A month's report, its charts drawn in curves
A pie of where the hours went, a ring gauge of how far into the year the work is, a card with eased corners, and arcs told where to go rather than how far to turn.
A plan of a plot is read at two distances. Across a desk, somebody wants to know which plot it is and how wide it is, and that has to read at arm's length. On the screen, enlarged, the builder wants the figure written on each wall — and those figures are so small that at ordinary size they are a grey smudge over the drawing. Draw both at once and the plan is crowded when it is looked at whole and coarse when it is enlarged. The sentence under the plan has the same trouble again: the buyer reads French, the bank reads English, and keeping two plans side by side means two plans to keep in step.
Here the document settles it by itself, and nobody touches the panel down the side of the reading software. The plot's name stands over the plan while the plan is looked at whole, and steps back the moment it is enlarged past two hundred per cent; at that same moment the wall figures come in, the ones nobody could read at ordinary size. Two hundred per cent is where the two change over, so exactly one of them stands at any magnification. The sentence under the plan is written once in each language, and reading software shows the one it is set to — reading software set to a language the document does not carry reads the one the page itself is written in.
Nothing is left out and nothing is simplified: this is the program exactly as it runs, for the developer who uses this library. The third is the description itself: a plain list of what the page has to say, which is what the service is sent.
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A pie of where the hours went, a ring gauge of how far into the year the work is, a card with eased corners, and arcs told where to go rather than how far to turn.
The same area of stripes shown through two windows: a plain disc, and a ring whose middle is left bare.
Half-transparent fills that overlap and mix, one orange square laid over a blue bar in four different ways of mixing colours, and a line of overlapping letters painted two ways.
Five panels: a header that fades out, the same fade on the diagonal, a glow carried past its own circle so the corners fill, a blend that goes by way of a third colour, and a checkerboard whose colour is worked out from where each point stands, redder to the right and greener towards the top.
A gradient used as the colour something is filled with: a headline whose letters are windows onto a blend of three colours, and a panel filled with a circular one.
Six triangles round a centre they share, their edges stroked over the paint; a lattice of points in the four printing inks; a patch whose four sides are curves; and the same patch pulled about by four points inside it.