When people browse online news, small thumbnail images accompanying links to articles attract their attention and help them to decide which articles to read. As an increasing proportion of online news can be construed as data journalism, we have witnessed a corresponding increase in the incorporation of visualization in article thumbnails. However, there is little research to support alternative design choices for visualization thumbnails, which include resizing, cropping, simplifying, and embellishing charts appearing within the body of the associated article. We therefore sought to better understand these design choices and determine what makes a visualization thumbnail inviting and interpretable. This paper presents our findings from a survey of visualization thumbnails collected online and from conversations with data journalists and news graphics designers. Our study reveals that there exists an uncharted design space, one that is in need of further empirical study. Our work can thus be seen as a first step toward providing structured guidance on how to design thumbnails for data stories.
Guidelines for designing information charts (such as bar charts) often state that the presentation should reduce or remove 'chart junk' - visual embellishments that are not essential to understanding the data. In contrast, some popular chart designers wrap the presented data in detailed and elaborate imagery, raising the questions of whether this imagery is really as detrimental to understanding as has been proposed, and whether the visual embellishment may have other benefits. To investigate these issues, we conducted an experiment that compared embellished charts with plain ones, and measured both interpretation accuracy and long-term recall. We found that people's accuracy in describing the embellished charts was no worse than for plain charts, and that their recall after a two-to-three-week gap was significantly better. Although we are cautious about recommending that all charts be produced in this style, our results question some of the premises of the minimalist approach to chart design. Annotation plays an important role in conveying key points in visual data-driven storytelling; it helps presenters explain and emphasize core messages and specific data. However, the visualization research community has a limited understanding of annotation and its role in data-driven storytelling, and existing charting software provides limited support for creating annotations. In this paper, we characterize a design space of chart annotations, one informed by a survey of 106 annotated charts published by six prominent news graphics desks. Using this design space, we designed and developed ChartAccent, a tool that allows people to quickly and easily augment charts via a palette of annotation interactions that generate manual and data-driven annotations. We also report on a study in which participants reproduced a series of annotated charts using ChartAccent, beginning with unadorned versions of the same charts. Finally, we discuss the lessons learned during the process of designing and evaluating ChartAccent, and suggest directions for future research.   Reading a visualization can involve a number of tasks such as extracting, comparing or aggregating numerical values. Yet, most of the charts that are published in newspapers, reports, books, and on the Web only support a subset of these tasks. In this paper we introduce graphical overlays-visual elements that are layered onto charts to facilitate a larger set of chart reading tasks. These overlays directly support the lower-level perceptual and cognitive processes that viewers must perform to read a chart. We identify five main types of overlays that support these processes; the overlays can provide (1) reference structures such as gridlines, (2) highlights such as outlines around important marks, (3) redundant encodings such as numerical data labels, (4) summary statistics such as the mean or max and (5) annotations such as descriptive text for context. We then present an automated system that applies user-chosen graphical overlays to existing chart bitmaps. Our approach is based on the insight that generating most of these graphical overlays only requires knowing the properties of the visual marks and axes that encode the data, but does not require access to the underlying data values. Thus, our system analyzes the chart bitmap to extract only the properties necessary to generate the desired overlay. We also discuss techniques for generating interactive overlays that provide additional controls to viewers. We demonstrate several examples of each overlay type for bar, pie and line charts. As data visualization becomes further intertwined with the field of graphic design and information graphics, small graphical alterations are made to many common chart formats. Despite the growing prevalence of these embellishments, their effects on communication of the charts' data is unknown. From an overview of the design space, we have outlined some of the common embellishments that are made to bar charts. We have studied the effects of these chart embellishments on the communication of the charts' data through a series of user studies on Amazon's Mechanical Turk platform. The results of these studies lead to a better understanding of how each chart type is perceived, and help provide guiding principles for the graphic design of charts. This paper reports on a between-subject, comparative online study of three information visualization demonstrators that each displayed the same dataset by way of an identical scatterplot technique, yet were different in style in terms of visual and interactive embellishment. We validated stylistic adherence and integrity through a separate experiment in which a small cohort of participants assigned our three demonstrators to predefined groups of stylistic examples, after which they described the styles with their own words. From the online study, we discovered significant differences in how participants execute specific interaction operations, and the types of insights that followed from them. However, in spite of significant differences in apparent usability, enjoyability and usefulness between the style demonstrators, no variation was found on the self-reported depth, expert-rated depth, confidence or difficulty of the resulting insights. Three different methods of insight analysis have been applied, revealing how style impacts the creation of insights, ranging from higher-level pattern seeking to a more reflective and interpretative engagement with content, which is what underlies the patterns. As this study only forms the first step in determining how the impact of style in information visualization could be best evaluated, we propose several guidelines and tips on how to gather, compare and categorize insights through an online evaluation study, particularly in terms of analyzing the concise, yet wide variety of insights and observations in a trustworthy and reproducable manner. In this paper we move beyond memorability and investigate how visualizations are recognized and recalled. For this study we labeled a dataset of 393 visualizations and analyzed the eye movements of 33 participants as well as thousands of participant-generated text descriptions of the visualizations. This allowed us to determine what components of a visualization attract people's attention, and what information is encoded into memory. Our findings quantitatively support many conventional qualitative design guidelines, including that (1) titles and supporting text should convey the message of a visualization, (2) if used appropriately, pictograms do not interfere with understanding and can improve recognition, and (3) redundancy helps effectively communicate the message. Importantly, we show that visualizations memorable “at-a-glance” are also capable of effectively conveying the message of the visualization. Thus, a memorable visualization is often also an effective one.  In written and spoken communications, figures of speech (e.g., metaphors and synecdoche) are often used as an aid to help convey abstract or less tangible concepts. However, the benefits of using rhetorical illustrations or embellishments in visualization have so far been inconclusive. In this work, we report an empirical study to evaluate hypotheses that visual embellishments may aid memorization, visual search and concept comprehension. One major departure from related experiments in the literature is that we make use of a dual-task methodology in our experiment. This design offers an abstraction of typical situations where viewers do not have their full attention focused on visualization (e.g., in meetings and lectures). The secondary task introduces “divided attention”, and makes the effects of visual embellishments more observable. In addition, it also serves as additional masking in memory-based trials. The results of this study show that visual embellishments can help participants better remember the information depicted in visualization. On the other hand, visual embellishments can have a negative impact on the speed of visual search. The results show a complex pattern as to the benefits of visual embellishments in helping participants grasp key concepts from visualization. Although the infographic and design communities have used simple pictographic representations for decades, it is still unclear whether they can make visualizations more effective. Using simple charts, we tested how pictographic representations impact (1) memory for information just viewed, as well as under the load of additional information, (2) speed of finding information, and (3) engagement and preference in seeking out these visualizations. We find that superfluous images can distract. But we find no user costs -- and some intriguing benefits -- when pictographs are used to represent the data. An ongoing debate in the Visualization community concerns the role that visualization types play in data understanding. In human cognition, understanding and memorability are intertwined. As a first step towards being able to ask questions about impact and effectiveness, here we ask: 'What makes a visualization memorable?' We ran the largest scale visualization study to date using 2,070 single-panel visualizations, categorized with visualization type (e.g., bar chart, line graph, etc.), collected from news media sites, government reports, scientific journals, and infographic sources. Each visualization was annotated with additional attributes, including ratings for data-ink ratios and visual densities. Using Amazon's Mechanical Turk, we collected memorability scores for hundreds of these visualizations, and discovered that observers are consistent in which visualizations they find memorable and forgettable. We find intuitive results (e.g., attributes like color and the inclusion of a human recognizable object enhance memorability) and less intuitive results (e.g., common graphs are less memorable than unique visualization types). Altogether our findings suggest that quantifying memorability is a general metric of the utility of information, an essential step towards determining how to design effective visualizations. While information visualization frameworks and heuristics have traditionally been reluctant to include acquired codes of meaning, designers are making use of them in a wide variety of ways. Acquired codes leverage a user's experience to understand the meaning of a visualization. They range from figurative visualizations which rely on the reader's recognition of shapes, to conventional arrangements of graphic elements which represent particular subjects. In this study, we used content analysis to codify acquired meaning in visualization. We applied the content analysis to a set of infographics and data visualizations which are exemplars of innovative and effective design. 88 of the infographics and 71 of data visualizations in the sample contain at least one use of figurative visualization. Conventions on the arrangement of graphics are also widespread in the sample. In particular, a comparison of representations of time and other quantitative data showed that conventions can be specific to a subject. These results suggest that there is a need for information visualization research to expand its scope beyond perceptual channels, to include social and culturally constructed meaning. Our paper demonstrates a viable method for identifying figurative techniques and graphic conventions and integrating them into heuristics for visualization design. 