## Tip of the day: transform data before plotting

##### May 24, 2021

The Financial Times called out a twitter user for some graphical mischief. Here are the two charts illustrating the plunge in Bitcoin's price last week : (Hat tip to Mark P.)

There are some big differences between the two charts. The left chart depicts this month's price actions, drawing attention to the last week while the right chart shows a longer period of time, starting from 2012. The author of the tweet apparently wanted to say that the recent drop is nothing to worry about.

The Financial Times reporter noted another subtle difference - the right chart uses a log scale while the left chart is linear. Specifically, it's a log 2 scale, which means that each step up is double the previous number (1, 2, 4, 8, etc.). The effect is to make large changes look smaller. Presumably most readers fail to notice the scale. Even if they do, it's not natural to assign different differences to the same physical distances.

***

These price charts always miss the mark. That's because the current price is insufficient to capture whether a Bitcoin investor made money or lost money. If you purchased Bitcoins this month, you lost money. If your purchase was a year ago, you still made quite a bit of money despite the recent price plunge.

The following chart should not be read as a time series, even though the horizontal axis is time. Think date of Bitcoin purchase. This chart tells you how much \$1 of Bitcoin is worth last week, based on what day the purchase was made.

People who bought this year have mostly been in the red. Those who purchased before October 2020 and held on are still very pleased with their decision.

This example illustrates that simple transformations of the raw data yield graphics that are much more informative.

## Atypical time order and bubble labeling

##### Dec 29, 2020

This chart appeared in a Charles Schwab magazine in Summer, 2019.

This bubble chart does not print any data labels. The bubbles take our attention but the designer realizes that the actual values of the volatility are not intuitive numbers. The same is true of any standard deviation numbers. If you're told SD of a data series is 3, it doesn't tell you much by itself.

I first transformed this chart into the equivalent column chart:

Two problems surface on the axes.

For the time axis, the years are jumbled. Readers experience vertigo, as we try to figure out how to read the chart. Our expectation that time moves left to right is thwarted. This ordering also requires every single year label to be present.

For the vertical axis, I could have left out the numbers completely. They are not really meaningful. These represent the areas of the bubbles but only relative to how I measured them.

***

In the next version, I sorted time in the conventional manner. Following Tufte's classic advice, only the tops of the columns are plotted.

What you see is that this ordering is much easier to comprehend. Figuring out that 2018 is an average year in terms of volatility is not any harder than in the original. In fact, we can reproduce the order of the previous chart just by letting our eyes sweep top to bottom.

To make it even easier to read the vertical axis, I converted the numbers into an index, with the average volatility as 100 (assigned to 0% on the chart) .

Now, you can see that 2018 is roughly at the average while 2008 is 400% above the average level. (How should we interpret this statement? That's a question I pose to my statistics students. It's not intuitive how one should interpret the statement that the standard deviation is 5 times higher.)

## Book Review: Visualizing with Text by Richard Brath

##### Nov 03, 2020

The creative process is sometimes described in terms of diverge-converge cycles. The diverge step involves experimentation and rewards suspending disbelief, while excesses are curbed and concepts refined during the converge step. Richard Brath's just-released book Visualizing with Text is an important resource that expands our appreciation for the place of text in visual displays.

Books on data visualization fall into recognizable types, of which two popular ones are the style guide, such as Edward Tufte, Dona Wong, and Alberto Cairo, and the coding manual, such as Ben Fry (processing) and Hadley Wickham (ggplot, Shiny). Brath's volume belongs to neither of those - it reads more like an encyclopedic catalog of how text can be incorporated into charts and graphs. He challenges us to blow up our imaginative space for characters, words, sentences, paragraphs and prose. It is a valuable aid for the diverge step of our creative process.

In modern data visualization, text is treated as an accessory, frequently found in titles, labels, legends, footnotes or surrounding text. Brath wants us to elevate text to the starring attraction. Starting with baby steps, such as direct labeling of lines and objects, and coordinating colors between chart elements and words, he experiments with inserting text into unlikely crannies, not shying away from ideas that even he admits may be somewhat of a dead-end.

One of the more immediately useful examples is the use of text labels that hug the lines on a line chart, similar to how roads and rivers are labeled on maps. I wish all software developers implement this function without delay.

A more esoteric example is to replace these lines with small-size text, as Brath makes an analogy between sentences and lines.

I am still deciding if this is a gold mine or a minefield. It is thought-provoking nonetheless.

Finally, the book includes some flights of fancy, like this one:

The red superscripts are numeric codes for French departments (provinces), arranged in ascending order of a given metric, and placed in proportional distance within the prose!

The converge step is left to the reader, as Brath refrains from bullhorning his opinions about chart types, which is why readers should not expect a style guide. He includes many experimental graphics, and may provide the pros and cons of a form without registering a judgement.

Because many of these ideas have yet to enter the mainstream, we'd need to implement these ideas on our own, which is why readers will not find a coding manual. As mentioned above, even the simplest and least controversial tactic of directly labeling lines is not available in Excel, let alone text that hugs or replaces lines. (This proves Brath's point that our community has done text a disservice.) Other ideas explored in later chapters require such features as italicizing numeric proportions of a word, rather than the entire word.

Recently, text has become a mainstay of Big Data. Visualizing with Text is timely, relevant and provocative. It is also clearly written, and tightly organized. Chapter 13 neatly summarizes the key concepts that have appeared along the way. There are plenty of use cases, primarily derived from research or business. After reading this book, you'll revel in the new sandbox of text, and long to free yourself from the constraints of your tool.

***

I recommend that you get the paper copy of the book. I reviewed the electronic version, and what irony! As you may have guessed, the electronic version ruins the typesetting. On every page, certain paragraphs show up in tiny font that resist all attempts to magnify, making Brath's case that legibility is an important metric for text visualization. Some of the more unusual fonts are dropped. The images are too small, even when popped up.

[P.S. Richard has a webpage where he included larger images and some code.]

## An exposed seam in the crystal ball of coronavirus recovery

##### Apr 09, 2020

One of the questions being asked by the business community is when the economy will recover and how. The Conference Board has offered their outlook in this new article. (This link takes you to the collection of Covid-19 related graphics. You have to find the right one from the carousel. I can't seem to find the direct link to that page.)

This chart summarizes their viewpoint:

They considered three scenarios, starting the recovery in May, over the summer, and in the Fall. In all scenarios, the GDP of the U.S. will contract in 2020 relative to 2019. The faster the start of the recovery, the lower the decline.

My reaction to the map icon is different from the oil-drop icon in the previously-discussed chart (link). I think here, the icon steals too much attention. The way lines were placed on the map initially made me think the chart is about cross-country travel.

On the other hand, I love the way he did the horizontal axis / time-line. It elegantly tells us which numbers are actual and which numbers are projected, without explicitly saying so.

Also notice through the use of color, font size and bolding, he organizes the layers of detail, and conveys which items are more important to read first.

***

As I round out the Trifecta Checkup, I found a seam in the Data.

On the right edge, the number for December 2020 is 100.6 which is 0.6 above the reference level. But this number corresponds to a 1.6% reduction. How so?

This seam exposes a gap between how modelers and decision-makers see the world. Evidently, the projections by the analyst are generated using Q3 2019's GDP as baseline (index=100). I'm guessing the analyst chose that quarter because at the time of analysis, the Q4 data have not reached the final round of revision (which came out at the end of March).

A straight-off-the-report conclusion of the analysis is that the GDP would be just back to Q3 2019 level by December 2020 in the most optimistic scenario. (It's clear to me that the data series has been seasonally adjusted as well so that we can compare any month to any month. Years ago, I wrote this primer to understand seasonal adjustments.)

Decision-makers might push back on that conclusion because the reference level of Q3 2019 seems arbitrary. Instead, what they like to know is the year-on-year change to GDP. A small calculation is completed to bridge between the two numbers.

The decision-makers are satisfied after finding the numbers they care about. They are not curious about how the sausage is made, i.e., how the monthly numbers result in the year-on-year change. So the seam is left on the chart.

## Pulling the multi-national story out, step by step

##### Sep 18, 2019

Reader Aleksander B. found this Economist chart difficult to understand.

Given the chart title, the reader is looking for a story about multinationals producing lower return on equity than local firms. The first item displayed indicates that multinationals out-performed local firms in the technology sector.

The pie charts on the right column provide additional information about the share of each sector by the type of firms. Is there a correlation between the share of multinationals, and their performance differential relative to local firms?

***

We can clean up the presentation. The first changes include using dots in place of pipes, removing the vertical gridlines, and pushing the zero line to the background:

The horizontal gridlines attached to the zero line can also be removed:

Now, we re-order the rows. Start with the aggregate "All sectors". Then, order sectors from the largest under-performance by multinationals to the smallest.

The pie charts focus only on the share of multinationals. Taking away the remainders speeds up our perception:

Help the reader understand the data by dividing the sectors into groups, organized by the performance differential:

For what it's worth, re-sort the sectors from largest to smallest share of multinationals:

Having created groups of sectors by share of multinationals, I simplify further by showing the average pie chart within each group:

***

To recap all the edits, here is an animated gif: (if it doesn't play automatically, click on it)

***

Judging from the last graphic, I am not sure there is much correlation between share of multinationals and the performance differentials. It's interesting that in aggregate, local firms and multinationals performed the same. The average hides the variability by sector: in some sectors, local firms out-performed multinationals, as the original chart title asserted.

## Re-thinking a standard business chart of stock purchases and sales

##### Jun 03, 2019

Here is a typical business chart.

A possible story here: institutional investors are generally buying AMD stock, except in Q3 2018.

Let's give this chart a three-step treatment.

STEP 1: The Basics

Remove the data labels, which stand sideways awkwardly, and are redundant given the axis labels. If the audience includes people who want to take the underlying data, then supply a separate data table. It's easier to copy and paste from, and doing so removes clutter from the visual.

The value axis is probably created by an algorithm - hard to imagine someone deliberately placing axis labels  \$262 million apart.

The gridlines are optional.

STEP 2: Intermediate

Simplify and re-organize the time axis labels; show the quarter and year structure. The years need not repeat.

Align the vocabulary on the chart. The legend mentions "inflows and outflows" while the chart title uses the words "buying and selling". Inflows is buying; outflows is selling.

This type of data presents an interesting design challenge. Arguably the most important metric is the net purchases (or the net flow), i.e. inflows minus outflows. And yet, the chart form leaves this element in the gaps, visually.

The outflows are numerically opposite to inflows. The sign of the flow is encoded in the color scheme. An outflow still points upwards. This isn't a criticism, but rather a limitation of the chart form. If the red bars are made to point downwards to indicate negative flow, then the "net flow" is almost impossible to visually compute!

Putting the columns side by side allows the reader to visually compute the gap, but it is hard to visually compare gaps from quarter to quarter because each gap is hanging off a different baseline.

The following graphic solves this issue by focusing the chart on the net flows. The buying and selling are still plotted but are deliberately pushed to the side:

The structure of the data is such that the gray and pink sections are "symmetric" around the brown columns. A purist may consider removing one of these columns. In other words:

Here, the gray columns represent gross purchases while the brown columns display net purchases. The reader is then asked to infer the gross selling, which is the difference between the two column heights.

We are almost back to the original chart, except that the net buying is brought to the foreground while the gross selling is pushed to the background.

## Watching a valiant effort to rescue the pie chart

##### May 02, 2019

Today we return to the basics. In a twitter exchange with Dean E., I found the following pie chart in an Atlantic article about who's buying San Francisco real estate:

The pie chart is great at one thing, showing how workers in the software industry accounted for half of the real estate purchases. (Dean and I both want to see more details of the analysis as we have many questions about the underlying data. In this post, I ignore these questions.)

After that, if we want to learn anything else from the pie chart, we have to read the data labels. This calls for one of my key recommendations: make your charts sufficient. The principle of self-sufficiency is that the visual elements of the data graphic should by themselves say something about the data. The test of self-sufficiency is executed by removing the data printed on the chart so that one can assess how much work the visual elements are performing. If the visual elements require data labels to work, then the data graphic is effectively a lookup table.

This is the same pie chart, minus the data:

Almost all pie charts with a large number of slices are packed with data labels. Think of the labeling as a corrective action to fix the shortcoming of the form.

Here is a bar chart showing the same data:

***

Let's look at all the efforts made to overcome the lack of self-sufficiency.

Here is a zoom-in on the left side of the chart:

Data labels are necessary to help readers perceive the sizes of the slices. But as the slices are getting smaller, the labels are getting too dense, so the guiding lines are being stretched.

Eventually, the designer gave up on labeling every slice. You can see that some slices are missing labels:

The designer also had to give up on sequencing the slices by the data. For example, hardware with a value of 2.4% should be placed between Education and Law. It is shifted to the top left side to make the labeling easier.

Fitting all the data labels to the slices becomes the singular task at hand.

## Visual Exploration of Unemployment Data

##### Jan 21, 2019

The charts on unemployment data I put up last week are best viewed as a collection.

I have put them up on the (still in beta) JMP Public website. You can find the project here

I believe that if you make an account, you can grab the underlying dataset.

## What to make of the historically low unemployment rate

##### Jan 10, 2019

One of the amazing economic stories of the moment is the unemployment rate, which at around 4% has returned to the level last reached during the peak of the tech boom in 2000. The story is much more complex than it seems.

I devoted a chapter of Numbersense (link) to explain how the government computes unemployment rates. The most important thing to realize is that an unemployment rate of 4 percent does NOT mean that four out of 100 people in the U.S. are unemployed, and 96 out of 100 are employed.

It doesn't even mean that four out of 100 people of working age are unemployed, and 96 out of 100 of working age are employed.

What it means is of the people that the government decides are "employable", 96 out of 100 are employed. Officially, this employability is known as "in labor force." There are many ways to be disqualified from the labor force; one example is if the government decides that the person is not looking for a job.

On the flip side, who the government counts as "employed" also matters! Part-timers are considered employed. They are counted just like a full-time employee in the unemployment metric. Part-time, according to the government, is one to 34 hours worked during the week the survey is administered.

***

So two factors can affect the unemployment rate a lot - the proportion of the population considered "not in labor force" (thus not counted at all); and the proportion of those considered employed who are part-timers. (Those are two disjoint groups.)

The following chart then shows that despite the unemployment rate looking great, the U.S. labor market in 2018 looks nothing like what it looked like from 1990 to 2008.

Technical notes: all the data are seasonally adjusted by the Bureau of Labor Statistics. I used a spline to smooth the data first - the top chart shows the smoothed version of the unemployment rates. Smoothing removes month-to-month sharp edges from the second chart. The color scale is based on standardized values of the smoothed data.

P.S. See Part 2 of this series explores the different experiences of male and female workers. Also, the entire collection can be viewed here.

## NYT hits the trifecta with this market correction chart

##### Dec 12, 2018

Yesterday, in the front page of the Business section, the New York Times published a pair of charts that perfectly captures the story of the ongoing turbulence in the stock market.

Here is the first chart:

Most market observers are very concerned about the S&P entering "correction" territory, which the industry arbitrarily defines as a drop of 10% or more from a peak. This corresponds to the shortest line on the above chart.

The chart promotes a longer-term reflection on the recent turbulence, using two reference points: the index has returned to the level even with that at the start of 2018, and about 16 percent higher since the beginning of 2017.

This is all done tastefully in a clear, understandable graphic.

Then, in a bit of a rhetorical flourish, the bottom of the page makes another point:

When viewed back to a 10-year period, this chart shows that the S&P has exploded by 300% since 2009.

A connection is made between the two charts via the color of the lines, plus the simple, effective annotation "Chart above".

The second chart adds even more context, through vertical bands indicating previous corrections (drops of at least 10%). These moments are connected to the first graphic via the beige color. The extra material conveys the message that the market has survived multiple corrections during this long bull period.

Together, the pair of charts addresses a pressing current issue, and presents a direct, insightful answer in a simple, effective visual design, so it hits the Trifecta!

***

There are a couple of interesting challenges related to connecting plots within a multiple-plot framework.

While the beige color connects the concept of "market correction" in the top and bottom charts, it can also be a source of confusion. The orientation and the visual interpretation of those bands differ. The first chart uses one horizontal band while the chart below shows multiple vertical bands. In the first chart, the horizontal band refers to a definition of correction while in the second chart, the vertical bands indicate experienced corrections.

Is there a solution in which the bands have the same orientation and same meaning?

***

These graphs solve a visual problem concerning the visualization of growth over time. Growth rates are anchored to some starting time. A ten-percent reduction means nothing unless you are told ten-percent of what.

Using different starting times as reference points, one gets different values of growth rates. With highly variable series of data like stock prices, picking starting times even a day apart can lead to vastly different growth rates.

The designer here picked several obvious reference times, and superimposes multiple lines on the same plotting canvass. Instead of having four lines on one chart, we have three lines on one, and four lines on the other. This limits the number of messages per chart, which speeds up cognition.

The first chart depicts this visual challenge well. Look at the start of 2018. This second line appears as if you can just reset the start point to 0, and drag the remaining portion of the line down. The part of the top line (to the right of Jan 2018) looks just like the second line that starts at Jan 2018.

However, a closer look reveals that the shape may be the same but the magnitude isn't. There is a subtle re-scaling in addition to the re-set to zero.

The same thing happens at the starting moment of the third line. You can't just drag the portion of the first or second line down - there is also a needed re-scaling.