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.
The Points of Significance column is on vacation this month.
Meanwhile, we're showing you how to manage small multiple plots in the Points of View column Unentangling Complex Plots.
Data in small multiples can vary in range, noise level and trend. Gregor McInerny and myself show you how you can deal with this by cropped and scaling the multiples to a different range to emphasize relative changes while preserving the context of the full data range to show absolute changes.
McInerny, G. & Krzywinski, M. (2015) Points of View: Unentangling complex plots. Nature Methods 12:591.
The Jurassic World Creation Lab webpage shows you how one might create a dinosaur from a sample of DNA. First extract, sequence, assemble and fill in the gaps in the DNA and then incubate in an egg and wait.
With enough time, you'll grow your own brand new dinosaur. Or a stalk of corn ... with more teeth.
What went wrong? Let me explain.
You've seen bound volumes of printouts of the human reference genome. But what if at the Genome Sciences Center we wanted to print everything we sequence today?
I was commissioned by Scientific American to create an information graphic based on Figure 9 in the landmark Nature Integrative analysis of 111 reference human epigenomes paper.
The original figure details the relationships between more than 100 sequenced epigenomes and genetic traits, including disease like Crohn's and Alzheimer's. These relationships were shown as a heatmap in which the epigenome-trait cell depicted the P value associated with tissue-specific H3K4me1 epigenetic modification in regions of the genome associated with the trait.
As much as I distrust network diagrams, in this case this was the right way to show the data. The network was meticulously laid out by hand to draw attention to the layered groups of diseases of traits.
This was my second information graphic for the Graphic Science page. Last year, I illustrated the extent of differences in the gene sequence of humans, Denisovans, chimps and gorillas.