“To analyse graphic representation precisely, it is helpful to distinguish it from musical, verbal and mathematical notations, all of which are perceived in a linear or temporal sequence. The graphic image also differs from figurative representation essentially polysemic, and from the animated image, governed by the laws of cinematographic time. Within the boundaries of graphics fall the fields of networks, diagrams and maps. The domain of graphic imagery ranges from the depiction of atomic structures to the representation of galaxies and extends into the spheres of topography and cartography.”

— Jacques Bertin

Source: Semiology of graphics (1967/83), p. 2

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Jacques Bertin 20

French geographer and cartographer 1918–2010

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“And now, at the end of the twentieth century, with the pressure of modern information and the advances of data processing, graphics is passing through a new and fundamental stage. The great difference between the graphic representation of yesterday, which was poorly dissociated from the figurative image, and the graphics of tomorrow, is the disappearance of the congential fixity of the image.
When one can superimpose, juxtapose, transpose, and permute graphic images in ways that lead to groupings and classings, the graphic image passes from the dead image, the 'illustration,' to the living image, the widely accessible research instrument it is now becoming. The graphic is no longer only the 'representation' of a final simplification, it is a point of departure for the discovery of these simplifications and the means for their justification. The graphic has become, by its manageability, an instrument for information processing.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 4

“Graphic representation constitutes one of the basic sign-systems conceived by the human mind for the purposes of storing, understanding, and communicating essential information. As a "language" for the eye, graphics benefits from the ubiquitous properties of visual perception. As a monosemic system, it forms the rational part of the world of images.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 2

“It is common to think of statistical graphics and data visualization as relatively modern developments in statistics. In fact, the graphic representation of quantitative information has deep roots. These roots reach into the histories of the earliest map-making and visual depiction, and later into thematic cartography, statistics and statistical graphics, medicine, and other fields. Along the way, developments in technologies (printing, reproduction) mathematical theory and practice, and empirical observation and recording, enabled the wider use of graphics and new advances in form and content.”

Michael Friendly (1945) American psychologist

Michael Friendly. " A brief history of data visualization http://www.datavis.ca/papers/hbook.pdf at datavis.ca, March 21, 2006.

“Graphical design notations have been with us for a while… their primary value is in communication and understanding. A good diagram can often help communicate ideas about a design, particularly when you want to avoid a lot of details. Diagrams can also help you understand either a software system or a business process. As part of a team trying to figure out something, diagrams both help understanding and communicate that understanding throughout a team. Although they aren't, at least yet, a replacement for textual programming languages, they are a helpful assistant… Of these graphical notations, the UML's importance comes from its wide use and standardization within the OO development community. The UML has become not only the dominant graphical notation within the OO world but also a popular technique in non-OO circles.”

Martin Fowler (1963) British programmer

Source: UML Distilled: A Brief Guide to the Standard Object Modeling, 2004, p. xxvi

“My etchings have.... the mistake of being processed as images and to have at the same time the meaning of epigrams. It is the union of pure painting with pure graphics... From now onwards my task will be the division of art and graphics, and the full development of both fields. The pure art has already turned to impressionism and the graphics is going to do it.”

Paul Klee (1879–1940) German Swiss painter

Quote in a letter to his wife, 12 June, 1906; as cited in Paul Klee. Das Frühwerk 1883-1922, p. 50.
1903 - 1910

“Data is transformed into graphics to understand. A map, a diagram are documents to be interrogated. But understanding means integrating all of the data. In order to do this it’s necessary to reduce it to a small number of elementary data. This is the objective of the “data treatment” be it graphic or mathematic.”

Jacques Bertin (1918–2010) French geographer and cartographer

About the true value of graphics
Interview with Jacques Bertin (2003)

“A tendency toward the abstract is inherent in linear expression: graphic imagery being confined to outlines has a fairy-like quality and at the same time can achieve great precision.”

Paul Klee (1879–1940) German Swiss painter

Section I
1916 - 1920, Creative Credo (1920)

“A graphic is a diagram when correspondences on the plane can be established among all elements of another component.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 193

“Conceptual graphs are system of logic based on the existential graphs of Charles Sanders Peirce and the semantic networks of artificial intelligence. The purpose of the system is to express meaning in a form that is logically precise, humanly readable, and computationally tractable. With their direct mapping to language, conceptual graphs can serve as an intermediate language for translating computer-oriented formalisms to and from natural languages. With their graphic representation, they can serve as a readable, but design and specification language.”

John F. Sowa (1940) artificial intelligence researcher

Source: Conceptual graphs for knowledge representation, 1993, p. 3-51. cited in: Bernhard Ganter, Gerd Stumme, Rudolf Wille (2005) Formal Concept Analysis: Foundations and Applications. p. 87

“Jacques Bertin's books Semiology of Graphics and Graphics and Graphic Information Processing have been stimuli for my own thinking about the representation and analysis of geographic information. I have also used both books as core readings for graduate seminars and they have generated lively discussion and prompted innovative research. I often ask graduate students to consider how cartographic research and practice in the U. S. might be different today if the English edition of Semiology of Graphics had appeared in 1967 (when it was published in French), rather than in 1983. I know that my own work would have been dramatically different if I had encountered these ideas a decade and a half sooner.”

Alan MacEachren (1952) American geographer

Alan MacEachren (2000) " An evolving cognitive-semiotic approach to geographic visualization and knowledge construction http://www.geovista.psu.edu/storage/alan/amm_InfoDesign.pdf"

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