and text, circles, rectangles, or contrasting saturation.
colors. This way, when you visualize your data, your
analysis will be more understandable.

Thus, brightness levels can be used as a visible, coherent 3. Qualitative palettes

aspect of a graphic scheme. Sequential color schemes
make it possible to create a smooth, low-contrast These are better for representing ordinal or categorical
design. This color scheme is better for an image than for data to create primary visual differences between catego-
data visualization. ries. Most qualitative schemes are based on differences in
hue, with differences in brightness between the colors.

TIP: To create a color hierarchy in a sequential scheme,

choose one dominant color and use the others with
moderation; alternatively, you can simply use two softer
versions of the dominant color, which will naturally
make them feel lower on the hierarchy.
Use icons and symbols to aid 82%
77% 76% 73%
88%

64% 63%
in understanding and limit Notebooks 55% 54%
unnecessary tagging
Entertainment

Symbols and icons are another avenue for visualizing Lifestyle products
information that goes beyond merely being decorative.
They draw strength from their ability to exhibit a gen- Singles Couples Families
eral context in an attractive, precise way. Icons illustrate
concepts. Viewers can understand what the information
is about by just glancing at the illustration.

Alexander Skorka (2018), chief evangelist for the Dapresy Singles Couples Families
Group, recommends using symbols and icons because they
simplify communication. Symbols are self-ex- planatory, and Notebooks
82% 76% 63%
our mind can process icons more easily than text. It is
important to consider that an icon’s success depends largely
Entertainment
on cultural context, so it is important to select universally 55% 64% 88%
understandable images.
Lifestyle products
That said, they certainly should not be complex illustra- 77% 73% 54%

tions. An icon with too many details could hinder viewers’

understanding. Keep it simple: icons’ meaning should be
immediately clear, even when they’re very small.

The ease with which we recognize icons enables us to

process data faster than we can process information
conveyed textually. Therefore, when designing informa- tion,
it is wise to use both graphics and icons to convey
proportions in greater detail.
The typography in our reports: sense of tradition, security, history, integrity, author-
effective applications ity, integrity, and other such concepts. Sans-serif
fonts stand out because they have a more polished,
sophisticated feel; they convey a sense of modernity,
Typography plays an important role in the design of reports order, cleanliness, elegance, avant-garde, and style.
and statements. Selecting the right font strengthens your • Pay attention to legibility. Remember that screen
message and captures the audience’s attention. Müller- type does not appear in the same way as print type.
Brockmann (1961), a graphic designer, defines typography as It is best to choose a more responsive (sans-serif) font
the proper visual element for composition. He notes that “the for on-screen texts, and fonts with serifs for printed
reader must be able to read the message from a text easily reports. That said, there’s an exception to every rule,
and comfortably. This depends largely on the size of the text, and today there is a bounty of fonts that are perfectly
the length of the lines, and the spacing between the lines”.8 suitable for both digital and print media.
• Watch your weight (light, regular, bold). When
it comes to bolding your text, a value of two or three should
Typography is an art form in and of itself, in which be plenty. It is better to reserve the heaviest weight for
every font has its own characteristics, which should headlines and then apply a stylistic hierar- chy based on
be strategically combined. your content. Avoid fonts that only offer one weight or style,
since their applications are limited.
For people outside the world of graphic design, choos- ing a • Don’t forget that some fonts use more memory
font and setting other typographical features can be tricky, than others. Fonts with serifs generally monopolize
but it doesn’t have to be. Let’s take a practical look at the more of your computer’s brain power than sans-serif
steps you should take when determining your typography, fonts. This is an important consideration in interactive
and then consider the images and visual elements that best reports, since a document that occupies more RAM
accompany your text. Consid- erations when setting your will be less responsive.
typography:
Fonts have personalities that help us establish a more
• Determining the goal of your report’s content. attractive visual tone for our audience. Familiarizing
• Select a font that strengthens that goal. yourself with a few can go a long way. There are:
Fonts come in two types: with serifs or without (sans)
serifs. Serif fonts have an extra stroke that conveys a • Professional fonts • Handwritten fonts

8 The Graphic Artist and his Design Problems (Gestaltungsprobleme

• Fun font • Minimalist fonts
des Grafikers), Teufen, 1961
Prioritize patterns in your visualizations: Gestalt

The basic elements of the visualization process also involve preattentive attributes. Preattentive attributes are visual
features that facilitate the rapid visual perception of a graphic in a space. Designers use these characteristics to
better uncover relevant information in visuals, because these characteristics attract the eye.

Colin Ware, Director of the Data Visualization Research Lab at the University of New Hampshire, has highlighted
that preattentive attributes can be used as resources for drawing viewers’ immediate attention to certain
parts of visual representations (2004). According to Ware, preattentive processing happens very quickly—typi-
cally in the first 10 milliseconds. This process is the mind’s attempt to rapidly extract basic visual characteristics from
the graphic (stage 1). These characteristics are then consciously processed, along with the perception of the object,
so that the mind can extract patterns (stage 2), ultimately enabling the information to move to the highest level of
perception (stage 3). This makes it possible to find answers to the initial visual question, utilizing the information
saved in our minds. Colin Ware, cited in Meirelles (2014), explains it as follows:

Bottom up information contributes to the pattern creation process

Top down process reinforces relevant information

Preattentive attributes enhance object perception and cognition processes, leveraging our mind’s visual capacities.
Good data visualizations deliberately make use of these attributes because they boost the mind’s discovery and rec-
ognition of patterns such as lines, planes, colors, movements, and spatial positioning.9

9 Dondis, D.A. (2015). La sintaxis de la imagen: introducción al alfabeto visual. Editorial Gustavo Gili: Barcelona
Meirelles, I. (2014). La información en el diseño. Barcelona: Parramón.
The visual below lists preattentive attributes that represent
aspects of lines and planes when visualizing and analyzing
graphic representation: shape, color, and spatial position.

Orientation Line Length Thickness Curvature

Shape
Orientation Line Length Line Width Size

Added marcks Enclosure Color Intensity/value

Shape Curvature Added Marks Enclosure

Color Spatial Position

Intensity Hue 2-D Position Shape Size Sharpness Numerosity
Detecting patterns is fundamental to structuring and
organizing visual information. When we create visuals, we
often want to highlight certain patterns over others.
Preattentive attributes are the alphabet of visual lan- guage;
analytic patterns are the words that we write by using them.
When we see a good visualization, we immediately detect
the preattentive attributes and rec- ognize analytic patterns in
the visualization. The follow- ing table summarizes a few
basic analytic patterns:
We have seen how preattentive attributes and patterns Gestalt’s principles are the principles that enable us to According to Dondis (2015), Gestalt’s principles help
make it possible to process and analyze visual informa- understand the requirements posed by certain prob- lems so describe the way we organize and merge elements
tion; they also enable us to improve pattern discovery that we see everything as an integral, coherent whole. It in our minds. They quiet the noise of the graphics so
and perceptive inferences and provide processes for involves proximity, similarity, shared destiny, “pragnanz” or that we relate, combine, and analyze them. These
solving visualization problems. pithiness, closure, simplicity, familiarity, and discernment principles come into play whenever we analyze any
between figure and ground. sort of visualization. Only position and length can be
used to accurately perceive quantitative data. The
other attributes are useful for perceiving other sorts
of data, such as categorical and relational data.

We’ll close this section with one piece of practical

advice on how to effectively visualize data. Colin
Ware in The Visual Thinking: for Graphic Design
(2008) summarizes the importance of always being
mindful of preattentive attributes and patterns when
designing a visualization:

Good design optimizes the visual thinking process. The

choice of patterns and symbols is important so that
visual queries can be efficiently processed by the
intended viewer. This means choosing words and
patterns each to their best advantage.”

Gestalt’s principles
Data Visualizing with AI

29
Storytelling for social
communication

29
Storytelling for As we saw at the beginning of this ebook, our mind tends to The triune model is a valuable tool for effectively com-

social visualize information in order to satisfy a basic need: telling

a story. It is one of the most primitive forms of
municating with our audience. It is one of many theories
employed in neuromarketing to influence and persuade

communication communication, and it is inherent in every human being. potential buyers. Understanding and mastering this
theory enables us to extract information not just from
the neocortex, but from the reptilian and emotional

We cannot live
brains as well. This can be useful for qualitative market
research methodology, since it utilizes a host of different
without communicating, techniques, including in-depth interviews, ethnographic

without expressing our research, and focus groups. This information is essential
if we are aiming towards a scientific framework to talk
personalities, emotions, about neuromarketing.

and moods, our worries How, then, can we create stories that use data to
and fears. communicate insights? Below, we explain three simple
sequences for telling a story:
Paul Maclean, cited in María Alejandra Rendón (2009),
proposes a “Triune brain” theory, which addresses • Influencing people’s emotions by telling a story
the structure and behavior of the human mind. For (drawing in their attention).
Maclean, the mind consists of three inseparable parts • Persuading them through benefits that cover specific
(or distinct brains); none of the three functions inde- needs (benefits/engagement).
pendently or separately. They are the reptilian brain, the • Moving on to concrete steps (call to action).
emotional brain, and the neocortex.
If you can successfully visualize this sequence, you
The reptilian brain is home to our unconscious, also known understand the foundation of all narratives. What that
as our instinctive side. It manages survival and our body’s means is that every story we try to tell has a beginning,
self-regulation. The second part, the emo- tional brain, is a developed plot, and a resolution, all building up to
responsible for our emotional processes and basic the invaluable call to action. If you have a clear notion
motivations. Last but not least, the neocor- tex is our more of how to include the “story” element in your reports,
rational, complex side. It is in charge of driving our systematic statements, and dashboards, you will successfully create
and logical thinking. stories that use your data to share insights.
Data storytelling

We all love good stories, and data is one of the best What do we get when we
tools for telling them. Millions of pieces of data are combine these elements?
generated every day. They could be converted into
great stories, but instead they are left unused. It’s time to
change all that. It’s time to start telling stories that draw
their power from data. Data + Narrative Data + Visualization + Narration =

So-called “data storytelling” is nothing more than Data can be insights; they are drawn from study and
Successfully using our data to tell a
placing a structured focus on the way we use data to analysis. Their nature can propose the narrative context. story, wield influence, and effect the
communicate insights. It relies on three key elements: desired change.
narrative, visualization, and data.
Visualization + Data

Visualization shines a light on our data by enabling us to

Visuals rapidly process large volumes of data in a visual system. As

Narrative
more data series are represented, we rely less on the verbal
Engage
and more on the visual. Thus, we can enlighten our audience
with insights that they may not have oth- erwise seen
CHANGE

Explain Enlighten Narrative + Visualization

Data The story must motivate. It must have a plot, highs and
lows, and an arc of emotional connection in order to
draw in and entertain our audience.

The perfect combination

A basic recipe for storytelling in your
presentations and final reports
In case you don’t have a clear notion of how to include the “story” 5. Plot. Generate interest; create tension. Depict the concept,
element in your data, we’re going to outline a few points that will crux, and resolution. Incentivize your audience to keep reading
guide you, so that your presentations and reports manage to grab until the last page, so to speak. Establish relationships.
your audience’s attention and have a major impact:
6. Use data to anchor your narrative. The
story in your data ought to be simple; the vision drawn from the
1. Find the story in your data. Write, write, and data comes with an implicit responsibility to be sincere and honest.
write. Write about the highlights of your research in different roles.
Worry about presentation later. 7. Design principles. Adhere to the best practices of
design to visualize your data.
2. Define the perspective. Who are you talking to?
What’s the best way to achieve your objective? 8. Review, review, review. Make sure that all of your
analysis is precise.
3. Create a hierarchy. What is the most important
thing you are trying to convey? Establish different depths to your 9. Be familiar with your content and
reading and data. Avoid irrelevant information. respect your audience.
10. Keep it short and sweet.
4. Organize. Figure out the most suitable sequence for Data-based storytell-
presenting your data. What relationships can you establish ing is the product of hours of work. It’s best to keep presentations
between different aspects of your data? What do some pieces of short, with concrete ideas adapted to the audience so that your
data mean relative to others? Are they the framework (data that message is conveyed efficiently and smoothly.
reveals), the details (data that delves deeper), or the contrast (data
that dramatizes differences)?