The images shown here were created as part of my ASCII Art project, which extends ASCII art to include
Applying the code to images of Hitchens was motivated by my own deep love of Hitchens and a typographic portrait of Christopher Hitchens, created out of Gill Sans letters by Miles Chic at Capilano University.
All images are generated using Gotham, with up to 8 weights (Extra Light to Ultra). Each image includes size and characters used for the image. I give the absolute type size, though only useful to know in relative terms to the size of the image and other images drawn with the same method. The color of text in each layer is the same—black— but font weight may vary.
As the font size is reduced, greater detail and contrast can be achieved.
By setting the image with a fixed string, such as a short quote or longer body of text, detail is lost but the ASCII representation takes on more meaning.
Images take on detail when multiple rotated layers of text is used. Each of the images below is composed of more than one layer, starting with a 2-layer image which uses the uppercase alphabet at 0 and 90 degrees.
Meaning can be added to the image by using different text in each layer. In the examples below, I set the same image using the pair "Godisnotgreat" (at 0 degrees) and "religionpoisonseverything" (at 90 degrees). In the second example, I use the unlikely combination of "Jesus" and "Mohammad"—inspired by Jesus and Mo.
When rotated layers contain punctuation, very high level of detail can be achieved.
The image below is made out of layers that contain only forward (/) and back (\) slashes.
The image below is made using only the period character in three layers rotated at -45, 0 and 45 degrees. Although the image looks like a pixelated version of the original—it is more than that. It is a typeset representation that uses 8 weights of Gotham. Character spacing between periods is informed by font metrics.
The three images below show the difference between using a variety of punctuation characters and setting an image using a block of text. The first image uses "8 X x" and common punctuation.
I use hitchslap 9 for the first image below, and all the hitchslaps for the second image. When setting an image in using a block of text, the choice of character at any position is fixed and only the font weight is allowed to vary. When the text is relatively short (e.g. hitchslap 9 is 544 characters and is repeated 50 times in the image), rivers of space appear in the image.
When an image of text is set with the text itself, you have recursive ASCII art. Below is hitchslap 2, set with itself. In the image, the font is Gotham and the text used to asciify the image is also Gotham.
It makes ordinary moral people, compels them, forces them, in some cases orders them do disgusting wicked unforgivable things. There's no expiation for the generations of misery and suffering that religion has inflicted in this way and continues to inflict. And I still haven't heard enough apology for it. — Christopher Hitchens
The quote is 307 characters long and is repeated 391 times in the image.
In principle, the process of asciifying text with text can be repeated, by using the asciified image as input for asciification with progressively smaller text.
Another collection of typographical posters. These ones really ask you to look.
The charts show a variety of interesting symbols and operators found in science and math. The design is in the style of a Snellen chart and typset with the Rockwell font.
In collaboration with the Phil Poronnik and Kim Bell-Anderson at the University of Sydney, I'm delighted to share with you our 8-part video series project about thinking about drawing data and communicating science.
We've created 8 videos, each focusing on a different essential idea in data visualization: encoding, shapes, color, uncertainty, design, drawing missing or unobserved data, labels and process.
The videos were designed as teaching materials. Each video comes with a slide deck and exercises.
This month is our first of a two-part article about P values. Here we look at 'P value hacking' and 'data dredging', which are questionable practices that invalidate the correct interpretation of P values.
We also illustrate how P values can lead us astray by asking "What is the smallest P value we can expect if the null hypothesis is true but we have done many tests, either explicitly or implicitly?"
Incidentally, this is our first column in which the standfirst is a haiku.
Altman, N. & Krzywinski, M. (2017) Points of Significance: P values and the search for significance. Nature Methods 14:3–4.
Krzywinski, M. & Altman, N. (2013) Points of significance: Significance, P values and t–tests. Nature Methods 10:1041–1042.
Appeal to intuition when designing with value judgments in mind.
Figure clarity and concision are improved when the selection of shapes and colors is grounded in the Gestalt principles, which describe how we visually perceive and organize information.
The Gestalt principles are value free. For example, they tell us how we group objects but do not speak to any meaning that we might intuitively infer from visual characteristics.
This month, we discuss how appealing to such intuitions—related to shapes, colors and spatial orientation— can help us add information to a figure as well as anticipate and encourage useful interpretations.
Krzywinski, M. (2016) Points of View: Intuitive Design. Nature Methods 13:895.