analytics with purpose data visualization gallery

John Nelson

John Nelson IDV Solutions [email protected]@JohnNelsonIDV

Major Fires Since 2001 Each dot represents a moment of pretty extreme heat; down to the one square kilometer level (creator only retained fires greater than 100KW MW and of those only fires that the system was more than 50% confident of). They've been colored and scaled by "units" of the typical American nuclear power plant's summertime capacity to provide some sort of baseline of the fires' magnitude. There are a couple temporal charts in there, too. The seasonal curve the creator would expect, but the overall upwards trend was interesting.

Bloomberg Visual Data

John Nelson

John Nelson

John Nelson IDV Solutions [email protected]@JohnNelsonIDV

Earthquakes since 1898 The creator has been looking at general sources of existential risk and visualizing them via the kitchen sink school of thematic mapping. So the earthquakes map was just a matter of time.

Here, data from NCEDC.org and the USGS and UC Berkeley have been sliced out into veneers based on magnitude, then glued onto and image that began its life at NASA's Visual Earth and wrung into the Times projection (centered at the interesting bits). The result looks an awful lot like a fleet of Nickelodeon tankers spilled the world's supply of floam.


John Nelson

Weber Schandwick

Weber Shandwick [email protected] 612.723.7424

Gerardo Obieta - ART DIRECTION AND DESIGN - Weber Shandwick

Funeral costs are going up, as are other expenses related to death. This infographic shows the increase in rates and overall costs.


Weber Schandwick

Weber Schandwick


• Gerardo Obieta - ART DIRECTION AND DESIGN - Weber Shandwick • Anna Evenson - PROJECT MANAGER - Weber Shandwick • Angela Role - ACCOUNT EXECUTIVE - Weber Shandwick • Doug Hamlin - SOCIAL MEDIA STRATEGIST - Weber Shandwick

This infographic displays the impact social media reports the U.S. Army and its Army Strong Stories program is generating. ArmyStrongStories.com is the Army's premier community for Soldiers of all ranks and Army careers as well as Army supporters to share their meanings of Army Strong.


Weber Schandwick

Weber Schandwick


Gerardo Obieta - ART DIRECTION AND DESIGN - Weber Shandwick

This infographic shows how credit card companies make money and how they manage to stay in business.


Weber Schandwick

Arthur Buxton

Vogue magazine covers are the ideal barometer for measuring color trends in popular culture. Within each piece the small bar charts show the five most prominent colors, proportionally, in an individual Vogue cover. Each column is a year starting with September and working down to October at the bottom. The columns run from 1981 on the right working across to 2011 on the left.

After viewing the work one becomes increasingly a where of the differences in overall national color palettes. The most striking trend is the recent preference for paler colors, which is evident on all three charts. Seasonal trends are more subtle. Gaps occur where covers are unavailable. Aside from seasonality and longer term changes in color trends, other, more quantitative data is evidenced. By looking at ‘Paris Vogue Covers 1981 - 2011’ we can see a sudden change in tones which occurs in late 1987. Colombe Pringle became the magazine's editor-in-chief in December 1987. The colours undergo a sudden change again in 1994 when Joan Juliet Buck, an American, was named Pringle's successor’.

More at arthurbuxton.com, including how to purchase limited edition art prints of Arthur's work

Arthur Buxton Color Trend Visualization Timelines

Bill Rankin

Bill Rankin Radical Cartography [email protected]

Tropical Cyclones, 1945–2006. Data from the Joint Typhoon Warning Center and the U.S. National Oceanographic and Atmospheric Administration.

Bill Rankin

Bill Rankin, Radical Cartography

Bill Rankin

Bill Rankin Radical Cartography [email protected]

Frequency of lightning strikes throughout the world, based on data from NASA.

Bill Rankin

Bill Rankin, Radical Cartography

Background Stories

Background Storieswww.backgrountstories.comArlene Birt, Visual [email protected] or 612.246.4234

Bicycling CountsInspired to celebrate the savings of bicycling, this traveling installation visualizes each passing cyclist in terms of individual and collective environmental benefits.

Bill Rankin

Background Stories


Bloomberg bloomberg.com/billionaires

Visual Data Team Contributors:• Lisa Strausfeld, Global Head of Data Visualization• Hilla Katki, Design Director Chris Cannon, Senior Designer• Kenton Powell, Designer - [email protected] • Jeremy Diamond, Interaction Designer• Zach Schwartz, User Experience Prototyper • Alia Shafir, Project Manager• Illustrations by Lina Chen

The Bloomberg Billionaires Index is a daily ranking of the world's richest people. In calculating net worth, Bloomberg News strives to provide the most transparent calculations available. Each Bloomberg Billionaires profile contains a detailed analysis of how that person's fortune has been tallied.

Chris Harrison & Christoph Römhild

Chris Harrison & Christoph Römhild [email protected]

The bar graph that runs along the bottom represents all of the chapters in the Bible. Books alternate in color between white and light gray. The length of each bar denotes the number of verses in the chapter.

Each of the 63,779 cross references found in the Bible is depicted by a single arc - the color corresponds to the distance between the two chapters, creating a rainbow-like effect.

mailto:[email protected]


Chris Harrison & Christoph Römhild

Hyperakt

[email protected] 718-855-4250Deroy Peraza, Principal + Creative Director

Google: Evolution To visually represent the interaction between web technologies and browsers, which power the web apps that we use daily.

Hyperakt Credits: Deroy Peraza, Eric Fensterheim, Margaux Le Pierres


Hyperakt

Jessica Draws

Jessica Draws http://jessicadraws.com [email protected]

A commission from http://chinablueprint-online.com/ to advertise the benefits of using Chinese social media for Australian Businesses.

http://chinablueprint-online.com/

http://chinablueprint-online.com/


Jessica Draws

+ =

Mintz Group

Mintz Groupwww.mintzgroup.comJames Mintz, President [email protected]

This map pinpoints the location of bribes paid to foreign government officials that led to U.S. government penalties. The darker red that a country appears, the larger the total penalties assessed for Foreign Corrupt Practices Act violations in that country. An interactive version is available online at www.fcpamap.com.


Mintz Group

Periscopic

[email protected] 503-295-7946

Contributors: Kim Rees, Dino Citraro, Mark Hintz, Katie Hill, Emma Alterman, Brett Johnson, Jacob O’Brien, Earl Swigert

U.S. Gun Killings in 2010 We wanted to show the huge loss of potential when guns are used in violence in America.


Periscopic

Rolando Salazar

Rolando Salazar, Art Director / Motion Designer [email protected] 201-937-8588

The client, Netmining, wanted to visualize the website categories that showed significant traffic increase after Hurricane Sandy.

Client: Netmining, Lynda Liu, Marketing Manager http://www.netmining.com/


Rolando Salazar

Zoe Fraade-Blanar

Zoe Fraade-Blanar [email protected] 410-419-8183

Names of all contributors: Zoe Fraade-Blanar, Kevin Webb, Aaron Glazer, John Keefe, Lev Steshenko

Hey TaxiVolume of taxi rides in Manhattan on an average Tuesday at 4PM, during March 2009. Data is based on a record of GPS-tagged taxi rides.


Zoe Fraade-Blanar

goGeo

goGeoAdam Cohen, President, [email protected] Dan Deloronzo, Product Manager, Union LLCGraham Marrott, Cartifact-Union

goGeo combs the universe of live financial data to produce the first dynamic global mapping system geared towards market makers.• Live performance updates for every economy with a stock market in a

unique choropleth map visualization• Advance intelligence on upcoming earnings reports and data releases• News heat tracking of more than 2,500 of the world’s most important

companies


goGeo

THE LUXURY OF PROTEST

THE LUXURY OF PROTESTPeter Crnokrak [email protected]://theluxuryofprotest.com

NEVER FOREVER NEVER FOR NOW This is a quantitative visualization of the transient nature of empire. The visualization graphs all known empires, colonies and territorial occupations from 2334 BCE to the present day. Each empire occupies a slice of the pie graph with a known start (+) and end (×) date. Each slice is assigned a transparency value of 10% allowing for concurrent empires to be visualized – the more empires that occupy the same period of time in history, the whiter the graph. As history progresses, humankind’s competition for wealth, resources and the relentless drive toward conquest and occupation can be clearly seen in the graph.

The data shows an accelerating trend toward greater and greater conquest of territory and greater and greater competition amongst imperial powers. The graph starts relatively light (top right portion of graph) as early cultures maintain territory that can be considered indigenous. With time, cultures encroach upon one another as shown in the heavy white areas to the left of the graph (representing 900 CE to 1900 CE).



EVERYONE EVER IN THE WORLD Everyone Ever in the World is a visual representation of the number of people to have lived versus been killed in wars, massacres and genocide during the recorded history of humankind. The visualization uses existing paper area and paper loss (die cut circle) to represent the concepts of life and death respectively. The total number of people to have lived was estimated through exponential regression calculations based on historical census data.

The sequence of dots to the top left of the graph shows the dramatic increase in the number of conflicts over the past 5 millennia (left to right : 3000 BCE to 2000 CE) with the most recent 1000 years being the most violent. The large dot below the graph represents the 1000 years to come: a predicted startling increase in the frequency of human conflict.




The commemorative Science edition – the 3rd and final print of “Everyone Ever...” – is entirely laser engraved and laser cut in heavy cotton paper. Laser engraving produces a distinctive burn pattern with subtle smoke-like wisps that are particularly pronounced on white paper. Being a subtractive process, engraving is a perfect process to convey the notion of loss. The burn patterns also convey the concept of inferno which is in and of itself, inextricably linked to destruction and death.




As a contrast to the heaviness of the first “black” edition (which in itself has a direct symbolic relationship to the void of death), the second edition printed on frosted semi-clear plastic takes on a ghost-like transparency to express the same concept, but using diametrically opposite language. The fundamental relationship of poster area to die cut area remains, but the lightness of the milk-white ink on semi-clear plastic to a nod to the fleeting nature of existence and the symbolism of loss – that life disappears as easily as it is created.

analytics with purpose data visualization gallery

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