By Colin Ware
Such a lot designers recognize that yellow textual content awarded opposed to a blue heritage reads in actual fact and simply, yet what percentage can clarify why, and what fairly are the simplest how you can support others and ourselves basically see key styles in a host of knowledge? This booklet explores the artwork and technological know-how of why we see gadgets the way in which we do. in keeping with the technology of conception and imaginative and prescient, the writer offers the main rules at paintings for a variety of applications--resulting in visualization of greater readability, application, and persuasiveness. The publication bargains sensible directions that may be utilized by means of an individual: interplay designers, picture designers of all types (including net designers), info miners, and monetary analysts. *First paintings to take advantage of the technology of belief to assist severe designers and analysts optimize realizing and notion in their facts visualizations.* significant revision of this vintage paintings, with a brand new bankruptcy on visible pondering, new sections on face belief and circulate visualization, and a miles elevated bankruptcy on colour and colour sequences. *New to this version is the entire colour remedy all through, to raised reveal over four hundred illustrations.
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Extra resources for Information Visualization, Second Edition: Perception for Design (The Morgan Kaufmann Series in Interactive Technologies)
Sample text
Metadata can be of any kind. It can consist of new entities, such as identified classes of objects, or new relationships, such as postulated interactions between different entities, or new rules. We may impose complex structural relationships on the data, such as tree structures or directed acyclic graphs, or we may find that they already exist in the data. The problem with the view that metadata and primary data are somehow essentially different is that all data is interpreted to some extent—there is no such thing as raw data.
In his great masterwork, Semiology of Graphics, Jacques Bertin (1983) attempted to classify all graphic marks in terms of how they could express data. For the most part, this work is based on his own judgment, although it is a highly trained and sensitive judgment. There are few, if any, references to theories of perception or scientific studies. It is often claimed that visual languages are easy to learn and use. But what do we mean by the term visual language—clearly not the writing on this page.
He preferred to concentrate on the visual system as a whole and not to break perceptual processing down into components and operations. He used the term resonating to describe the way the visual system responds to properties of the environment. This view has been remarkably influential and has radically changed the way vision researchers think about perception. Nevertheless, few would accept it today in its pure form. There are three problems with Gibson’s direct perception in developing a theory of visualization.