Illustrating science since 1845
The title of this post borrows from ideas presented by Sha Hwang at the Visualized conference in New York City several weeks ago: He kicked off the data-visualization event with a talk that—in effect—challenged the audience to take a step back.
Irving Geis (1908-1997) is probably best known for illustrations of biological macromolecules, such as his groundbreaking watercolor painting of myoglobin—an exhaustive and beautiful portrait of the first properly sorted protein molecule.
Have you ever wondered how—and why—infographers push beyond familiar forms such as bar charts and network diagrams when translating information from a spreadsheet into an illustration?
In college in the 1990s, I suffered an identity crisis. Was I a scientist or an artist? I loved the clarity and order inherent to the scientific process; ask questions, set up methodologies, collect data, analyze.
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.
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