Minggu, 27 Februari 2011

[Q976.Ebook] Ebook Free The Visual Display of Quantitative Information, by Edward R. Tufte

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The Visual Display of Quantitative Information, by Edward R. Tufte

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The Visual Display of Quantitative Information, by Edward R. Tufte

The classic book on statistical graphics, charts, tables. Theory and practice in the design of data graphics, 250 illustrations of the best (and a few of the worst) statistical graphics, with detailed analysis of how to display data for precise, effective, quick analysis. Design of the high-resolution displays, small multiples. Editing and improving graphics. The data-ink ratio. Time-series, relational graphics, data maps, multivariate designs. Detection of graphical deception: design variation vs. data variation. Sources of deception. Aesthetics and data graphical displays. This is the second edition of The Visual Display of Quantitative Information. Recently published, this new edition provides excellent color reproductions of the many graphics of William Playfair, adds color to other images, and includes all the changes and corrections accumulated during 17 printings of the first edition.

  • Sales Rank: #9883 in Books
  • Published on: 2001-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x 9.00" w x 1.00" l, 2.20 pounds
  • Binding: Hardcover
  • 200 pages

Most helpful customer reviews

49 of 52 people found the following review helpful.
Sets the stage for all information architects
By Thomas Schultz
This book will teach you some basics on how to most effectively present quantitative information using various sorts of graphs and charts. Afterwards you will know how and why you should get rid of chart junk (gridlines, tick marks, ornaments, etc.) or alternatively using some of the examples on bad design presented, you will see how to manipulate your audience using the "Lie Factor". Actually the advice given in this book could easily fit within just one piece of paper, but then: This book is simply beautiful. It is state of the art for printed books, you almost feel a passion for it. Mr. Tufte takes his own medicine: No words in this book are superfluous. Illustrations and examples are carefully selected and reprinted with the utmost care. It takes no more than some hours to read the book, but afterwards you can use more than just a few hours to study the examples of timeless graphic displays. The only reason why this book is short of five stars is the following: Mr. Tufte uses quite some space providing statistics about charts found in different publications (chart junk percentages, lie factor. Personally I find this information fairly irrelevant and would have preferred more examples of chart remakes. However this book is definately still a MUST have!

0 of 0 people found the following review helpful.
Interesting, but sometimes strange
By Michael
It goes without saying that this one of the books you "must read" if you have anything to do with charts and graphs.

The book is wonderful as a selective romp through a history of graphics, and is correct in constantly hammering home the point that clarity in graphics is key, and that the ratio of data-ink to non-data-ink should be high (an interesting measure).

But significant parts of the book simply come across as eccentric, at best.

Tufte advocates data on a world map that nearly stretches around the world twice (p99) -- a little overlap is useful, but this goes far overboard.

He makes truly bizarre suggestions on using barely-visible line "offsets" and barely visible line-gaps to express quartile data (p124). I can barely make out the key information on his perfectly printed page, and can guarantee that any reproduction either by overhead projector or by Xerox would render his "preferred form" utterly useless. This section alone makes me question his judgment throughout the rest of the book.

And then his section on sparklines (pp 172-174) seems to be a jarring bit of self-promotion. He extolls their virtues, but I don't recall ever coming across them in print or on the web -- they just don't seem useful enough to warrant three enthusiastic pages in this book.

In sum, I'd say the main value in this book is as a beautiful compendium of varied graphical examples throughout history. In contrast, Tufte's analysis and recommendations seem overly wordy and at times misguided. I was honestly surprised -- from such a famous book, I was truly expecting more.

3 of 3 people found the following review helpful.
Data decorators, data-ink, instant chartjunk, and naked women
By Abhinav Agarwal
Perhaps the single most accessible book on data visualizations. You are given a tour of the history of visualizations, the seminal contributions of people such as Playfair, Tukey, and others, a rogues' gallery of sorts of awful visualizations, a peek into small-multiples visualizations, and an exposition of the principles of good graphic design and visualizations. A must-have book for anyone interested in good data visualizations.

Tufte's contention is that a lack of adequate knowledge and expertise and a mistaken notion about numbers are to blame for bad visualizations. The principles of good visualizations, on the other hand, are few and simple. The book is all about exposing bad examples and enunciating these good principles, beautifully illustrated with examples, and printed on excellent quality paper.

Suggested Reading:
-----------------
Supplement this excellent book with at least the following, if you are interested in digging deeper into the area of data visualizations:
- Information Visualization, Second Edition: Perception for Design (Interactive Technologies)
- Information Dashboard Design: The Effective Visual Communication of Data

The rest of the review can be best told, in my opinion, through quotes from the book:
---------------------------------------------------------
"The theory of the visual display of quantitative information consists of principles that generate design options... The principles should not be applied rigidly or in a peevish spirit... and it is better to violate any principle than to place graceless or inelegant marks on paper. Most principles of design should be greeted with some skepticism." [page 191]

While seemingly a trivial matter, the issue of the size of charts, whether they should be tall or horizontal, Tufte states that "Graphics should tend toward the horizontal, greater in length than height..." and "Many graphics plot, in essence (cause and effect) and a longer horizontal helps to elaborate the workings of the causal variable in more detail." [pages 186, 187]

Time-series displays are at their best for big data sets with real variability. [page 30]

Chapter 2, "Graphical Identity" Is a stunning collection of graphs that distort, lie, deceive, and exhibit all manners of skills other than those required for data visualizations.
"Much of twentieth-century thinking about statistical graphics has been preoccupied with the question of how some amateurish chart might fool the naive viewer. ... At the core of the preoccupation with deceptive graphics was the assumption that data graphics were mainly devices for showing the obvious to the ignorant. ... The assumption led down two fruitless paths in the graphically barren years from 1930 to 1970: First, that graphics had to be "alive", "communicatively dynamic," overdecorated and exaggerated.. Second, that the main task of graphical analysis was to detect and denounce deception." [page 53]

"A graphic does not distort if the visual representation of the data is consistent with the numerical representation." [page 55]
Which leads to his definition of the term, "Lie Factor", which he defines as the "size of the effect shown in graphic" divided by "size of effect in chart".

"Another way to confuse data variation with design variation is to use areas to show one-dimensional data" [page 69]
An example cited is the depiction of "the rate of inflation", for which, "graphs show currency shrinking on two dimensions, even though the value of money is one-dimensional." [page 70]

A very important observation quoted in Chapter 3 comes from Howard Weiner - "Perhaps the reason is an increase in the perceived need for graphs ... without a concomitant increase in training in their construction." [page 79]
Tufte elaborates: "Nearly all those who produce graphics for mass publication are trained exclusively in the fine arts and have had little experience with the analysis of data. ..." "... many graphic artists believe that statistics are boring and tedious. It then follows that decorated graphics must pep up, animate, and all too often exaggerate what evidence there is in the data." [page 79]
And "The doctrine of boring data serves political ends, helping to advance certain interests over others in bureaucratic struggles for control of a publication's resources. ... as the art bureaucracy grows, style replaces content. And the word people, having lost space in the publication to data decorators, console themselves... " [page 80]

Tufte defines "data-ink" in Ch 4 ("Theory of Data Graphics") as "the non-erasable core of a graphic, the non-redundant ink arranged in response to variations in the numbers represented
Data-ink ration = data-ink / total ink used to print the graphic" [page 93]
So, it should not come as a surprise, when Tufte takes a single bar with a value label at the top of the bar, and states that "the labeled, shaded bar of the bar chart, for example, unambiguously locates the altitude in size separate ways." [page 96].

Chapter 5 - "Charkjunk: Vibrations, Grids, and Ducks" is perhaps the most humorous chapter, as the title itself suggests. A quote from Johnathan Swift, indicting 17th-century cartographers, says it all - "With save pictures fill their gaps, And o'er unhabitable downs, Place elephants for want of towns." [page ] ouch!

"This may well be the worst graphic ever to find its way into print:" [page 118] refers to a "series of weird three-dimensional displays appearing in the magazine American Education in the 1970s (that) delighted connoisseurs of the graphically preposterous. Here five colors report, almost by happenstance, only five pieces of data..." [page 118]

You may not, and I certainly did not agree with Tufte's suggestions for maximizing the data-ink efficiency of the box-plot, in the chapter on "Data-ink Maximization", but they are worth examining nonetheless. However, his redesign of the bar chart, with a border and other accouterments, on pages 126-128, are excellent.

Many examples of bad visualizations cited in the book are from the "New York Times", so it is sort of reassuring when you see that the quality of visualizations on the NYT has improved a lot, and are frequently the objects of animated discussions. There may be hope, after all.

The review title, explained, at least part thereof:
--------------------------------------------------
And what about that slightly inappropriate word in the title of the review?
Tufte writes that an art director with overall responsibility for the design of over 3,000 graphics annually had this to say - "graphics are intended to more to lure the reader's attention away from the advertising than to explain the news in any detail. 'Unlike the advertisements,' he said, 'at least we don't put naked women in our graphics.' " [page 80] We must be all thankful for small mercies, I suppose.

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Senin, 14 Februari 2011

[A330.Ebook] Free PDF Chinese Watercolor Techniques For Exquisite Flowers, by Lian Quan Zhen

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Chinese Watercolor Techniques For Exquisite Flowers, by Lian Quan Zhen

East meets West

Combine Chinese and Western painting techniques to create beautiful flower paintings.

In this beautifully illustrated book, two proud traditions mix and mingle to create fresh watercolor expressions. Learn how to infuse your flowers with new life using a combination of traditional Chinese brush painting and Western watercolor techniques.

  • 80 pages of exciting step-by-step watercolor demonstrations
  • 16 popular flowers, 8 of them in both Western and Eastern styles
  • Traditional Chinese painting materials and techniques
  • 4 creative variations for further experimentation

Lian Quan Zhen makes Eastern art ideas and techniques accessible and approachable. Written with both beginning and advanced artists in mind, the lessons in this book will sharpen your sense of composition, enrich your use of color and help you capture the essence of your flower subjects.

  • Sales Rank: #484255 in Books
  • Brand: Grantham Books
  • Published on: 2009-02-06
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: .60" h x 8.80" w x 11.00" l, 1.70 pounds
  • Binding: Hardcover
  • 128 pages
Features
  • Example Bullet Point 1
  • Example Bullet Point 2

About the Author
Lian Zhen was born in Canton, China, and started sketching and painting when he was 10 years old. He received a B.A. from the University of California at Berkeley in 1992 and his Masters degree in Architecture from MIT in 1996. His art teaching experience includes eight years at the University of California at Berkeley, where he taught watercolor outdoor sketching. He also teaches watercolor and Chinese painting workshops internationally. To see more of Lian's work, visit www.lianspainting.com.

Most helpful customer reviews

24 of 24 people found the following review helpful.
Another excellent book by Lian Zhen
By Mary Beth Zeni
Lian Zhen has again written another excellent book on traditional Chinese painting techniques and his unique style of merging Chinese painting methods with western watercolor. This book will provide hours of instruction and inspiration for all levels of artists - from beginner to advanced. The book includes detailed information about materials, basic techniques, Chinese painting composition, 13 flower demonstrations, and 4 experimental Chinese painting techniques. Eight of the 13 flower demonstrations include step-by-step instructions for both Chinese and western watercolor methods so one can compare and contrast the two methods. The book, like Lian Zhen's seminars, will assit you to find and develop your style as a painter.

9 of 9 people found the following review helpful.
Chinese Watercolor Techniques
By Mrs. Erika Kussmann
This book not only takes some of the mystery out of chinese brush painting, but also explains the philosophy behind the beautiful work. It is most helpfull to those of us who paint impressionistic watercolors in the western style and are trying to free ourselves of overpainting with too much detail ie. to find and paint "the essence." A great book!

0 of 0 people found the following review helpful.
Chinese Brush Painting
By Ronald K. Ridley
I have lots of Chinese brush painting books. I love the pictures in this book and they are easy to fellow. I taught Chinese brush painting in the High School at night and used some of the subjects in this book as well as lessons that I took from Lian Zhen.

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Selasa, 08 Februari 2011

[B631.Ebook] Download PDF 35 exercices pour s'entraîner (French Edition)From Belin

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35 exercices pour s'entraîner (French Edition)From Belin

  • Original language: French
  • Dimensions: 6.89" h x .39" w x 9.65" l,
  • Binding: Paperback

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Rabu, 02 Februari 2011

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This book is an elementary treatment of engineering hydrology with descriptions that aid in a qualitative appreciation and techniques which enable a quantitative evaluation of the hydrologic processes that are of importance to a civil engineer. It focuses on the Indian scenario of water resources with orientation to tropical climates. The Comprehensive coverage and clear explanations of topics with authentic and updated statistical data is the key feature of the book.

  • Sales Rank: #1499863 in eBooks
  • Published on: 2013-03-22
  • Released on: 2013-03-22
  • Format: Kindle eBook

About the Author
"K Subramanya is a retired Professor of Civil Engineering at the Indian Institute of Technology, Kanpur. He obtained his bachelor’s degree in Civil Engineering from Mysore University and a master’s degree from the University of Madras. Further, he obtained another master’s degree and PhD degree from the University of Alberta, Edmonton, Canada. He has taught at IIT Kanpur for over 30 years and has extensive teaching and research experience in the area of Fluid Mechanics, Hydrology and Hydraulic Engineering. During his tenure at IIT Kanpur, Prof. Subramanya worked as Visiting Faculty at the Asian Institute of Technology, Bangkok, and at Concordia University, Montreal, Canada, for a short while. He has authored several successful books for McGraw Hill Education (India). Besides the current book, his other books include Flow in Open Channels; Fluid Mechanics and Hydraulic Machines–Problems and Solutions; and Hydraulic Machines. Dr Subramanya has published over eighty technical papers in national and international journals and conferences. He is a Fellow of the Institution of Engineers (India), Fellow of the Indian Society for Hydraulics, Member of Indian Society for Technical Education and Member, Indian Water Resources Association. Currently, Prof. Subramanya resides in Bangalore and is active as a practicing consultant in Water Resources Engineering. "

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