Introduction
This design portfolio blog post will explore Edward Tufte’s five design theories and demonstrate how the theories will be put into practice throughout the final 3D metamorphosis animation.
Edward Tufte’s Five Theories
The five theories that will be put into practice include,
Use of Colour
The use of colour is an extremely important part of all visual design. Colour can be used to tell a story, create an atmosphere and/or cause a reaction in a viewer.
Edward Tufte used colour throughout his career to convey logical information in an organized manner, colour was not used for artistic purposes. This theory is evident throughout the map design below (Figure 1 and Figure 2). Colour is used to show the high and low points of land and deep and shallow points of the ocean through lighter and deeper natural colours. This theory will be used to logically represent where natural shadows from the sun, form on the 3D metamorphosis animation of Stonehenge. (Tufte. E.R. 1990).
Comparison of Small Multiples
The visualization concept of small multiples was introduced by Edward Tufte. He described them as ‘Illustrations of postage-stamp size are indexed by category or a label, sequenced over time like the frames of a movie, or ordered by a quantitative variable not used in the single image itself.’ (Tufte. E.R. 1990). The concept of small multiples can be applied to the final 3D metamorphosis animation of Stonehenge as there a multiple similar shapes seen throughout the formation of rocks. The rocks can also be logically organized as there is a loose pattern to the overall layout. Therefore similar shapes can be distinguished throughout the formation, including sizing and shape with limited variables.
Narrative over Space and Time
The narrative of space and time can be seen throughout almost all animations and other media projections. The narrative is the story of events, for instance, past, present, and future. Narrative time refers to the time it takes to tell the story, for example how long it takes viewers to understand Tufte’s graphs. Narrative space could refer to a real place such as space, or a theoretical place. The narrative of space and time could also refer to visual design, the layout of information, and how it is consumed such as a bus timetable. (Harry Hagan, O. 2021). The narrative of space and time may be used in the final animation to communicate movements and atmospheres of each scene overtime.
Layering and Separation
Layering and separation are the art of simplicity, removing unnecessary visuals from a design can aid the viewer’s focus on what’s truly important. This can be seen in the image below, ‘Note the effectiveness and elegance of small spots of intense, saturated colour for carrying information – a design secret of classical cartography.’ (Tufte. E.R, 1990). The layering and separation theory may be used in the final animation to create focus surrounding the main message of new brand communication.
Macrocosm
Macrocosm can be described as the whole of a complex structure, such as the universe. Tufte, used this concept to communicate principles of thought throughout his graphs. ‘It is worth mentioning that when principles of design replicate principles of thought, the act of arranging information becomes an act of insight’ (Tufte, 1942) (Silva, A. 2022). This can be seen in graphs that communicate the effects of an event over time, such as graphs communicating the effects of the Covid-19 pandemic on a worldwide basis over time. Macrocosm may be used in the final design to express the effects of Stonehenge’s conspiracy’s over time.
of Macrocosm. The memorial from a distance appears as a significant wall, once closer microcosm is demonstrated by the appearance of thousands of names. (Tufte. E.R., 1990)
References
Editors, A. (2016) The adorable side of Andy Warhol: See 10 of the pop master’s little-known pet portraits, Artspace. Available at: https://www.artspace.com/magazine/art_101/book_report/phaidon-andy-warhol-animal-portraits-53996 (Accessed: 14 May 2023).
Harry Hagan, O. (2021) §3. narrative time and narrative space, Elements of Biblical Narrative. Available at: https://pressbooks.palni.org/biblicalnarrative/chapter/3-narrative-time-and-space/ (Accessed: 14 May 2023).
Silva, A. (2022) Tufte (envisioning information) micro-macrocosm – Aury Silva. Available at: https://www.aurysilva.co.uk/design/tufte-envisioning-information-micro-macrocosm/ (Accessed: 15 May 2023).
Small multiple (2023) Wikipedia. Available at: https://en.wikipedia.org/wiki/Small_multiple (Accessed: 14 May 2023).
Thatcher (2017) Narratives of time and space comments. Available at: https://cms633.github.io/Spring-2017/commentary/narratives-of-time-and-space-comments.html (Accessed: 14 May 2023).
Tufte, E. (2022) Global weather requires global maps,not boring local non-news on Brooklyn Car Parking Difficulties Beautiful Reporting, Financial Times Steven Bernard + emiliya mychasuk note byline with name of Cartographer!#DDJ #dataviz #graphicdesign #maps https://t.co/cyzs5xnm5o pic.twitter.com/jpkrfbkvbj, Twitter. Available at: https://twitter.com/EdwardTufte/status/1606970997395128321 (Accessed: 14 May 2023).
Tufte. E.R. 1990. Envisioning Information. Cheshire, Connecticut: Graphics Press. (p. 91).
Tufte. E.R., 1990. Envisioning Information. Cheshire, Connecticut: Graphics Press. (p. 63)
Tufte. E.R., 1990. Envisioning Information. Cheshire, Connecticut: Graphics Press. (p. 43).