C E L L U L A R
N O S T A L G I A
A retrospective of over three generations of mobile history.
UCD 2015 Process Book Ruben Fernandez cellularnostalgia.com
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Introduction
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Development
Aesthetics
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71 Mentors
Research
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Data Aquisition
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How can data visualization be used as an exploratory tool to present the rate of technical innovation and its acceptance within culture and society over time?
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“the medium is the
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Marshall McLuhan
Cellular Nostalgia is an interactive summation of over three generations of mobile evolution and its correlation to the rate of acceptance with in culture and society over time. It delves into some of the most important transformations that take place within the mobile industry. Cellular Nostalgia takes the user back to the device that the first mobile call was made on and transitions into the 21st century, where we now have the smart phone. The purpose of this project is to take massive amounts of data, break it down and visualize it, allowing users to visually recognize patterns that would otherwise be overlooked. By doing so the user will be able to draw conclusions, form opinions and correlate outside information to it, bringing forth a variety of narratives.
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Upon beginning my thesis project, I wanted to focus on something that had a narrative and something that would carry that narrative all of the way through. I really struggled with finding something that I was “passionate� about. My project begins with a personal story that involves myself at the age of 27 and my two-year-old daughter. The scenario plays out as such, please, excuse my paraphrasing: I was sitting at the table on a Friday morning, when I looked over at my daughter. At the time, she was supposed to be eating her breakfast but, instead, with her greasy little fingers, she was snapping pictures of me while I was working, expertly, with my own phone. I was a little shocked at how she was able to access the camera and operate it so seamlessly — this being the first time she has even touched a cell phone. When I saw this I started to think about how society is driven by technology and even more so, how children are engaging with it at even earlier ages. I entered a discussion with my wife about the first cell phones that we had, and for a while, reminisced on those devices. In this nostalgic moment, Cellular Nostalgia was born. 13
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When thinking about a target audience I felt that this was too broad. I began to ask around. I had some conversations with other students around my age, similar to the one that my wife and I had shared. As we bounced ideas off of each other, it started to become apparent. They were all making applications. These applications would be designed for the smart phone and as the deadline came around for wireframes, I noticed that the majority of my peers were mocking up their wireframes using an iphone template. Suddenly, this thought overcame me; I was building this “thing,” about this “thing,” while others were building “this” thing for this “thing.” The mobile phone and its evolution has paved a way for a new career for myself, and an entirely different way of thinking about design. As a designer, I have to cater to the fact that 91% of Americans have a “smart phone.” Content is now, more easily accessible to the masses. 15
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Beginning with the reality of my two-year-old daughter being able to maneuver a touch device with ease, to the technical and design relevance in my own personal life — that nostalgic conversation that seemed to come up every time is what I enjoyed the most.
“I remember when...” I wanted to make sure that this nostalgia wasn’t just something that I felt, so I went to social media to gather some thoughts. Posts with pictures of older phone models stirred up some conversation. People would respond with comments similar to this, “I remember that phone,” or “I rememeber that game.” When I presented the initial idea at the practice pitch my professors, we entered a conversation about the whole mobile movement. All of us eventually talked about the first cell phones we had and how our kids will have completely different experiences. 17
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TECHNOLOGY COMPUTERS TELEVISION CELL PHONES TA B L E T S IPODS, MP3 VHS–DVD RETRO AFFECTS N O S TA LG I A EVOLUTION
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DATA V I S UA L I Z AT I O N
THESIS
INTERACTIVE INFOGRAPHICS J AVA S C R I P T WEBSITE A N I M AT I O N S STORY TELLING I N F O R M AT I O N VISUAL AESTHETIC COMPLEX D ATA
I kicked off my process by trying to identify some areas of interest and some possible solutions for iteration. As I began to explore, and search for inspiration, I started to gravitate toward the aesthetic of information visualization. It was something about the narrative that was carried out through real facts and documented data that made me want to explore possibilities in achieving high caliber. I knew that I would have to narrow it down in order to find a data set that would be interesting enough to visualize. The problems that I ran into repeatedly are that I kept trying to think of ways to visually display things, before I even had a dataset to work with and not only that but, my idea in the beginning was too vague and really wasn’t that interesting. My journey began with the idea of walking through the evolution of the cell phone and eventually tying that into some negative effects on society. There were plenty of holes in this idea that I didn’t quite know how to fill. I also didn’t want to end up with a “don’t text and drive campaign,” as that would be cliché and not very fun although, there was plenty of data for it. 19
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At this point, I was itching to make something. Since I had already pitched my subject matter and area of interest, (the cell phone) I knew I couldn’t back out. Moving forward, I wanted to have a style that I could experiment with to solidify my presentation. COLOR PALETTE: The colors derive from that “nostalgic” or “retro” image of older cell phones and their screens. I found this relevant since the earliest cellphones were designed with a green, monochrome LCD screen and reddish-brown characters. This type of screen was also used in the Nokia 5110 that featured the game “Snake”. TYPEFACE: The typefaces used are a harmonious serif and sans-serif combination. The sans-serif (Brandon Grotesque) is a geometric font that will accentuate the shapes utilized in the overall style of the visualizations and layout of the site. The serif font (Adobe Caslon Pro) is a contrast to Brandon Grotesque’s geometric shapes and was used in corporate communications. It’s appearance is quite elegant and is mostly featured in a larger point size and in talics. 22
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BRANDON GROTESQUE LIGHT BRANDON GROTESQUE REG BRANDON GROTESQUE BOLD BRANDON GROTESQUE BLACK Adobe Caslon Pro Bold Adobe Caslon Pro Adobe Caslon Pro
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The timeline on the right was meant to reflect the overall style that I wanted to achieve. It was an experiment using the text, radial style, line/stroke variation and colors/tints. It was inspired from Josef Müller Brockmann and a piece titled “Coda.” “Coda” is a visualization made by Andrew Horton, a creative director, Jen Gilbert, designer, Silvio Pietroluongo, director of charts, Kieth Caulfield, associate director of charts/retail, and Gary Trust, associate of charts/radio, at Billboard that shows how long it took for a country song to reach #1 on airplay charts. 26
WEEKS
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Information graphics or info graphics are graphic visual representations of information; data or knowledge intended to present complex information quickly and clearly. They can improve cognition by utilizing graphics to enhance the human visual system’s ability to see patterns and trends.
A priority of mine is to not just make a pie chart, or something beautiful, but to make an engaging piece that can be understood. By understanding methods and communication of data and information, I will gain a better perspective and choose wisely about how to visualize the information.
The process of creating info graphics can be referred to as data visualization, information design, or information architecture. Through the use of interactive elements, the user will gain a deeper understanding of the information because they will be allowed to isolate and examine certain parts of it in a microscopic sort of way, to see and recognize patterns as well as feature key animations that highlight and accentuate information.
The substantive content, extensiveness of labels, and volume and ordering of data all help determine the choice of method for the display of quantitative materials. The basic structures for showing data are the sentence, the table, and the graphic. Often two or three of these devices should be combined. Edward Tufte is a statistician and artist, and Professor Emer itus of Political Science, Statistics, and Computer Science at Yale University. Tufte wrote, designed, and self-published 4 classic books on data visualization. 31
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Visually, my inspiration comes from that of Josef Müller-Brockmann. Brockmann was a Swiss graphic designer and teacher. He studied architecture, design and history of art at both the University and Kunstgewerbeschule in Zurich. In 1936 he opened his Zurich studio specializing in graphic design, exhibition design and photography. From 1951 he produced concert posters for the Tonhalle in Zurich. I have been intrigued with his visual style, and use of the grid and typography which, overall, shaped my aesthetic for this project. The use of radial shapes and type on a grid as seen in his well known Tohalle posters, will assist me in the creation of assets. Another person of interest is David McCandless. McCandless is a London-based author, data-journalist and information designer, working across print, advertising, TV and web. His information design work has appeared in over forty publications internationally including “The Guardian,” “Wired and Die Zeit.” McCandless has also published a book called Information is Beautiful, that features amazing visualizations regarding varieties of subjects. 32
The Zurich Town Hall poster is perhaps Mßller-Brockmann’s most recognized, and most ripped off, piece of work. 33
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At this point, I really needed a data set. I was so visually inspired that, I focused on a solution before I even had a design problem that I was going to approach. In my prelimenary research, I found that the javascript libraries that I was considering using for this project mainly handled the data and the final visual output would be determined by the data that was inserted. These were documents driven by data. I realized that the visual output would mainly rely on the data and I would only be able to guide it with the format that it was presented in as well as other aesthetic choices. I can’t say that it was all for nothing though, becuase it made me think about a lot of things. For example, why did I choose interactivity in the first place? While I was looking at the visually intriguing graphic print works, I wanted more, I wanted to explore the data and understand it. Merely looking at a static image, it didnt really allow me to do so. In fact, some of the information presented was infuriating. The presentation alone is a design challenge in itself.
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I searched for a data set just so I could get started on iteration and begin to implement some code. The first set that I came across was a collection of all cellular manufacturers including make, model, release dates, and specifications. This was something that I would have to scrape just to get the information that I needed/wanted. Thus, my question and design problem was still very broad. I kept this data set just in case I could use pieces from it, to compare to different sets to form some kind of interesting correlation. 37
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Utilizing the cellular manufacturer data, I took key elements and put certain “landmark� devices in chronological order. I listed some key attributes of the devices which were pointed out as features that revolutionized the industry at that time. 39
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“...create a joyful ex a better understand around you...” Jan Willem Tulp
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xperience allowing ding of the world Jan Willem Tulp is a creative who makes engaging data visualizations. He prides his work on the design choices that he makes to enhance the experience of interacting with a visualization. The quote above really resonated with me. I was faced with the challenge of crafting a unique experience from the ground up. What is to follow, is the journey through its development.
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navbar written and tested in jsfiddle.
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The landing page was the most important part. It sets the expectations for the rest of site so upon arrival, I wanted the ooh factor. On load, the logo type pieces together using a particle effect representing a data-like connotation. The particles explode on mouse over.
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The “explore” button moves in a motion that mimics the snake from the game “Snake” that will later on be incorporated. A subtle static overlay was also added contributing to achieving an aged/retro effect.
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This introductory chapter utilized information from the original data set that was collectd, featuring specs, release dates and models sold. During the process I struggled with how to move from model to model. I started by animating every line on the illustration itself based on scroll. I found this to be extremely tedious and there were several issues when it came to mobile usability. I ended up going with parallax library and fixed the background so, when the user scrolls a reveal effect happens. The previous phone now creates the illusion of somewhat a transformation. A fixed dot-navigation sits at the right to allow navigation of the page and also features a tooltip on hover revealing the specific year of release corresponding to slide. I wanted to take it a step further and incorporate audio. I gathered information regarding ringtones that were featured on that phone so when the user scrolls to that particular model, the audio/ringtone will trigger. Audio is very tricky becuase although, it may be fun, it could get really annoying. I included an icon/ toggle to give the user control of muting all sound. I also set the audio level sort of low so that the user isn’t “freaked out� when it triggers. 50
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Onformative, NY
As I continued my search for a data set, I came across a communication website that had a repository of data: Fixed-telephone subscriptions Mobile-cellular subscriptions Active mobile-broadband subscriptions Fixed (wired)-broadband subscriptions Households with a computer Households with Internet access at home Individuals using the Internet ABOUT THE DATA ITU collects ICT statistics for 200 economies and over 100 indicators, including broadband, Internet use, mobile-cellular and mobile-broad-band networks.
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There are nearly 7 billion mobile subscriptions worldwide, estimates The International Telecommunication Union (May 2014). This is equivalent to 95.5 percent of the world population. That’s a billion extra mobile subscriptions in three years, but growth is beginning to slow down – 2011: 5.9 billion; 2012: 6.2 billion; 2013: 6.7 billion; 2014: 6.9 billion. Mobile subscriptions in the developed world is rapidly reaching a saturation point. There are 1.5 billion subscriptions in developed nations, which is similar to 2013. With 120.8 percent mobile penetration, there is already more than one mobile subscription per person in developed nations, leaving little room for growth. What factors contribute to this growth? What about the innovation of the device? 2013 was the first year that smartphones outsold feature phones. But a lot more people use feature phones than smartphones. 54
Is it the availability? The price point? Or could it be the desire for the technology itself? One would argue that it is all of these things combined and that is what this project is developed for, to observe and explore the rate of technical innovation and its correlation the rate of acceptance within culture and society, over time. The premise is that, as Americans, we have always had this technology available at our fingertips. In fact the first mainstream consumer phone that reached an attainable price was released in 1998, the Nokia 5110. As you can imagine cellular growth in the US has only sky rocketed since but, how do other countries adapt?
What is inferred, for example, is that if a company innovates something, how long does it take before it is accepted as something we need, want and use, eventually becoming the norm. Now as the technology has developed, it became something we use all of the time. It has reached a pinnacle point to where we really don’t use landlines at all. How long did that take? How far did the technology need to be refined, before the price point came down and its usability went up far enough for the market to decide that not only is it a want, it is now a need?
The purpose of this project is to visually recognize patterns and draw conclusions from it, form opinions and correlate outside information, bringing a narrative forth. 55
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acquire parse filter mine represent refine interact
In my first month of research I came across this process layed out by Ben Fry, an American expert in data visualization. Find reliable data, get the data in the right format clean it up and find the story. The following is the process that unfolded as I began to implement these steps with my aquired data sets.
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This iteration had its advantages and disadvantages. It uses the google api for charts. For one, the data format was really easy to implement and it made for quick iteration. The higher the number, the darker the color corresponding. The disadvantages were that it took an overly amount of time to load all of the data which would be an issue pumping more data into it and showing change. The primary use of this map was color and that was not the most effective way for me to visualize this data.
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After I abandoned the geo chart, I came away with the idea that I needed to incorporate change over time. This needed to happen through animation but, could also be interactive in the sense that it gives the user the ability to move between the years. I began to look into the use of a motion chart. Modern-day motion charts were developed by an organization called GapMinder as part of a product called Trendalyzer. Hans Rosling, one of the founders of GapMinder, popularized the motion chart visualization in a much-admired TED Talk. This worked but it just wasn’t visually satisfying to me and it was difficult for people to understand. I wanted people to see patterns easily and this complicated that. Users spent more time trying to figure out how to read it, rather than seeing what was in the data. This scatter plot used D3.js.
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Moving forward I started to realize that design variation made an impact at how users perceived the data and how they interacted with it. I really wanted to sweeten its presentation. I came across a globe that Google had been experimenting with and landed some files on GitHub. Once I figured out how the scripts were interpreting the data format, I began to implement my data. This iteration was very tedious to find the center point of the countries for visual purposes and the scale factor was somewhat of an issue. After a few days worth of tweaking, I fixed it up quite a bit. This was a pretty sexy piece of work. Web GL rendered this globe so smooth and the user could hover each year extending the protruding bar, representing the cellular subscriptions number. The user could also zoom in and rotate the globe. The problem with this globe was increasing interactivity. It provides visually and raises questions but, doesn’t do much to answer them. I couldn’t find a way to select the 3d bars to get the meta-data to display in a tool tip. The script took a longitude, latitude and magnitude format.
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This iteration was the culmination of all that I had learned through the experimentation process. I moved toward the use of D3.js. I utilized a jquery slider and my dataset to get things rolling. Once my data was formatted the bubbles began to populate over its corresponding countries based on a latitude/longitude csv that google provided. I cut the data down to show the range from 2000–2013 because prior to that there wasn’t much activity and the bubbles were too small to have an affect on the map. As the slider is moved back and forth between years, the circles respond expanding or contracting based on the data. This was starting to get interesting. It made me start to think about what it meant. I wanted to layer more data on top of that. I scoured through several sources to find population data that correlated to the cellular data. This put the cellular data in context. As time goes by, the number of subscriptions approaches the number population. Interestingly enough, I wanted to add more data. The number of cellular subscriptions was just a raw number. I wanted to know exactly how much growth was happening in between each year to see the impact. This version continues to evolve in its interactivity and user interface. Cellular Subscriptions == Green Population == Purple Growth % == White
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PAUL BUT T
Graphic Designer, Information is Beautiful When I began the juggling of ideas for thesis, I conducted countless searches for inspiration. As I mentioned in the beginning, I was visually drawn to data visualization. Several of the visualizations I found, led me to Paul Butt’s website. I sent him an email regarding some of his work and he sent me some hi-res files. This was my starting point.
BRIAN DELEVIE
Associate Professor, Digital Design, University of Colorado Denver Meeting with Brian is always intimidating but, this time it was not. In fact, this is where I gained the most. I came to the table with a really broad description of what I wanted to acheive and left with a specific goal. The process of my question and what I needed to do to answer it happened in these meetings. In my discussion with Brian, we talked about the data that I had and what it showed. It was determined that what the data showed was the rate at which technology is accepted on a global scale. My visualization would be a tool to explore that. “As technology developed, it became something we use all of the time to the point where we really don’t have land lines anymore. How long did that take?” 72
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Assistant Professor, Digital Design, University of Colorado Denver Meeting with very helpful. I got to see him interact with what I had made and sort of gave me an idea of what he expected and wanted to do when he looked at my visualizations. He said repeatedly that they were “pretty” but I knew this really didn’t mean anything if they didn’t live up to users expectations. When I first sat down to talk with Bryan, we delved into the idea of having some sort of cultural aspect in my project to make it interesting. I felt as if what my project was doing, satisfied that request. It was up to me after that, to make it do what it should, be an interactive tool.
R YA N G A D D I S
User Experience Designer, Pearson Education My meeting with Ryan was great because it made me think about how the data was communicated and how I could add more, interesting data to compare things that were not related. This helped me to recognize the patterns within my own data sets and visualizations and made me want to investigate more. Ryan mentioned that data visualizations have great power in what they do. They could potentially be used to guide an opinion, call for action and inform. 73
MICHELLE CARPENTER Assistant Professor, Digital Design, University of Colorado Denver
Honesty was the key in this relationship. Michelle would see what I was working on and hold me to better expectations. She would say “Umm that’s boring” and I knew it. She inspired me to move away from a traditional chart and to make something visually stunning but just as effective. Thus, encouragement was greatly appreciated.
WILL JUSTICE
UX/Information Designer Over the course of this project, I have been in constant contact with Will. In our discussions we talked about the data I had, how to add context by adding more data for comparisons and experience. Specifically, he asked me how I saw my users exploring the data. This made me think about how I would allow users to move through my piece and be carried through in its entirety. Adding features like being able to zoom, toggle things, tool-tips, animation, and the use of color were topics brought up more than once. 74
JOE GARCIA
Manager-Large Business & Intl., IRS Joe Garcia was the expert in statistics. In my meeting with Joe, we fleshed out some expressions in Microsoft Excel, calculating rate of growth. This was extremely helpful as all of my formatting and preparing the data had to be done in Excel. I learned how to create formulas and apply them to large amounts of numbers very quickly.
LEEANN WELLER
Events Manager, University of Colorado Denver LeeAnn helped me with the writing and clarity of my ideas. She brought up great points when it came down to my thoughts being documented. She also helped in the editing of this book.
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Stewart Wolpin, “The First Cellphone Went on Sale 30 Years Ago for $4,000,” Mashable. March 13, 2014. <http://mashable.com/2014/03/13/first-cellphone-on-sale/> “The Connected Consumer,” Public Data Google, November 11, 2014. <http://www.google.com/publicdata/explore> Brad McCarty, “The History of the Smartphone,” The Next Web, December 6, 2011. <http://thenextweb.com/mobile/2011/12/06/the-history-of-the-smartphone/> Marshall McLuhan, Understanding Media, (Massachusetts: First MIT Press Edition, 1994), 1. The Best American Inforgraphics 2014 Matthew Ward, Interactive Data Visualization (India: A K Peters, 2010), 1. Ben Fry, “The Ben Fry Visualizing Data Process,” Dashing D3.js. <https://www.dashingd3js.com/the-data-visualization-process> Edward Tufte. The Visual Display of Quantitative Information(Connecticut: Graphics Press Cheshire, 1996), 2. The Best American Inforgraphics 2014 Mike Bostock <http://d3js.org> McDandless, David. Knowledge Is Beautiful. 2014. Sandra Rendgen, Ed. Julius Wiedemann, Information Graphics. 2014. Pew Research Center < http://www.pewresearch.org> ITU International Telecommunication Union <http://www.itu.int/en/ITU-D/Statistics/Pages/stat/default.aspx > Data World Bank <http://data.worldbank.org/indicator>
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Lulu Fernandez
Cynthia Barringer
Michael Mages
Maria Buszek
Giselle Fernandez
Michelle Carpenter
Bryan Leister
Will Justice
Jonah Fernandez
Travis Vermilye
Brian DeLevie
Ryan Gaddis
Dora Olivas
Ray Sams
Paul Butt
Joe Garcia
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University of Colorado Denver Digital Design Program Redline Gallery
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