As Scientific American's design director, I realize the weight this office brings to bear on me. SA has published groundbreaking art and graphics since its inception in 1845.
On Saturday, March 8, I arrived in Pamplona, Spain, a familiar destination for many in the information graphics community. Pamplona isn’t the easiest destination in Spain to reach—from anywhere, really.
Last week, the world information graphics community convened in Pamplona, Spain, for the 21st annual Malofiej International Infographics Summit and Awards, organized by the Spanish chapter of the Society for News Design.
As an attendee at the inaugural VISUALIZED conference last week in New York City, I was ready to experience, as the website described, “an inspiring two-day gathering with the brightest minds and social innovators from around the world who are changing how we understand and interact with data; and gain insight into designing data-driven narratives [...]
The other day, my own hypocrisy slapped me in the face. I was looking at a quantum illustration. One for which I had just encouraged an artist to develop a dimensional and detailed representation of a particle, that—by the author’s own admission—may or may not exist.
On occasion, concept sketch submissions make me swoon. Most often, the happy-making sketch comes from a freelance illustrator that has been commissioned to flesh out a specific information graphic for us.
"Big Data"—large and often complicated data sets that thwart quick analysis—remained a key phrase at the World Infographics Summit last month.
As the art director of information graphics at Scientific American, I’m charged with developing explanatory art for some pretty mind-blowing topics.
For December, we are delighted to publish our annual special issue, "World Changing Ideas," about innovations that can make a better world.
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