Upload
natalia-skoczylas
View
262
Download
1
Embed Size (px)
Citation preview
7/27/2019 Interview With John Grim Wade
1/19
Prole 1John Grimwade
(Cond Nast Traveler
magazine)
The Infographics Gentleman
John Grimwade is graphics director of Cond Nast Traveler magazine
(based in New York) and has his own information graphics business (www.
johngrimwade.com). He has produced infographics for more than 30 ma-
jor magazines and several books. Before moving to the United States, heworked for 14 years in newspapers in London (including six years as head
of graphics at The Times). He co-hosts the annual Maloej Show Dont Tell
infographics workshop in Pamplona, Spain, and teaches information graphics
at the School of Visual Arts in Manhattan.
Te rs ime I crossed pahs wih John Grimwades work was when I was abouo nish my B.A. in Journalism, in he summer o 1997. I had been oered an in-ernship in he inormaion graphics desk oLa Voz de Galicia, he bigges regional
newspaper in norhwesern Spain. As my knowledge o he discipline was minimal,Manuela Mario and Xoan Gonzlez (aher o Xaqun G.V. [Gonzlez Veira], whoyou will mee in Prole 3), who led he deparmen a he ime, recommendedha I ake a look a some Maloej publicaions. Maloej1 is he Inernaional
1 Visi htp://www.maloej20.com.
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
2/19
Inographics Summi, organized every year by he Spanish chaper o he Sociey
or News Design. Te even includes he mos imporan compeiion in his eld,
which receives submissions rom newspapers and magazines rom all over he
world. Te winners are showcased in a series o large-orma books.
While browsing several o hese books, one graphic caugh my eye. I was iled
Te ransalanic Superhighway, and i explained he busy ow o ighs over
he Norhern Alanic (Figure 10.1). I was enhralled by is elegance and decep-
ive simpliciy. My colleagues old me ha he piecewhich had won a Silver
Medal a Maloejhad been designed by a cerain Briish maestro named John
Grimwade. Along wih Nigel Holmes, Grimwade is he bes in his business,
hey added wih a one o reverence.
Years laer, John and I became riends. He is a rue genleman, one o hose pro-
essionals who are always willing o help rookies (as I was when I me him) wih
inexhausible paience. He has also been a consan source o inspiraion or me
and or many ohers in his indusry. In he curren era o big daa, complex pro-
gramming, and inormaion overload, his visual sylesripped down, precise, and
graceulis a reminder ha good design is no abou masering echnology, bu
abou aciliaing clear communicaion and he undersanding o relevan issues.
Q Is it true that the way you produce graphics has not changed much in
the 40 years that you have worked as an inormation graphics designer?
John Grimwade I is. I sared doing inormaion graphics many years beore
compuers enered newsrooms. When hey did, many colleagues said i was a
huge change, bu no or me. Maybe our mehods o work have shied a bi bu
he core principles are exacly he same.
Q What are those core principles?
JG Our main goal should be o ell a sory clearly by achieving order and having
some sor o narraive hrough each graphic. Any projec should sar by analyz-ing wha your sory is abou and hen nding he bes way o ell i by spliting
i up ino easily digesible chunks, wihou losing deph.
When I design a graphic, I ry o esablish a hierarchy, oo. In he planning
sage, one o he rs hings I do is o ideniy he main componens o he sory
and dene how hey are going o be sequenced on he page or on screen.
Prole 1 the infographics gentleman 21
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
3/19
Figure 10.1 The Trans-
atlantic Superhighway. Cond
Nast Traveler, 1996, by John
Grimwade, who explains
the graphics: This is anexplanation of the system
that controls ights over
the Northern Atlantic. A
reporter had a map of air-
trafc control [see Figure
10.2], but it was difcult to
read. I wanted to understand
the system more thoroughly,
so I made contact with the
head of Oceanic Control
in Gander, Newfoundland.
Amazingly, there were no
visualizations available of the
system as a dimensional dia-
gram. So I thought, why not
make one? Rough versions
went back and forth until we
were both happy with the
graphic.
The Transatlantic SuperhighwayEVERYDAY,ABOUT900AIRCRAFTFLY
INSIDETHENORTHATLANTIC
ORGANIZEDTRACKSYSTEM
ORGANIZED TRACK SYSTEM
GETTING IN LINE
Taking into account airlines
preferred routes, oceanic
controllers at Gander,
Newfoundland, organize aircraftapproaching from different
directions into position for the
Atlantic crossing. This flight is
entering the system on track V
at 35,000 feet.
1
SAFETY ENVELOPE
Aircraft must keep minimum
distances from one another
in the track system, while
maintaining constant altitud
and speed.
2
2,000feet
35,000
37,000
39,000
33,00031,000
FLIGHTLEVELS(FEET)
29,000
T
UV
W
X
60miles
80mil
es(10
min.)
80mil
es
60miles
GRAPHICS by JOHN G232
G r a p h
JohnGr
2,000feet
.
GRAPHICS by JOH
the functional art214
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
4/19
EASTINTOTHENIGHTAs a result of passenger demand, time
zone differences, and airport noise
restrictions, North Atlantic air traffic
has two peak flows: eastbound, leaving
North America in the evening, and
westbound, leaving Europe in the
morning. Every 12 hours a new track
system is prepared, to allow as many
aircraft as possible to follow the most
economical flight paths. Because of
changing weather conditions, the track
positions are rarely identical.
Aircraft crossing the main
traffic flow (for example,
Madrid to Los Angeles) are
routed above or below the
track system.
Some flight levels are
reserved for aircraft flying
in the direction opposite
the peak flow.
The Concorde flies between 50,000 and 60,000 feet,
far above the main traffic flow.
360MILES
GANDER OCEANIC
CONTROL AREA
Gander
Prestwick
ICELAND
UNITED KINGDOM
IRELAND
GREENLAND
NEWFOUNDLAND
CANADA
Shannon
SHANWICK OCEANIC
CONTROL AREA
POSITION CHECK
Aircraft in oceanic airspace are out of
radar contact for about four hours.
Position reports are made by radio at
every 10 degrees of longitude, and theinformation is used to update displays
at the oceanic control centers.
3
HALFWAY POINT
At 30W, responsibility for the
flight is transferred from
Gander to Prestwick Oceanic
Air Traffic Control in Scotland.
4
NORTH
ATLANTIC
OCEA
N
WES
TBOUND
(DAY)
EASTBOUND
(NIGHT)
JET
STREAM
T
ED
CB
A
UV W
X
233
Prole 1 the infographics gentleman 21
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
5/19
Q Tat sounds like Journalism 101 to me. When you write a story, the best
thing to start with is a structure or your writing.
JG Tas because i is! Te only dierence beween a radiional journalis andus is he language. Journaliss use words; we use picures, chars, graphs, maps,diagrams, and illusraions.
I hink one o he reasons why some people o my generaion were verysuccessul is because we were designers, bu we go embedded in journalisic
environmens. We worked wih reporers and ediors. Ta augh us ha weshould srive or clariy because we are an inerace beween a chaoic world oinormaion and he user who wans o undersand somehing. I we can bringusers clariy, I hink we have kind o ailed, acually.
When I see a graphic I am ineresed in, I ry o read i criically, and one ques-ion I ask over and over again is Whas he poin? Whas he sory? Tas whayou have o do when you work on a projec. Is no enough o do good research
Figure 10.2 One of the source materials for the The Transatlantic Superhighway.
An air-trafc control map.
the functional art216
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
6/19
Figure 10.3 One of the sketches for The Transatlantic Superhighway infographic, shown in Figure 10.1.
and hen presen your inormaion o your readers. You have o edi ha inorma-ion. We, inographics designers, mus work as reporers bu, above all, as ediors.
Q Is that why you have expressed reservations about the emerging feld
o data visualization? Many inographics designers in newspapers and
magazines seem to be embracing it with enthusiasm, but you have said that
sometimes it eels that visualization designers seem to just throw data at
their users, without worrying about presenting coherent stories.
JG Embracing a new echnique or a new echnology is grea. Daa visualizaioncan be really powerul and useul. I can see a lo o poenial in i. Noneheless, Ialso eel ha many visualizaion designers ry o ransorm he user ino an edior.Tey creae hese amazing ineracive ools wih ons o bubbles, lines, bars, lers,and scrubber bars, and expec readers o gure he sory ou by hemselves, anddraw conclusions rom he daa. Tas no an approach o inormaion graphicsI like. No all readers are daa analyss!
Prole 1 the infographics gentleman 21
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
7/19
Maybe I am old-school, bu I don believe I am alone in ha concern. Tink oHans Rosling2 and he way he ineracs wih his wonderul bubble visualizaions.He doesn jus show su; he explains he main poins, ocusing he readersatenion on he mos ineresing pars o he inormaion. Aer ha, i readers
wan o navigae deeper ino oher possible sories, hey can do i. Bu rs, heyare exposed o a radiional, linear narraive ha lays ou he basic acs.
Q Is it possible to fnd a synthesis between what inormation graphics
designers have been doing or the past 30 or 40 years and what data visual-
izers are trying to achieve nowadays?
JG I am convinced ha we will see ha in he uure. Te New York imes3 isexploring ha pah a his poin. For insance, in many o heir ineracivegraphics, hey presen complex ses o daa, and hey le you go really deep ino
he gures and heir connecions. Bu beorehand, hey give you some conex,some poiners as o wha you can do wih hose daa. I you don do his, i youdon include his layer o inormaion, which he designers call he annoaionlayer, you will end up wih a visualizaion ha may look really beauiul andinricae, bu ha will leave readers wondering, Wha has his hing really oldme? Wha is his useul or?
Is like a visualizaion I saw he oher day ha ploted he ow o axis inNew York Ciy, as well as heir posiions a every ime o he day and nigh. Ilooked really cool bu, aer a minue, I asked mysel: Wha is his abou? Wha
am I supposed o see here? Is i really ha surprising ha he ow o axis is re-ally heavy beween La Guardia and JFK, or ha here are ewer axis during henigh han during he day? Tas no a very revealing insigh, is i?
Or ake some gorgeous recen maps ha show people weeing all over Europein he languages o he counries hey live in. All righ, has really ineresing[said tongue-in-cheek]: Te Germans are weeing in German! Te map cerainlylooks beauiul wih all hose litle color dos shining here and here, bu is noha enlighening. I doesn convey much, and has a problem. You need o ori-en readers ino he sory beore hey can navigae your graphics on heir own.
Q Lets talk a bit about your own design process. How do you get started?
JG When we do a sory or Cond Nast raveler magazine, I ry o be involvedin i as early as possible. Someimes i happens ha reporers don realize hey
2 See Prole 8: Hans Rosling.
3 See Prole 3: Seve Duenes and Xaqun G.V.
the functional art218
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
8/19
will need inographics in heir pieces unil hey ge back rom rips, so I preero mee wih hem beore hey depar. I helps me ge a clear idea o wha shapehe sory is going o ake, o is ocus, and i helps reporers undersand how hecopy and he visual elemens on he pages are going o complemen each oher.
I bring paper and pencils o hose meeings. While we alk, I keep scribbling.I do very rough skeches and ake noes abou he key elemens. Is in hese mee-ings when I decide wha we need o show wih he graphic so is conen doesnoverlap oo much wih wha he copy will ell or he phoographs will show.
Q It seems that you put a lot of work in the planning stage of your projects,
judging by the detailed sketches and roughs you produce. (See Figure 10.3and Figure 10.5.)
JG Tey are par o my hinking process. Aer he preliminary meeings are
over, I go o my sudio and work ou he srucure o he graphic in a rough orm.I nd ha in pencil I can jus do a rough version, arrange he elemens as I wish,and hrow away whaever I eel is no relaed o he poins I wan o ge across.Teres virually nohing invesed in hose skeches.
I you ry o do somehing like ha in a compuer, you will somehow eelcommited o your rs ideas. Skeching ou using design soware requires a loo eor. Laer, when you go over your plans wih ediors, everyhing may needo change or some reason, maybe because he ocus o he sory has swiched.I you are enamored wih your own compuer graphics, hose ha ook so muchime o develop, you may eel resisan o change hem down he road.
In oher words: a rs, don jus draw a box in Adobe Illusraor and sarworking inside i. Tas a very bad way o sar: You make a lo o ar decisionsand hen rap yoursel ino hem. I consanly see graphics ha have been donelike ha. A big image or illusraion was pu in he middle rs and hen hedesigner ried o make all he oher elemens in he composiion work aroundi, insead o coming up wih a solid srucure ha would help ell he sory youneed o ell. Tis doesn happen when you work wih pen and paper beore youproceed o he arwork phase.
I ry o encourage my sudens a he School o Visual Ars o draw as many
skeches as possible, due o his atachmen acor ha everybody experiencesevery now and hen. Someimes hey eel inimidaed by hand drawing, bu I ellhem ha hey don need o be Leonardo da Vinci. Wha hey need o come upwih is no ar; hey don need o worry abou aesheics a his poin, bu abouhe srucure. In many cases, jus a bunch o very simple, rough, and badly drawnskeches made wih cheap pencils or crayons will sufce o help you undersand
Prole 1 the infographics gentleman 21
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
9/19
Sky Ceiling
Chandeliers
Skywalks
55
99
66
Chandeliers88
Tennis courts
Bridgeover ramps
Ticketwindows
11 Entrance
42NDSTREET
44
Informationbooth
22 Main Waiting Room
1111 Lower Concourse
33 Main ConcourseHalf-acreTennesseemarble floor
East Balcony
West Balcony
Upper train platforms
Lowertrain platforms
New East Staircase
West Staircase
One of threeplanned balconyrestaurants
CampbellApartment
Ramp
Vaultedceiling
77
Oyster Barramp
Escalators toMetLife Building
Patchleft uncleaned
1010Oyster Bar
To Lexington Passage To GraybarPassage
To Grand CentralMarket and LexingtonAvenue entrance
New restaurantsand bars
Ramp
Oyster Barramp
ore than just a gateway
to a great city, Grand
Central Terminal has
been reborn as a desti-
nation in its own right,replete with upscale shopping, restau-
rants, and, soon, even a green market.
Dont let the commuter crush deter you:
Begin your tour at the entrance on
42nd Street at Park Avenue, checking
your train time on the 13-foot-tall, gilt-
edged clock beneath Coutans sculpture
group Transportation.Proceed down the
entrance ramp, whose tilt is designed to
propelyou, heart pounding, to the
Main Waiting Room, temporarily home to
vendors of every stripe but soon to host
functions and public exhibitions. Directly
ahead, over a short bridge with freshly
quarried balustrades, lies the terminals
pice de rsistance, the Main Con-
coursedubbed the best big room in
America by the architectural press. Its
ceiling, at 122 feet, is higher than the nave
of Notre-Dame Cathedral in Paris. At the
center of the concourse sits the in-
formation booth with its four-sided brass
clock, kept perpetually in sync with the
atomic clock at the U.S. Naval Observa-
tory in Washington, D.C. Overhead is
the 2,500-star Sky Ceiling, whose au-
tumn-night constellations were originally
painted backward and never corrected.
Daylight brightens the concourse from
four-story windows at either end.
Concealed between the windows inner
and outer panes is a series of skywalks, or
glass-floored corridors, designed to access
a skyscraper that was never built; tours
sponsored by the Grand Central Partner-
ship permit access (212-818-1777). Head
for the Lower Concourse via the new-
ly excavated Oyster Bar ramps, open for
the first time since 1927and illuminated
by five gold-and-nickel-plated chan-
deliers, with 144 lightbulbs each (an
identical set graces the terminals north
balcony). Pause here for a new view of
the Sky Ceiling through the concourses
massive piers. At the base of the ramps,
the vaulted tile ceiling allows you to
face the wall in any corner and whisper
to someone standing in the opposite cor-
ner. Reward your exertions at the
Oyster Bar restaurant, whose classic oys-
ter stews and pan roasts are themselves
deserving of landmark statusor at
one of some 20 new restaurants on the
Lower Concourse. Return to the Main
Concourse level via the West Staircase.
WA L KTHIS WAY
11
22
33
44
55
66
77
88
99
11
M
Your guide to navigating the
new Grand Central
155G R A P H I C S B Y
John Grimw adeG R A P H I C S B Y
John Grimw ade
11
1010
Figure 10.4 Grand Central Terminal, 1998. Cond Nast Traveler, by John Grimwade. This
infographic is part of a feature that reported the completion of the Grand Central Terminal
restoration. At the time, I was walking through the building every day on my way to work, sothe reference was right in front of me. I used the simple approach of taking a cross-section
and manually projecting it backward. John Tomanio, who worked with me at Cond Nast
Traveler, solved my problems in getting the ceiling exactly right. He photographed it looking
straight up, and then projected the image onto the inside of a cylinder using a 3-D program.
the functional art220
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
10/19
Figure 10.5 Sketches for the Grand Central Terminal infographic.
Prole 1 the infographics gentleman 22
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
11/19
how o organize a sory, how o creae a good sequence o seps, and a good hi-erarchy in your layou.
Q Speaking of students, you are well known for your openness to give ad-
vice to beginners and help them develop their own styles. What would yourecommend to someone who is planning to pursue a career in information
graphics and visualization? What should that person study?
JG Tas very difcul quesion. I guess he challenge is ha you are asking meo hink backward. I learned o design inographics by working in a newsroom.Decades ago, I landed in a news publicaion and learned he cra on he job.
I would say, however, ha he rs skill you need o maser is o look agraphics wih a criical eye. Read newspapers, magazines, and exbooks; visiwebsies ha showcase inographics and visualizaions; and analyze i hey help
you undersand imporan maters. I hey don, hey are no good. Te nex hingwould be o reec on he changes ha would make hose presenaions ell clearermessages. And, i you have he ime, you can maybe even make hose changes.
You also have o ponder i you have he passion o ener his eld. Inograph-ics is no he easies ask. I migh look like i is bu i sure as hell isn. You needyears o sel-eaching and rial-and-error o maser he echniques and ools. Iyou don eel he drive o be absoluely meiculous abou research and comingo grips wih he sory, you jus can produce a good inormaion graphic. I youhink you are going o skim across he op and rea i like some kind o ar job,is very unlikely ha you are going o be much o a success. I don know how o
nd or uel ha kind o passion, hough.
Figure 10.6 One of the discarded illustrations made for the Seven Ages of the 747 project.
the functional art222
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
12/19
Figure 10.7
A spreadsheet and
early sketches and
layouts for the Medal
Exchange infographic
Q I would say this passion you talk about reminds me of the passion good
educators nourish. Its the need to be curious, to learn, and to tell others
about what you have learned. Journalists eel that kind o passion as well.
JG Is really a journalisic passion, yes. In ac, some o he bes people I have
worked wih used o be radiional journaliss unil hey realized he power ovisual soryelling. When you hink abou i, inographics and visualizaion arereally amazing ools or elling sories when used correcly, aren hey?
Prole 1 the infographics gentleman 22
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
13/19
Figure 10.8 Five Ages
of the 747. Cond Nast
Traveler, 2011, by John
Grimwade. Projects
often take big shifts
along the way. I was
originally thinking of a
y-past of 747s to show
the history, but every
angle we tried did not
clearly show the key
features of the new 747
aircraft that had beenannounced. The new
model is much longer
than the previous ones,
and it has dramatically
upswept wings. So
I moved to a more
conventional plan-like
display.
the functional art224
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
14/19
Prole 1 the infographics gentleman 22
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
15/19
Poland
Medals: 10
G.D.P.: $24
Podium Ind
ethioPia
Medals: 7
G.D.P.: $8 billion
Podium Index: 87.5
GeorGia
Medals: 4
G.D.P.: $5 billion
Podium Index: 80
belaruS
Medals: 15
G.D.P.: $23 billion
Podium Index: 65.2
bulGaria
Medals: 12
G.D.P.: $24 billion
Podium Index: 50
ukraine
Medals: 23
G.D.P.: $65 billion
Podium Index: 35.4
romania
Medals: 19
G.D.P.: $73 billion
Podium Index: 26
ruSSiaMedals: 92
G.D.P.: $582 billion
Podium Index: 15.8
hunGary
Medals: 17
G.D.P.: $100 billion
Podium Index: 17
Slovakia
Medals: 6
G.D.P.: $41 billion
Podium Index: 14.6
auStralia
Medals: 49
G.D.P.: $631 billion
Podium Index: 7.8
new ZealaMedals: 5
G.D.P.: $100 bi
Podium Index:
thailand
Medals: 8
G.D.P.: $163 billion
Podium Index: 4.9
netherlandS
Medals: 22
G.D.P.: $577 billion
Podium Index: 3.8
China
Medals: 63
G.D.P.: $1.7
Podium Ind
GreeCe
Medals: 16
G.D.P.: $203 billion
Podium Index: 7.9
Podium index= x 10G.D.P. in billions
Number of medals
G.D.P. of less than $100 billion
G.D.P. of $100 bil lion to $1 tril lion
G.D.P. of more than $1 trillion
ke y
5 8 Cn Na Pf . A . 0 8
Figure 10.9 MedalExchange. Cond Nast
Portfolio, 2008, by John
Grimwade: This is an
interesting approach to
covering the Olympics
in a business magazine
just before the Beijing
games. Were all used to
the conventional medals
table, but what happens
if the Athens medals
total is divided by the
GDP of the country?
Then we see who did
the most with the least
resources. Ethiopia is
the winner. The U.S. and
Japan are way down the
list.
the functional art226
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
16/19
demyst i f i er
SPain
Medals: 19
G.D.P.: $991 billion
Podium Index: 1.9
Germany
Medals: 49
G.D.P.: $2.7 trillion
Podium Index: 1.8
italy
Medals: 32
G.D.P.: $1.7 trillion
Podium Index: 1.9
iran
Medals: 6
G.D.P.: $163 billion
Podium Index: 3.7
turkey
Medals: 10
G.D.P.: $302 billion
Podium Index: 3.3
auStria
Medals: 7
G.D.P.: $290 billion
Podium Index: 2.4
norway
Medals: 6
G.D.P.: $250 billion
Podium Index: 2.4
FranCe
Medals: 33
G.D.P.: $2 trillion
Podium Index: 1.7
braZil
Medals: 10
G.D.P.: $605 billion
Podium Index: 1.7
britain
Medals: 30
G.D.P.: $2.1 trillion
Podium Index: 1.4
united StateS
Medals: 102
G.D.P.: $11.7 trillion
Podium Index: 0.9
Canada
Medals: 12
G.D.P.: $980 billion
Podium Index: 1.2
jaPan
Medals: 37
G.D.P.: $4.6 trillion
Podium Index: 0.8
Sweden
Medals: 7
G.D.P.: $346 billion
Podium Index: 2.0
Do wealthier countries take home moreOlympic medals? Conventional wisdomsuggests that they would. Its no secret that
having the fnancial resources to invest in humanpotential leads to success: The U.S. is the richestcountry in the world and has won more Olympicmedals than any other nation. But i you introducesome elementary math and divide a countrys medal
tally by its gross domestic product, the numbersrearrange themselves dramatically. Ethiopias track-and-feld victories lit the poverty-stricken state to
the top o the pile, while economic powerhouseslike Japan, France, and the U.S. fnish near the bot-tom. Heres a look at our surprising results, basedon medal counts rom the 2004 Summer Games in
Athens and G.D.P. data rom the same year.
Medal ExchangeSure, the worlds economic powerhouses dominate the Olympics. Or do they?
. . .
by Jessica Liebman
i l l u s t r A t i o N b y b r y A N C h r i s t i e d e s i g N
Prole 1 the infographics gentleman 22
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
17/19
7/27/2019 Interview With John Grim Wade
18/19
Figure 10.10 The Manhattan Project,
Cond Nast Traveler, 2002, by John Grimwade.
One year after the September 11 attacks,
we ran a feature reminding our readers that
the downtown area of Manhattan still had a
lot to offer. It has stylized buildings, whereI tried to capture the essence of the build-
ing rather than aerial-photograph accuracy,
and a clear street grid. This is very much my
graphic approach to making maps: Remove
the unnecessary detail, and focus on the
story. In 2003, I reworked the map into a
different format for a handout at the Society
of Publication Designers conference. (See
Figure 10.11 to see the second map.)
:
q --- ? 3
&
-
Prole 1 the infographics gentleman 22
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
7/27/2019 Interview With John Grim Wade
19/19
Figure 10.11 A redesign of The Manhattan Project for the Society of Publication
Designers conference, in 2003.
WEST
ST
.
BROADW
AY
C O E N T I E S
S L I P
STATEST
.
WILL
IAM
EXCHANGEPL.
F I N A N C I A L D I S T R I C T
NORTH
END
AVE
.
SOUTH
END
AVE
.
WoolworthBuilding
Duane St.Park
WashingtonMarket Park
Columbus Park
NorthCove
SouthCove
Century 21
Ecco
Azafran
WorldFinancialCenter
1 WFC
2 WFC
3 WFC4 WFC
WINTER GARDEN
Pavilion
St. PaulsChapel
140Broadway
FrauncesTavern
TrinityChurch
New YorkStock Exchange
FederalHall
PekingWavertree
Museum ofJewish Heritage
Robert F.Wagner, Jr.
Park
Governor Nelson A.Rockefeller Park
Brooklyn Bridge
Castle Clinton
Staten IslandFerry
Regular Statue ofLiberty and Ellis IslandFerry leaves from here
FERRY
TO GALA
Bowling Green
U.S.CustomHouse
U.S.Post Office
Original site ofThe Sphere
New York CityPolice Museum
Proposed site ofFrank Gehry-designedGuggenheimMuseum
NationalMuseum ofthe American Indian
City Hall
TweedCourthouse
MunicipalBuilding
WARRENST.
B A T T E R Y P A R K
B A T T E R Y P A R K C I T Y
B A T T E R Y P A R K
C I T Y
T R I B E C A
ESPLANADE
ESPLANADE
CITY HALL
PARK
CHAMBERSST.
READEST.
DUANEST.
CENTR
EST.
THOMASST.
WORTHST.
LEONARDST.
FRANKLINST.
WHITEST.
WALKERST.
LISPENARDST.
FRANKLINST.HARRISONST.
N. MOOREST.
CANALS
T.
MURRAYST.
ALBANYST.
WESTTHAM
ESST.
GREENWICH
ST.
GREENW
ICH
ST.
HUDS
ON
ST
.
W
EST
ST.
WEST
ST.
BATTERYPL.
BROADWAY
WAT
ERST.
WAT
ERST.
SOUTH
ST.
FRON
TST
.
NASSAU
ST.
PARKROW
GOLD
ST.
STON E ST.
BRI DG E ST.
BEAVERS
T.
PEARL
ST.
PEAR
LST.
SOUT
HST.
CHURCH
ST
.
CHURCH
ST.
WESTBROADW
AY
WEST
BROADWAY
VESEYST.
LIBERTYST.
WALLST.
WALLST.
PINES
T.
FULTO
NST.
LIBERTY
ST.
L
ANNST.
BEEKMANST.
WILLIAM
ST.
FULTONST.
JOHNS
T.
OLDSLIP
20 ExchangePlace
70 PineStreet
40 WallStreet
Old AT&TBuilding
Danube
Nam
Le Zinc
Odeon
LittlePlace
Bayards
The Harrison
Tribeca Grill
Pier 25
Yankee
Chanterelle
Montrachet
Nancy WhiskeyPub
No MoorePearl Paint
Nobu
Pico
New YorkUnearthed
IrishHunger
Memorial
FederalReserveBank
South StreetSeaport Museum
SOUTH STREETSEAPORT
HISTORIC DISTRICT
E A S T R I V E RE A S T R I V E R
Shoofly
MosaicIsseyMiyake
SecondhandRose
Anbar Shoes
J&R Music World
RITZ-CARLTON
BATTERY PARK
PIER A
0 100
YARDS
200 N
BROAD
ST.
H U D S O N R I V E RH U D S O N R I V E R
Recovered fromGround Zero.
The Sphere
CITY HA
PINE
T
ST
.
R A I
I N I A I
B PA
C I
C H I N A T O W N
S O H O
GROUND ZERO
Pavilion
BAR-B-Q
OPENING RECEPTION
AWARDS GALA
CONFERENCE
1
0
MI
NUTES
Museum ofAmericanFinancialHistory
15MIN
UTE
S
Bouley
Gigino
StrandBookstoreAnnex
JoesShanghai
Attractions
K EY
Restaurants
Cocktails
Shopping
Many city parks in Lower Manhattan are wi-fi-accessible
Soho GrandHotel
TribecaGrandHotel
WAL
BARCLAYST.
LIBERTYISLAND
Statue ofLiberty
ELLIS
ISLAND
E Y
S O
I N A N
South StreetSeaport
40
46
44
32
36
3523
34
49
24
22
31
33
28
48
4225
29
20
45
43
10
8
21
3
1
17
12
13
16
18
9
7
5
26
51
50
2
14
6
11
4
19
15
39
3837
27
47
41
30
the functional art230