Jason Dykes

Gerrit J. Rijken, Rene Cutura, Frank Heyen et al.

The logos of metal bands can be by turns gaudy, uncouth, or nearly illegible. Yet, these logos work: they communicate sophisticated notions of genre and emotional affect. In this paper we use the design considerations of metal logos to explore the space of "illegible semantics": the ways that text can communicate information at the cost of readability, which is not always the most important objective. In this work, drawing on formative visualization theory, professional design expertise, and empirical assessments of a corpus of metal band logos, we describe a design space of metal logos and present a tool through which logo characteristics can be explored through visualization. We investigate ways in which logo designers imbue their text with meaning and consider opportunities and implications for visualization more widely.

Miriah Meyer, Jason Dykes

We develop a new perspective on research conducted through visualization design study that emphasizes design as a method of inquiry and the broad range of knowledge-contributions achieved through it as multiple, subjective, and socially constructed. From this interpretivist position we explore the nature of visualization design study and develop six criteria for rigor. We propose that rigor is established and judged according to the extent to which visualization design study research and its reporting are INFORMED, REFLEXIVE, ABUNDANT, PLAUSIBLE, RESONANT, and TRANSPARENT. This perspective and the criteria were constructed through a four-year engagement with the discourse around rigor and the nature of knowledge in social science, information systems, and design. We suggest methods from cognate disciplines that can support visualization researchers in meeting these criteria during the planning, execution, and reporting of design study. Through a series of deliberately provocative questions, we explore implications of this new perspective for design study research in visualization, concluding that as a discipline, visualization is not yet well positioned to embrace, nurture, and fully benefit from a rigorous, interpretivist approach to design study. The perspective and criteria we present are intended to stimulate dialogue and debate around the nature of visualization design study and the broader underpinnings of the discipline.

Jason Dykes, Miriah Meyer

Visualization design study research methodologies emphasize the need for reflection to generate knowledge. And yet, there is very little guidance in the literature specifying what reflection in the context of design studies actually involves. We initiated a community discussion on this topic through a panel at the 2017 IEEE VIS Conference - this report documents the panel discussion. We analyze the panel content through the lense of our own reflective experiences and propose several priorities for ongoing thinking on reflection in applied visualization research.

Ethan Kerzner, Sarah Goodwin, Jason Dykes et al.

Applied visualization researchers often work closely with domain collaborators to explore new and useful applications of visualization. The early stages of collaborations are typically time consuming for all stakeholders as researchers piece together an understanding of domain challenges from disparate discussions and meetings. A number of recent projects, however, report on the use of creative visualization-opportunities (CVO) workshops to accelerate the early stages of applied work, eliciting a wealth of requirements in a few days of focused work. Yet, there is no established guidance for how to use such workshops effectively. In this paper, we present the results of a 2-year collaboration in which we analyzed the use of 17 workshops in 10 visualization contexts. Its primary contribution is a framework for CVO workshops that: 1) identifies a process model for using workshops; 2) describes a structure of what happens within effective workshops; 3) recommends 25 actionable guidelines for future workshops; and 4) presents an example workshop and workshop methods. The creation of this framework exemplifies the use of critical reflection to learn about visualization in practice from diverse studies and experience.