It’s interesting to see how different points can pique the interest of different people looking at the same data set. My colleague Mark Fischetti (senior editor and partner-in-crime for many of the Graphic Science items in the magazine) was intrigued by bipartisan agreement on questions related to global warming in the survey results shown in [...]
Here at Scientific American, we develop lots of infographics about the brain. From classic neural pathway diagrams, depictions of medical breakthroughs, and maps of the brain’s genetic activity, there are as many solutions for visualizing the brain as there are questions about how it works.
The 22nd annual Malofiej International Infographics Summit (hosted in Pamplona, Spain by the Spanish chapter of the Society for News Design) concluded today with award announcements.
Scientific American's logotype has undergone subtle shifts, large leaps and occasional bouts of nostalgia. The image series below outlines the history of the publication's identity, starting with its debut in August 1845 as weekly devoted primarily to inventions.
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.
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