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We've drifted into this presentation mode without realizing the cost to the content and the audience in the process.

Edward Tufte

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Edward Tufte
Age: 82
Born: 1942
Born: March 14
Computer Scientist
Graphic Designer
Political Scientist
Sculptor
Statistician
University Teacher
Writer
Kansas City
Missouri
Edward R. Tufte
Edward Rolfe Tufte
Edward Rolf Tufte
Cost
Realizing
Audience
Process
Without
Drifted
Presentation
Mode
Content

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If you like overheads, you'll love PowerPoint.
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I am certainly not an intellectual relativist, nor a moral relativist.
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There are only two industries that refer to their customers as 'users'.
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The idea is that the content is the interface, the information is the interface, not computer-administrative debris.
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Allowing artist-illustrators to control the design and content of statistical graphics is almost like allowing typographers to control the content, style, and editing of prose.
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What gets left out is the narrative between the bullets, which would tell us who's going to do what and how we're going to achieve the generic goals on the list.
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I think it is important for software to avoiding imposing a cognitive style on workers and their work.
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The point of the essay is to change things.
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The world is much more interesting than any one discipline.
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I was writing a chapter of Beautiful Evidence on the subject of the sculptural pedestal, which led to my thinking about what's up on the pedestal - the great leader.
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Design cannot rescue failed content.
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The commonality between science and art is in trying to see profoundly - to develop strategies of seeing and showing.
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In general, I think audiences are a lot smarter than people think. So, it's not know your audience, it's respect your audience, and really know your content.
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The world is complex, dynamic, multidimensiona l the paper is static, flat. How are we to represent the rich visual world of experience and measurement on mere flatland?
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Confusion and clutter are failures of design, not attributes of information. And so the point is to find design strategies that reveal detail and complexity - rather than to fault the data for an excess of complication. Or, worse, to fault viewers for a lack of understanding.
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Simple design, intense content.
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I do believe that there are some universal cognitive tasks that are deep and profound - indeed, so deep and profound that it is worthwhile to understand them in order to design our displays in accord with those tasks.
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Make all visual distinctions as subtle as possible, but still clear and effective.
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I hope that I am generous and tolerant, but certainly on the intellectual side I think that there are discoverable truths, and some things that are closer approximations to the truth than others.
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Beautiful Evidence is about the theory and practice of analytical design.
Edward Tufte