The most complicated project to date has been the visualisation of the notes of emblematic classical music (Off the Staff). The implementation phase of projects can be difficult, but Nicholas Rougeux describes these situations as opportunities to learn and grow. In any case, it awakens something in me that I fixate on and want to explore. Isn’t this a concrete example of the power of serendipity?Ī random tweet, a newspaper article that deals with a subject you’ve never thought of before, can awaken something in you. Nicholas Rougeux explains that inspiration can come from anywhere, from anything and everyone and that, in this sense, it is essential to keep your eyes and mind open.
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HTML CSS and Javascript, especially to explore different options not available in other software.InDesign to work with a large number of images (the prints are not pasted into the project but are linked to the current project, which allows the user to work on the pictures and move them without suffering from the resolution and weight of the images on the project).He learned to appreciate their perfect shapes, colours and richness. His attraction to the aesthetics of the samples represented by James Sowerby was the starting point of an exploration of the mineral world. Mineralogy, before this project, was utterly foreign to him. This explains why the most precious books (those whose plates were hand-coloured, as was the rule for all the beautiful books of that time) were incomplete.Įach project is an opportunity for Nick to learn and explore a new field. At the time, the books were sold by subscription, and the author would deliver a certain number of pages and plates per month, which you would then have to have bound. What I also like about this project is that Nick has been able to reconstruct the publication history of the various illustrated plates (see below). The years tend to age the paper, giving it a more yellowish hue. Indeed, the old and “faded” images had to be reworked to bring out the original colours. However, the process was not as simple as he thought. He came across these mineral illustrations by chance and thought it would be interesting to sort them by colour. This is precisely how the project started for Nicholas Rougeux. If you’re tired of histograms, why not surprise your colleagues with beautiful reports?Įxtract from British & Exotic Mineralogy collage by Nicholas RougeuxĪs is the case for many artists, it is from the work of others that inspiration can be drawn (see our article on creativity). And these dynamic aspects of aesthetics can also be transferred to a business environment.
The variety of Nick’s work shows that anything can be used as an excuse to visualise data, whether to elicit a rational or emotional response. s to present the data uniquely to elicit an emotional response, thus exploring the artistic side and the different ways of processing the data. For Nicholas Rougeux, the art of data is defined by an intrinsic connection with emotions. Classical data visualisation, on the other hand, focuses on information, data presentation and learning. Data visualisation is above all, for the majority of those who practice it, dashboards produced for reporting purposes. What could be the relationship between data and art? We are used to seeing data science as an austere, scientific discipline, which does not necessarily fit in with the creative freedom claimed by artists. What is the relationship between data visualisation and data art? Nicholas Rougeux’s advice to data analysts.The project British & Exotic Mineralogy.In this podcast, I talk with Nicholas about his creative process, his sources of inspiration, and of course, the technical aspects of his work around data. Nicholas Rougeux defines himself as a “data artist”, and his talent for visualising data is obvious. So obvious that he markets his work in the form of posters and I even got one for my birthday 🙂 Run to his blog (if you lack inspiration or if you want to see the best in DataViz.
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