Sketchy rendering for information visualization

We present and evaluate a framework for constructing sketchy style information visualizations that mimic data graphics drawn by hand. We provide an alternative renderer for the Processing graphics environment that redefines core drawing primitives including line, polygon and ellipse rendering. These primitives allow higher-level graphical features such as bar charts, line charts, treemaps and node-link diagrams to be drawn in a sketchy style with a specified degree of sketchiness. The framework is designed to be easily integrated into existing visualization implementations with minimal programming modification or design effort. We show examples of use for statistical graphics, conveying spatial imprecision and for enhancing aesthetic and narrative qualities of visual- ization. We evaluate user perception of sketchiness of areal features through a series of stimulus-response tests in order to assess users’ ability to place sketchiness on a ratio scale, and to estimate area. Results suggest relative area judgment is compromised by sketchy rendering and that its influence is dependent on the shape being rendered. They show that degree of sketchiness may be judged on an ordinal scale but that its judgement varies strongly between individuals. We evaluate higher-level impacts of sketchiness through user testing of scenarios that encourage user engagement with data visualization and willingness to critique visualization de- sign. Results suggest that where a visualization is clearly sketchy, engagement may be increased and that attitudes to participating in visualization annotation are more positive. The results of our work have implications for effective information visualization design that go beyond the traditional role of sketching as a tool for prototyping or its use for an indication of general uncertainty

Using data visualization in creativity workshops: a new tool in the designer's kit

Creativity workshops have proved effective in drawing out unexpected requirements and giving form to participants' novel ideas. Here, we introduce a new addition to the workshop designer's toolkit: interactive data visualization, used as stimuli to prompt insight and inspire creativity. We first describe a pilot study in which we compare the effectiveness of two different styles of data visualization. Here we found that a less ambiguous style was more effective in supporting idea generation. Following this, we report a case study in which we employ data visualization within a service design workshop, where participants gain insights that are later realized in design ideas

Pretty maps: evaluating GIS adoption of cartographic design standards and best practices in professional publications

The nature of GIS maps, as tools designed for visual communication, puts them in the realm of art that is in many ways unique among scientific tools. As a visual form of communication, maps are responsive to methods of visual design, affecting the map’s appeal and function. Through cartography, a well established body of standards and best-practices exists to help GIS users avoid common design errors and create effective and meaningful maps that support their work. This research examines the adoption rate of those standards amongst professionals using GIS software for creating maps for journal publications. A selection of 80 GIS-produced maps from the AAG’s Professional Geographer were examined and compared to a uniform set of cartographic standards to look for trends in the adoption rates of map design standards amongst GIS map makers. Maps were rated by the author on their use of cartographic standards based on map content and purpose as opposed to their aesthetic quality. The data show trends in GIS cartographic design use that closely follow the inclusion of default values in common GIS software. The implication is that GIS professionals making maps are typically not applying cartographic standards on their own, but mostly following the standards set up in their software of choice. This suggests that there is still significant work to be done in teaching the value of cartographic principles to GIS students and practitioners

The Structured Process Modeling Theory (SPMT): a cognitive view on why and how modelers benefit from structuring the process of process modeling

After observing various inexperienced modelers constructing a business process model based on the same textual case description, it was noted that great differences existed in the quality of the produced models. The impression arose that certain quality issues originated from cognitive failures during the modeling process. Therefore, we developed an explanatory theory that describes the cognitive mechanisms that affect effectiveness and efficiency of process model construction: the Structured Process Modeling Theory (SPMT). This theory states that modeling accuracy and speed are higher when the modeler adopts an (i) individually fitting (ii) structured (iii) serialized process modeling approach. The SPMT is evaluated against six theory quality criteria

Synthesis of variable dancing styles based on a compact spatiotemporal representation of dance

Dance as a complex expressive form of motion is able to convey emotion, meaning and social idiosyncrasies that opens channels for non-verbal communication, and promotes rich cross-modal interactions with music and the environment. As such, realistic dancing characters may incorporate crossmodal information and variability of the dance forms through compact representations that may describe the movement structure in terms of its spatial and temporal organization. In this paper, we propose a novel method for synthesizing beatsynchronous dancing motions based on a compact topological model of dance styles, previously captured with a motion capture system. The model was based on the Topological Gesture Analysis (TGA) which conveys a discrete three-dimensional point-cloud representation of the dance, by describing the spatiotemporal variability of its gestural trajectories into uniform spherical distributions, according to classes of the musical meter. The methodology for synthesizing the modeled dance traces back the topological representations, constrained with definable metrical and spatial parameters, into complete dance instances whose variability is controlled by stochastic processes that considers both TGA distributions and the kinematic constraints of the body morphology. In order to assess the relevance and flexibility of each parameter into feasibly reproducing the style of the captured dance, we correlated both captured and synthesized trajectories of samba dancing sequences in relation to the level of compression of the used model, and report on a subjective evaluation over a set of six tests. The achieved results validated our approach, suggesting that a periodic dancing style, and its musical synchrony, can be feasibly reproduced from a suitably parametrized discrete spatiotemporal representation of the gestural motion trajectories, with a notable degree of compression