同型的教训–第2部分 (Lessons of Isotype — PART 2)

There’s much to be told in the story of the Isotype, yet despite a great deal of academic writing, it is also common to be confused about what an Isotype chart actually is. What better way to learn more about Isotype and gain inspiration from their designs than to view and discuss the work itself?

关于Isotype的故事，有很多要说的，尽管有大量的学术著作，但对Isotype图表的实际含义感到困惑也是很常见的。 有什么比观看和讨论作品本身更好的方法来更多地了解Isotype并从其设计中获得启发？

The International System Of Typographic Picture Education (ISOTYPE) was invented by Otto Neurath in collaboration his wife Marie Neurath and Gerd Arntz. While assisted by many, this core Isotype team sought to create educational designs by bringing statistics alive through a visual language of modular pictograms. In 1925, Otto founded a museum in Vienna for educating the public on social and economic issues (Gesellschafts- und Wirtschaftsmuseum) with the motto: “It is better to remember simplified images than to forget exact figures.” After fleeing Europe as WW2 unfolded, the couple co-founded the Isotype Institute in Britain in 1942.

该国际变体系华氏度 泰 pographic P ictureË知识教育(同种型)是由发明了奥托·纽拉特协同他的妻子玛丽·纽赖特和格尔德·安茨 。 在许多人的协助下，这个核心的Isotype团队寻求通过模块化象形文字的可视语言使统计数据生动起来来创建教育设计。 1925年，奥托(Otto)在维也纳建立了一个博物馆，向公众宣传社会和经济问题(Gesellschafts和Wirtschaftsmuseum博物馆)，其座右铭是： “记住简化的图像比忘记准确的数字更好。” 在第二次世界大战爆发后逃离欧洲后，这对夫妇于1942年在英国共同创立了同型研究所 。

This article, the second in my series on Isotype (here’s part 1), seeks to explain and celebrate the work of the Isotype Institute while revealing the process and design concepts used to create it. By focusing on the books published by Adprint in from 1941–48, I want to explore the techniques and mindset behind each chart and the system behind the combined series in order to inspire new information design concepts today.

本文是我关于Isotype的系列文章的第二篇( 这里是第1部分 )，旨在解释和庆祝Isotype Institute的工作，同时揭示用于创建Isotype的过程和设计概念。 通过重点研究Adprint在1941-48年间出版的书籍，我想探索每个图表背后的技术和思维方式以及合并后的系列背后的系统，以激发当今的新信息设计概念。

Isotype的第二课：在单个图表中包含多种数据类型 (The Second lesson of Isotype: Multiple data types in a single chart)

Some Isotype charts present a single data story but many of them are folding in multiple types or categories of data to create it. An obvious example can be seen both as a color change in a row of the same icon or as different rows of different icons. A definitive “rule” was not set by the team but rather becomes one of a set of approaches which are then tested with the audience for understandability.

一些同型图表仅显示一个数据故事，但许多图表会折叠成多种类型或类别的数据来创建。 一个明显的例子既可以看作是同一图标行中的颜色变化，也可以看作是不同图标行中的不同颜色。 团队没有设定明确的“规则”，而是成为一组方法之一，然后与听众一起测试其可理解性。

This simple feat of calculation and grouping of the data is deceptively difficult and the Isotype Institute found many ways to incorporate various types of data in a single chart. Let’s explore this more as we look at how the Isotype Institute combined different data types in the 16 charts and maps in our next book.

这种简单的计算和数据分组的壮举很难实现，Isotype Institute发现了许多将各种类型的数据合并到单个图表中的方法。 让我们在下本书中的Isotype Institute如何结合16种图表和地图中的不同数据类型的基础上，进一步探索这一点。

我们的私人生活，1944年 (Our Private Lives, 1944)

Images from Chris Mullen’s Full Table, Ebay, and authors copy.

克里斯·穆伦(Chris Mullen)的Full Table ， Ebay和作者复制的图像。

This book was written by Lella Secor Florence, an American who also wrote the first book in the series. It was released the same year as the last book in the series, Our Two Democracies At Work.

这本书是由美国人Lella Secor Florence撰写的，他也是该系列的第一本书。 它与该系列的最后一本书《 我们的两个民主在工作 》于同年发行。

After comparing the geographic and infrastructural similarities of the two countries in Only an Ocean In Between, the charts in this book largely continue the story by examining the culture and people, as well as explaining some of the educational structures. Considering the charts in this book as part of the larger series shows how the Isotype Institute created a system for presenting economic data.

在比较了《两国之间的海洋》中两国的地理和基础设施相似性之后，本书中的图表在很大程度上通过考察文化和人民并解释了一些教育结构来延续故事。 将本书中的图表视为较大系列文章的一部分，可以说明Isotype Institute如何创建用于显示经济数据的系统。

Like alpha and omega, the Isotype Institute starts this book with births and deaths. We see contrasting pictograms representing a ratio for societal growth for the US, Britain, France, and Germany for 1938. The fastest birth rates are in the US and Germany while pre-war France has more deaths than births. Displaying the population at the top of the chart gives some idea to how each rate might compare.

就像阿尔法和欧米茄一样，同型协会从这本书的诞生和死亡开始。 我们看到相反的象形图代表了1938年美国，英国，法国和德国的社会增长比率。最快的出生率在美国和德国，而战前法国的死亡人数比出生的人数多。 在图表顶部显示人口，可以使您对每个比率的比较方式有所了解。

This chart is fairly straightforward, but the calculation might not be. We see two categories of data (births, deaths) for four countries. The icon sets are not mixed, only directly compared in a layout that is reminiscent of a horizontal bar chart. Their colors are bold (red and black) which causes the red (births) to be more in focus. However, the text at the bottom of the chart cautions the reader from making too many assumptions.

该图表相当简单，但计算结果可能并非如此。 我们看到四个国家的两类数据(出生，死亡)。 图标集不会混合使用，只能在让人联想到水平条形图的布局中直接进行比较。 它们的颜色为粗体(红色和黑色)，这会使红色(出生)更加清晰。 但是，图表底部的文字警告读者不要做太多假设。

“Marriage and Divorce” is another chart that compares two types of data on the same four countries. The text at the bottom tells us the red circle with a line represents a “broken ring” for a divorce. The sheer quantity of US divorces in 1935 is well beyond any comparison with the other three while Great Britain hardly has any at all due to restrictive divorce laws that didn't change until 1969.

“婚姻和离婚”是另一个图表，用于比较同一四个国家/地区的两种数据。 底部的文字告诉我们带圆圈的红色圆圈代表离婚的“残破戒指”。 1935年美国离婚的绝对数量远远超过了其他三个，而英国由于限制性的离婚法律直到1969年才改变，几乎没有任何离婚 。

Grouping the icons into 10,000 inhabitants helps to make comparisons between the same four countries that we see in the chart above. The summing here is a bit tricky and the populations feel a bit vague. The relatively similar quantity of “married people” doesn’t fit with our mental picture of the total populations of the four countries and the ratios for married to divorced seem to be on a 1:10 scale. That said, the proportional relationship of the design presents an easy to read story comparing the married to the divorced.

将图标分组为10,000个居民有助于在上图中看到的相同四个国家之间进行比较。 这里的总结有点棘手，人们感到有些模糊。 “已婚人士”的数量相对相似，这与我们对这四个国家总人口的心理印象不符，已婚与离婚的比例似乎为1:10。 就是说，设计的比例关系呈现了一个易于阅读的故事，将已婚者与离婚者进行了比较。

The Isotype Institute regularly created maps that compared the population density of major urban centers over time. These two maps, which were presented on different pages in the book, show not only how each city has grown but how wildly different their urban development evolved. The use of a simplified road map and basic colors easily shows the difference in a century. The use of the bright red to denote the population makes it clear how each city has grown.

同型协会定期创建地图，比较不同时期主要城市中心的人口密度。 这两本书分别在书中的不同页面上展示，它们不仅显示了每个城市的发展方式，还显示了城市发展的巨大差异。 使用简化的路线图和基本颜色可以轻松显示一个世纪的差异。 使用亮红色表示人口可以清楚地了解每个城市的发展方式。

The text at the bottom points out the lack of structure in London’s urban planning. This would have been an interesting and popular subject in 1943, as the British were still reeling from the German Blitz of 1940–41. Patrick Abercrombie and J.H. Forshaw’s County of London Plan, also released in 1943, were challenging British conventions by bringing a sweeping redesign of London’s urban, industrial, and transportation infrastructure.

底部的文字指出了伦敦城市规划缺乏结构。 在1943年，这本来是一个有趣而又受欢迎的话题，因为英国人仍在从1940-41年的德国闪电战中退缩。 帕特里克·阿伯克朗比(Patrick Abercrombie)和约翰·福肖(JH Forshaw)的伦敦郡计划 (也于1943年发布)通过对伦敦的城市，工业和交通基础设施进行彻底的重新设计，正在挑战英国的公约。

Like other charts in the series, this isn't the first time the Isotype Institute created this type of map by reducing features and abstracting the map for easier understanding. A similar version was crafted for the loose-leaf Gesellschafts- und Wirtschafts publication of 1932. As you can see above, that map focused less on urban development and more on the radical growth of the population over time. For the map in Our Private Lives, the Neurath’s effectively recreated the center and left panels without the icons showing the population increase.

像本系列中的其他图表一样，这不是Isotype Institute首次通过减少要素和抽象化地图来创建这种类型的地图，以便于理解。 类似的版本是为1932年的Gesellschafts-and Wirtschafts出版物而设计的。正如您在上面所看到的，该地图较少关注城市发展，而是关注随着时间的推移人口的激增。 对于《 我们的私人生活》中的地图，Neurath有效地重新创建了中央和左侧面板，而没有图标显示人口增加。

“Urbanization of the Population” shows the ratio of urban and rural population between a period of 80 years. The icon units depict the growth and the label explains the red icon’s unit of measure. We intrinsically understand the green population to be rural and the proximity of the red icons to the city reinforces this. This Isotype chart easily emphasizes the difference between urban and rural populations. The audience doesn’t need to fully understand the numbers to understand the comparative trends visible for each country. Doing the math is certainly possible, but the design doesn’t make it necessary.

“人口城市化”显示了80年间的城乡人口比例。 图标单位描述了增长，标签说明了红色图标的度量单位。 我们从本质上理解绿色人口是农村人，红色图标与城市的接近加强了这一点。 此同型图很容易强调城乡人口之间的差异。 观众不需要完全理解数字即可了解每个国家/地区可见的比较趋势。 当然可以进行数学运算，但是设计没有必要。

The city illustrations on the left of the populations give us some understanding of how both areas have developed over time. After looking at this chart, artist Georges Hattab pointed out the nuance of the illustration, noting the modernization on the outskirts of both city diagrams in the design.

人口左侧的城市插图使我们对这两个地区的发展趋势有了一定的了解。 在查看了这张图表之后，艺术家Georges Hattab指出了插图的细微差别，并指出了设计中两个城市图表郊区的现代化。

One of the principal differences between Isotype charts and pictograms can be their usage of alignment and grouping to aid in communication. By organizing the icons as diverging from a central axis it shows the whole population as well the corresponding trend for each data type.

同型图和象形图之间的主要区别之一可能是它们使用对齐方式和分组方式来帮助进行交流。 通过将图标组织为偏离中心轴，它可以显示整个人口以及每种数据类型的相应趋势。

Over the years, the Neurath’s experimented with various labels and graphical elements to explain exactly what the data represents. In this chart, they have reduced the design to the bare essence, with only the title, colors, and design telling the story without any real labels at all.

多年来，Neurath尝试了各种标签和图形元素来解释数据的确切含义。 在此图表中，他们将设计简化为仅包含标题，颜色和设计的故事，而没有任何实际标签。

An unusual map in that it combines the US and British on the same page, “Sex Distribution in 1930” breaks the US map into five regions, and a single view for Britain. Each clustered icon of red and blue people equals 5 million, with the additional blue (male) or red (female) icons representing a surplus in the gender for that region.

一种不寻常的地图，它在同一页上将美国和英国结合在一起，“ 1930年的性别分布”将美国地图分为五个区域，并为英国提供了单一视图。 红色和蓝色人物的每个聚集图标等于500万，另外蓝色(男性)或红色(女性)图标表示该地区的性别过剩。

By summing the groups in this way, the outliers are emphasized, and the story is made clear. In Britain, there are far more women than men, and in the American west was by far more male in 1930. The single sentence on the lower left side, “The farther west, the more men compared to women” applies to both maps and puts both maps into a sort of spectrum of gender-surplus from east (female) to west (male).

通过以这种方式对组进行求和，可以强调异常值，并且可以使故事清楚。 在英国，女性人数远多于男性，而在1930年的美国西部，男性人数则要多得多。左下角的一句话：“西部越远，男性比女性多”适用于地图和将这两个地图从东部(女性)到西部(男性)纳入某种类型的性别剩余。

Otto Neurath was an educator, so he understood how vital education was essential to the character of its culture. “The Young Population ages 13–20” is a visual index of children in school and in the workforce. Each page is identically designed but the difference between them is stark.

奥托·纽拉特(Otto Neurath)是一名教育家，因此他了解至关重要的教育对于其文化特征至关重要。 “ 13-20岁的年轻人口”是学校和劳动力中儿童的视觉指标。 每个页面的设计都相同，但是它们之间的区别是明显的。

Children in Britain go to work far earlier than American children. It’s easy to understand the seated blue icons represent those in school, grey as “others” (the text suggests they are in college, a rarity at the time) while the red icons march off to work. The chart shows how few British children continue formal education after 15 and the text at the bottom points out “Less than 10% continue education after 17.”

英国的孩子上班的时间比美国孩子早得多。 容易理解的是，坐着的蓝色图标代表学校的学生，灰色表示“其他”(文本表明他们正在上大学， 在当时是很少见的 )，而红色图标则开始工作。 该图显示了15岁以后英国儿童继续接受正规教育的情况，底部的文字指出“ 17岁以后儿童继续接受教育的比例不到10％。”

While I have been writing primarily on the design of the charts, of equal importance is the design of the icons themselves, and this chart presents three icons that are very different in how they are read. Notice, how variations on the icon of a generic person have different meanings: seated, standing and moving. Our natural visual intelligence reads so much into each: the seated, stable blue icon, the standing transitional grey, and the red, armless child walking away from the school. Designer and artist Gerd Arntz took great care in adding subtle details to each icon to communicate the nuance of a story without being too explicit. Each section is then aligned under additional icons representing ‘school’ on the left, and a box on the right for ‘occupation’ such as agriculture, manufacturing, and justice.

虽然我主要是在图表的设计上进行写作的，但同样重要的是图标本身的设计，并且该图表提供了三个图标，它们在阅读方式上有很大不同。 注意，普通人图标上的变体如何具有不同的含义：坐着，站立和移动。 我们的自然视觉智能读入了每个东西：坐着的稳定的蓝色图标，站立的过渡灰色和红色，没有手臂的孩子离开学校。 设计师兼艺术家Gerd Arntz十分谨慎地为每个图标添加了细微的细节，以传达故事的细微差别，而又不过分露骨。 然后，将每个部分对齐在左侧的代表“学校”的其他图标下，在右侧的用于“职业”的框，例如农业，制造业和司法领域。

This Isotype chart acts as a followup story to the preceding chart by exploring the grey figures representing the “other”. In this chart, each blue figure represents 1% of a million citizens attending a University. Each mass of hollowed-out figures becomes a background population, arranged as a sort of unit comparison and silent majority fading into the background. The student icons are now active, marching off to study at the university, their color inherited from the previous chart as the blue for ‘at school.’

通过浏览代表“其他”的灰色数字，此同型图表可以作为上一张图表的后续故事。 在此图表中，每个蓝色数字代表一所大学的一百万公民的1％。 每一个挖空的人物都变成了背景人群，作为一种单位比较和无声多数淡入背景而排列的。 学生图标现在处于活动状态，正在向大学进军，其颜色从上一张图表继承而来为“在学校”的蓝色。

Like in other charts from this book series, this design creates an easy to compare story by summing and organizing the populations into rows of equal groups. Since the Neurath’s had already understood a general 1:3 ratio between the populations of the two countries (as discussed in “Population and Livestock”), they continue to use this design to show the relative difference in student populations, not the difference in the total quantity.

像本书系列中的其他图表一样，这种设计通过将总体汇总并组织成相等的行，从而创建了一个易于比较的故事。 由于Neurath已经了解了两国人口之间的一般1：3比率(如“人口与畜牧业”中所述)，因此他们继续使用这种设计来显示学生人口的相对差异，而不是学生人口的差异。总数(量。

Lastly, the placement of the students and population icons conveys a very different meaning than our previous charts. By overlapping the students and group icons we read the chart as an integrated population. This meaningful detail reinforces the overall story as a cultural portrait and demonstrates how nuanced the relationship between the chart design and the overall message is.

最后，学生和人口图标的位置传达的含义与我们之前的图表完全不同。 通过重叠学生和组图标，我们将图表视为一个整体人口。 这个有意义的细节强化了整个故事的文化肖像，并说明了图表设计与总体信息之间的关系如何细微的差别。

The British employ far more private services than those in the US. By aligning the blue vs black under the explanatory icons, the point is clear. While the aggregation of commercial vs private is a bit all-encompassing, it’s an understandable division of labor, illustrated by the icons for white-collar (desk, coffee) and service industry (barber), vs maid and cook (vacuum, oven) on the right.

英国雇用的私人服务远远超过美国。 通过在说明性图标下对齐蓝色与黑色，可以清楚地看出要点。 虽然商业与私人的总和有点包罗万象，但这是可以理解的分工，如白领​​(办公桌，咖啡)和服务业(理发店)，女佣和厨师(真空，烤箱)的图标说明在右边。

While the systematic nature of Isotype cleverly outlines data with an objective, Otto and Marie subtly position each chart to explain why the two cultures are similar or different. In illustrating the different educational expectations in the previous two charts, “Personal Services per 200 Population” suggests a reason for children leaving school to join the workforce is to become private servants. If we extend the story back to the chart “Sex Distribution in 1930”, we can assume many of these domestic servants are likely women due to the gender surplus. The associations and connections created across charts are essential to the educational concepts of the Isotype charts as a series.

尽管Isotype的系统性巧妙地以客观的方式概述了数据，但Otto和Marie巧妙地定位了每个图表，以解释两种文化为何相似或不同的原因。 在说明前两个图表中对教育的不同期望时，“每200人口的个人服务”表明，孩子辍学加入劳动力大军的原因是成为私人仆人。 如果我们将故事追溯到“ 1930年的性别分布”图表，我们可以假设由于性别过剩，这些家庭佣工中有许多可能是女性。 跨图表创建的关联和连接对于Isotype图表系列的教育概念至关重要。

Now the Neurath’s pivot to something a bit more fun. This map shows a scattering of natural and historic amusements. While a bit spare, it is designed to back up the claim that America is a very big place, and getting to the fun parts might take some time. Compared to the British map on the following page, we see the benefit of the smaller, older country, with more historical points of interest.

现在，Neurath的重心转向更多乐趣。 该地图显示了自然和历史娱乐的分散。 虽然有点多余，但它旨在支持声称美国是一个非常大的地方的说法，要找到有趣的部分可能需要一些时间。 与下一页上的英国地图相比，我们看到了更小，更古老的国家的利益，它具有更多的历史景点。

The focus of the American map is certainly a snapshot of a different time, with steamers bound for Europe and Hawaii, and trains to the bull-fights in Mexico or up to the Canadian mountains. Calling out ‘Dude’ Ranches was likely building off their popularization via the western adventures of Theodore Roosevelt.

美国地图的重点当然是不同时间的快照，其中有轮船飞往欧洲和夏威夷，并开往墨西哥的斗牛场或加拿大的山脉。 通过西奥多·罗斯福 ( Theodore Roosevelt)的西方冒险活动，召集“杜德(Dude)”牧场很可能会扩大他们的知名度。

Likewise, Sun Valley in Idaho was known as a popular skiing destination at the time. Centered around the picturesque Challenger Inn, Sun Valley was developed by the chairman of the Union Pacific Railroad in collaboration with Austrian Sportsman, Count Felix von Schaffgotsch. In 1939, Ernest Hemingway completed For Whom the Bell Tolls while staying there, regularly hobnobbing with Hollywood celebrities, musicians and public personalities.

同样，爱达荷州的太阳谷当时被称为受欢迎的滑雪胜地。 太阳谷以风景如画的挑战者客栈为中心， 由联合太平洋铁路公司董事长与奥地利运动员费利克斯·冯·沙夫格斯伯爵合作开发 。 1939年， 欧内斯特·海明威 ( Ernest Hemingway)完成了《谁住过钟声》(For Whom of Bell Tolls)的演出，并定期与好莱坞的名人，音乐家和公众人物交往。

Of note in the design is the use of the grey pattern-fill to define the shape of each country and indicate water. From a design standpoint, it’s a subtle way to fill space with information but not overwhelm the overall image using the Gestalt principle of closure.

设计中值得注意的是使用灰色图案填充来定义每个国家的形状并指示水。 从设计的角度来看，这是一种使用格式塔闭包原理填充信息但不使整体形象不知所措的巧妙方法。

England, by contrast, is relatively small, its historic and natural amusements easier to reach by its citizens. Of course, the Neurath’s were likely biased in favor of the country that adopted them after their escape for the war. The detail highlighting the Isle of Mann is interesting, considering the time both Otto and Marie spent in an internment camp there only two years before the publishing of this book.

相比之下，英格兰相对较小，其历史和自然娱乐场所更容易被其公民接触。 当然，Neurath的人可能偏爱那些逃离战争后收养他们的国家。 考虑到奥托(Otto)和玛丽(Marie) 都在本书出版两年前在那里的拘留所度过的时间，突出曼岛的细节很有趣。

It’s a charming map and well-considered too. It includes the ‘industrial tourism’ of the Cadbury chocolate factories in Bournville as well as the Welsh cultural festivals known as the Eisteddfod, and the worldwide home of golf at St Andrews, Scotland.

这是一张迷人的地图，而且考虑周全。 它包括位于伯恩维尔的吉百利巧克力工厂的“工业旅游”，以及被称为Eisteddfod的威尔士文化节，以及苏格兰圣安德鲁斯的全球高尔夫之乡 。

After looking at the two countries at play, the Isotype Institute now turns to transportation and communication. Despite the Great Depression in the US, Americans still owned far more cars and telephones than Britain and the Europeans in 1937. Radio sets were surprisingly plentiful in all four countries. Building off the pattern established by the first chart in this book Births and Deaths … the above chart uses a design pattern we are already used to as readers. We understand the small sample size and relative ratios for technology that represents transportation, communication, and information.

在看了两个国家的情况后，同类型研究所现在转向运输和通讯。 尽管在美国大萧条时期 ，美国人在1937年拥有的汽车和电话仍然比英国和欧洲人多得多。这四个国家中的广播电台数量惊人地丰富。 建立在本书的第一张图表《 生与死》中建立的模式…上图使用了我们已经习惯于读者的设计模式。 我们了解代表运输，通讯和信息的技术的小样本量和相对比率。

Here we see this comparison between the two countries’ national holidays. While the Americans celebrate more historical (red) and federal (green) holidays, the British observe more Christian (church bell) and sports holidays. The spelling of “Hallow-e’en” would have been archaic at the time.

在这里，我们看到了两国国定假日之间的比较。 美国人庆祝更多的历史(红色)和联邦(绿色)假期，而英国则庆祝更多的基督教(教堂钟)和体育假期。 当时，“ Hallow-e'en ”的拼写是过时的。

As a design, it’s not my favorite, ultimately resorting to a table with a lot of duplication that we don't find in other Isotype charts. If anything, this is an example of just how minimal and elegant other Isotype charts can be in comparison.

作为设计，它不是我的最爱，最终求助于具有很多重复项的表，而这些重复项是我们在其他Isotype图表中找不到的。 如果有的话，这是一个比较其他Isotype图表最小和优雅的示例。

An oddly laid out Isotype, we see diverging icons for tea vs coffee with the center ‘gutter’ used to alight the two. Strangely breaking the system used in other Isotype charts, Switzerland and Italy are included as European allies in coffee instead of the previously used Germans and French. The Swiss dairy industry lives up to its reputation by outpacing even the Americans in the bottom diagram.

这是一个奇怪的布局，我们看到茶与咖啡的图标有所不同，中间的“装订线”用来降低两者。 奇怪地打破了其他Isotype图表中使用的系统，瑞士和意大利被列为咖啡的欧洲盟友，而不是以前使用的德国人和法国人。 在底部图表中，瑞士乳制品业甚至超过了美国人，从而实现了自己的声誉。

The layout showing one diverging isotype at the top of the page, and a simple pictogram at the bottom doesn't really sit correctly on the page. The lack of an overall title, as well as the basic icons and text trailing over on the right page all play a role in making this chart feel a bit off. It’s possible there were additional circumstances that affected the design, but they remain unknown.

布局在页面顶部显示了一个不同的同种型，而在页面底部显示了一个简单的象形图，实际上并没有正确地放置在页面上。 缺少整体标题，以及右侧页面上拖曳的基本图标和文本，都在使此图表有些偏离的过程中起作用。 可能还有其他情况会影响设计，但仍然未知。

While it feels like the second time we’ve seen this chart, it’s actually a different metric. Not the “Population and Live Stock” that we saw in “Only an Ocean In Between,” this chart shows the meat actually consumed. Our old friends Germany and France are back again: Germany with the most pork consumption and the Brits with the most Mutton chops as well as the largest overall meat consumption.

感觉就像我们第二次看到该图表一样，它实际上是一个不同的指标。 该图表不是我们在“仅中间的海洋”中看到的“人口和牲畜”，而是显示了实际消耗的肉。 我们的老朋友德国和法国又回来了：猪肉消费量最大的德国和羊肉排骨最多的英国人，以及整体肉类消费量最大。

In this chart, we have a single but complex idea. We see the same diverging design using the page fold (like the preceding chart) but unlike that chart, all cuts of meat are represented using the same icon with the data type/category mapped to color. The data for the three types of meat, in four countries, is designed to tell the story of British meat consumption.

在此图表中，我们有一个单一但复杂的想法。 我们使用页面折叠看到相同的差异设计(如上图)，但与该图不同，所有切肉都使用相同的图标表示，数据类型/类别映射为颜色。 四个国家/地区的三种肉的数据旨在讲述英国肉类消费的故事。

“The Cinemas and Their Weekly Audience” reinforces the love affair with the cinema shared by both countries. While the US has more theaters, the average theater in Britain is larger. Both countries would have a sizable cinematic culture at the time, with hearty theatrical, news and industrial film production in each.

“电影院及其每周观众”加强了与两国共享电影院的恋爱关系。 尽管美国拥有更多的剧院，但英国的平均剧院更大。 两国当时都具有相当大的电影文化，每个国家都有丰盛的戏剧，新闻和工业电影制作。

Also interesting is the inclusion of Mickey Mouse on the silver screen as Otto Neurath was a devoted fan of Walt Disney. In fact, Otto’s team in Vienna had already been experimenting with animation since at least 1929 but had actively focused on producing animated Isotypes with director Paul Rotha for the British Ministry Of Information with the film “A few Ounces A Day” since 1941. The general popularity of the cinema and the possibilities for storytelling via animated Isotype charts was extremely interesting to Otto. The Isotype Institute collaborated with Rotha on several films with an eye on establishing an animation studio until Otto’s sudden death at the end of 1945. Marie Neurath continued to work on film and animation projects for the rest of her career eventually collaborating with Peter Bradford on “The Physics and Chemistry of Water” that won the best documentary/educational film at the Venice film festival in 1965.

同样有趣的是，由于奥托·诺伊拉特(Otto Neurath)是沃尔特·迪斯尼(Walt Disney)的忠实粉丝，因此在银幕上收录了米老鼠。 实际上，至少从1929年开始，奥托在维也纳的团队就已经在尝试动画制作，但是自1941年以来，他就一直积极致力于与英国信息部的导演保罗·罗塔(Paul Rotha)合作制作动画同型电影。电影的受欢迎程度以及通过动画Isotype图表进行叙事的可能性对奥托非常有趣。 Isotype Institute与Rotha合作制作了几部电影，并着眼于建立动画工作室，直到1945年奥托突然去世为止。MarieNeurath继续从事电影和动画项目的整个职业生涯，最终与Peter Bradford合作制作了“ 《水的物理与化学》在1965年的威尼斯电影节上获得了最佳纪录片/教育片。

Neurath was convinced that the future of Isotype was film and movement. He explains in a letter to Rotha in 1942, “The point is not (for us) to make new inventions for fun only, or as expression of an author’s ideas (we admire this kind of work very much indeed) but as part of education.”

Neurath确信同类型的未来是电影和运动。 他在1942年致Rotha的一封信中解释说：“(对我们而言) 并不是为了娱乐而创造新发明，也不是为了表达作者的想法(我们非常佩服这种工作)，而是作为教育的一部分。”

接下来：图表信息 (Up next: Diagramming Information)

At this point, we have discussed 34 Isotype charts by examining their context, aggregation of qualitative and quantitative data, and how they integrate multiple types of data into a single chart. Next, in the last book of this series, we will explore how the Isotype Institute explained complex governmental processes by using systematic diagrams in “Our Two Democracies At Work”.

在这一点上，我们已经通过检查34种同型图，其定性和定量数据的汇总以及它们如何将多种类型的数据集成到单个图中来讨论了它们。 接下来，在本系列的最后一本书中，我们将探索“同型协会”如何通过“我们的两个民主国家工作”中的系统图表来解释复杂的政府程序。

This article comes as part of a series on Isotype and derives mainly from research on the design process created by the team at the Isotype Institute, and the life and work of Marie Neurath. My goal is to teach people about the techniques and mindset of this data-driven design team, in order to inspire new information design concepts today.

本文是有关Isotype的系列文章的一部分，主要来自Isotype Institute团队创建的设计过程研究以及Marie Neurath的生活和工作。 我的目标是向人们介绍这个数据驱动设计团队的技术和思维方式，以激发当今的新信息设计概念。

Major thanks to Alyssa Bell, RJ Andrews, Georges Hattab, Paul Kahn, and Elijah Meeks for the editing and continued support!!

非常感谢 Alyssa Bell ， RJ Andrews ， Georges Hattab ， Paul Kahn 和 Elijah Meeks 的编辑和继续的支持！

同型的教训-第1部分 (Lessons of Isotype — PART 1)

同型的教训–第3部分 (Lessons of Isotype — PART 3)

玛丽·尼拉特(Marie Neurath)的失传 (The Missing Legacy of Marie Neurath)

Focuses on the primary designer of Isotypes for 45 years.

专注于同型印刷的主要设计师长达45年。

解释单一同种型：从复杂性创建简单性 (Explaining a Single Isotype: Creating Simplicity from Complexity)

This deep-dive explains a single Isotype’s design as well as many aspects of the Russian economy.

这种深入的了解解释了单一同型飞机的设计以及俄罗斯经济的许多方面。