Timelines as Tools for Data Visualization and Communication in Scientific Contexts – a Practical Guide

doi: 10.24406/publica-5484 Unless otherwise noted for individual content, this work is licensed under a Creative Commons Attribution 4.0 International License. TIMELINES AS TOOLS FOR DATA VISUALIZATION AND COMMUNICATION IN SCIENTIFIC CONTEXTS – A PRACTICAL GUIDE Version 1.0 2025 MICHÈLE ROBRECHT, LIBRARY AND INFORMATION SERVICES, FRAUNHOFER INSTITUTE FOR PRODUCTION TECHNOLOGY IPT © ddaremmth/stock.adobe.com (generated with AI) 1 Contents 1. Introduction ....................................................................................................................... 2 2. Creating good conditions: helpful skills and resources ........................................................ 2 3. Overview of the work steps ................................................................................................ 3 4. Type of timeline .................................................................................................................. 3 5. Communication concept .................................................................................................... 4 5.1 Communication objective ............................................................................................. 5 5.2 Dramaturgy patterns ..................................................................................................... 5 5.3 Story ............................................................................................................................. 6 6. Timeline tool ...................................................................................................................... 6 6.1 Requirements ................................................................................................................ 6 6.2 Tool collection .............................................................................................................. 7 6.2.1 Tools for lowto non-interactive timelines .............................................................. 7 6.2.2 Tools for interactive timelines ................................................................................. 7 7. Elements in the timeline ..................................................................................................... 7 7.1 Information levels ......................................................................................................... 7 7.2 Forms of appearance .................................................................................................... 8 8. Metadata concept .............................................................................................................. 9 8.1 Global metadata ........................................................................................................... 9 8.2 Metadata for the content information level................................................................... 10 8.3 Metadata for the formal information level .................................................................... 11 8.3.1 Abstract terms, topics & concepts .......................................................................... 11 8.3.2 Brands .................................................................................................................... 12 8.3.3 Dissertations........................................................................................................... 13 8.3.4 Events .................................................................................................................... 13 8.3.5 Institutions ............................................................................................................. 14 8.3.6 Locations ................................................................................................................ 14 8.3.7 Machines ............................................................................................................... 15 8.3.8 Patents ................................................................................................................... 16 8.3.9 Persons .................................................................................................................. 16 8.3.10 Prizes ................................................................................................................... 17 8.3.11 Projects ................................................................................................................ 17 8.3.12 Publications .......................................................................................................... 18 8.3.13 Research data sets ................................................................................................ 18 8.3.14 Standards ............................................................................................................. 19 8.3.15 Student theses ..................................................................................................... 19 8.3.16 Technologies ........................................................................................................ 20 9. Visual aspects ..................................................................................................................... 21 10. The timeline is finished - what's next? .............................................................................. 21 11. Practical example: dPart® - A Digital Twin Framework for the Machining Domain ............ 22 12. References ........................................................................................................................ 22 2 1. Introduction Why should you use a timeline for data visualization? Timelines are useful tools for visualizing events in chronological order. They are ideal for telling stories and presenting data that changes over time. [1] They are a type of data or information visualization (or graphic) that depicts abstract data in a computer-based, interactive and visual way for easier cognitive processing [2]: "The timeline is a spatial representation of the abstract historical progression of time. Years are plotted on a (usually) horizontal straight line. Larger historical periods can be marked, events localized, and historical situations, structures, and processes depicted and explained with the help of texts, images, or maps. The degree of complexity can vary greatly." 1 [3, p. 211] Application examples for timelines are: • Project progress • Institutional history • Development of competencies in a research group/institution • Development of a technology, method, concept, etc. • And much more What does this guide contain? The guide contains detailed descriptions of the necessary steps and tips for practical application. Detailed suggestions for the metadata schema make it easier for you to fill the timeline with content. At the end of the document, there are two practical examples based on this content. Who is this guide suitable for? This guide is aimed at library staff, communications managers, and researchers who want to use timelines as a communication or documentation tool, as well as anyone who works with (scientific) data and wants to present it in a structured, understandable, and visually appealing way. How can this guide help you? This guide provides step-by-step instructions and practical tips on how to create a well-designed timeline. Since creating timelines is a highly individual activity and depends heavily on the topic, the communication objective and the tool used, all content in this guide should be considered non-exhaustive and illustrative. It provides ideas and building blocks that you can use individually for your specific application. The guide is the result of a practical project from the certificate course Research Data Management - a cooperation between fdm.nrw, ZB MED, and ZBIW. It contains research results and lessons learned from the practical implementation of the concept, presented in a guide structure. 2. Creating good conditions: helpful skills and resources Various skills and resources are helpful in creating good conditions for your project. This list will help you to assess whether your foundation is sufficient. • Time and financial budget: When creating a timeline, most of the time is spent on planning. How much time is needed depends, among other things, on the other requirements: If the information first has to be researched, you should allow for more time. The tool may also incur costs that you should calculate in advance. • A competent project team: The most important skill is (meta) data literacy. Depending on the content of the data to be displayed on the timeline, it may be helpful to involve other staff members, such as research assistants with expertise in their research topics or non-scientific staff from the library or administration. • Computational thinking and programming skills: For code-based customizations, at least Vibe Coding [4] (artificial intelligence-supported code generation) is helpful. For simple code generation, 1 Translated from German by the author. 3 such as HTML-code, this approach is usually sufficient. If Vibe Coding reaches its limits, you should involve people who are proficient in the relevant programming language in the project. • Communication affinity and a good connection with the communication department: The more a story is at the forefront of the timeline, the more helpful knowledge in the area of external communication is, as texts have to be written and the timeline has to be integrated into the message of a website, for example. • Good institutional knowledge and a large network: Depending on the knowledge management structures, compiling data can depend heavily on the knowledge of individual persons. Therefore, your own knowledge and a large network are helpful in research. 3. Overview of the work steps The creation of a timeline comprises two phases (see Figure 1). Each phase consists of several steps whose contents are closely related. It is therefore advisable to coordinate the steps. • Phase 1 - Preliminary work: At the beginning, it is important to select the type of timeline and tool as well as initial ideas on the communication and metadata concept. At the end of this phase, you will have created a framework for the data you want to communicate. • Phase 2 - Implementation: Next, you then develop the communication and metadata concept further by selecting data and information (elements in the timeline) and entering them into the tool. These three aspects must continue to be harmonized with each other. It may happen that the concept sketches reach their limits during practical implementation. It is then necessary to find the lowest common denominator in order to make the concepts functional for the continuation of the timeline. How much time you need to create a timeline depends largely on the requirements. In general, the more elements, the more time-consuming it is. The following chapters describe in more detail what needs to be done in each step. 4. Type of timeline There are basically two types of timelines: sequential and scaled (see Figure 2). Sequential timelines only show the chronological sequence of elements. The distances between the elements are uniform. Scaled timelines, on the other hand, depict the actual dates and time periods of the elements. They present the information more realistically and give viewers a precise idea of the timing of events. [5] The decision as to which type to use should be based on your communication concept. In some cases, the tool may also impose restrictions on the presentation. Figure 1: Steps involved in creating a timeline 4 Both types can be presented interactively using web and multimedia technologies, making them active and usable in dialogue and supporting the processing of information, with the degree of freedom of interaction varying between the individual media [6]. The lowest form of interactivity is the inclusion of a link. Higher degrees include filter functions or the ability to move elements or to call up further information by clicking on them. [7] The guide mainly refers to interactive timelines. 5. Communication concept The communication concept consists of three components: the communication objective, the dramaturgy pattern, and the story. An essential part of the communication objective is the message, as it forms the basis for subsequent steps (see Figure 3). The dramaturgy pattern determines how users should discover the message: individually or guided. This guidance is supported by the story. The more linear users are supposed to consume the timeline, the more necessary a story for guidance. If the timeline is non-linear, so that users discover it individually, no story is necessary. In this chapter you will find descriptions and practical tips on the three components of the communication concept. Figure 3: Relationship between message, dramaturgy pattern and story Figure 2: Basic types of timelines [1] 5 5.1 Communication objective The communication objective answers the central question: "What should the timeline achieve?" When formulating the communication objective, these questions are helpful [8]: • Who is sending the message? The more you know about the person or institution sending the message, the more authentic and targeted you can make your communication. Identity, values, previous communication strategies, and the image of the sender all play a role here. • Who should the message reach? The target group is at the center of communication. The communication content should be tailored to the characteristics of a clearly defined target group—their interests, lifestyles, and expectations—so that it is relevant to them and they can connect with the message. • What is the message? This is where the first two questions get involved. The message is the core message and, ideally, consists of a single sentence. It conveys what the sender really wants to say. Formulate it clearly and tailor it to the target group. 5.2 Dramaturgy patterns The dramaturgy pattern determines whether users should follow a common thread when interacting with the timeline. There are three predominant patterns in interactive infographics, each of which is related to timelines in the following [9]: Linear dramaturgy The senders define a step-by-step dramaturgy, for example using navigation tools such as forward and back buttons (see Figure 4). This ensures that the visualization communicates the message as intended. However, users often lack an overall view of the information. Timelines with this dramaturgy only allow jumping from one element to another. They are suitable for purposes where the story is in the foreground and must be communicated as intended. Non-linear dramaturgy Users go through an individual process of discovery and insight, which may be supported by a moderation text (see Figure 5). In this way, data visualization can answer several questions at once, supported by navigation tools such as filters or input boxes. However, this does not guarantee that users perceive the intended message. Timelines with this dramaturgy do not follow a coherent story, so users must discover individual connections themselves. For example, a moderation text may place a collection of publications in the context of the overarching topic - but it is up to the users themselves to discover connections such as recurring authors or publications that build on each other. Figure 4: Linear dramaturgy (Lines = predefined click paths; circles = elements; arrows = navigation direction) [7] Figure 5: Non-linear dramaturgy (Lines = possible click paths; circles = elements) [7] 6 Linear-nonlinear dramaturgy The hybrid of linear and nonlinear dramaturgy patterns combines the structured communication of a message with opportunities for individual discovery by the user. There are three predominant pattern variations: • Linear start, nonlinear end: The entry point is predetermined by navigation, after which users can explore the visualization themselves. A nonlinear timeline can be preceded by a text that must be read before the timeline can be accessed. • Nonlinear entry, linear continuation: There are various entry points, followed by linear navigation. The individual elements of timelines can each contain further information displayed linearly. • Linear guidance through a nonlinear structure: Both dramaturgy patterns are offered simultaneously, allowing users to explore the information themselves or be guided through the story. Timelines whose elements are visible at a glance allow for both linear guidance and individual discovery. 5.3 Story For the purposes of this guide, the story is a coherent narrative along a timeline: with a defined beginning and end and several stations in between. Do not confuse it with the message. This message is only conveyed through the story and the dramaturgy pattern. Tailor the story specifically to the message and the chosen dramaturgy pattern. It focuses exclusively on content that is relevant to the core message. At first glance, events such as the founding of an institution or the first appearance of a technology are suitable as a starting point - but should only be selected if they provide real added value for the message. Otherwise, it makes sense to start the story later. Larger stories can be divided into several narrative strands using categories and filters. However, it is important not to fall into the trap of system constraints, otherwise you risk losing the common thread. 6. Timeline tool Create a list of requirements for selecting the tool. In this list, you collect the requirements that arise from the type of timeline, the communication objective, the metadata concept, and also the IT regulations of your institution. These criteria will make it easier for you to choose the right tool. The collection of tools in this guide provides an initial starting point. 6.1 Requirements This checklist will help you create the requirements list. Add your own questions as needed. • What type of data should the timeline display? See also "Forms of appearance". • In which environment should the timeline be integrated? Possible options include presentations, printed materials, websites, etc. This results in requirements such as a specific file format for the print or embedding options on the website. • Which target group should have access to the timeline? If the use case is internal communication, it will only be your own employees, or also external parties if the timeline is used as a marketing tool. Figure 6: Linear-nonlinear dramaturgy (Solid line = predefined click path; dashed lines = possible click paths; circles = elements) [7] 7 • Should the timeline be interactive? When clicking on an element, additional information can be displayed, links to further content can be provided, or visual adjustments such as zooming can be made. • What are the visual requirements for the timeline? Pay attention to your institution’s corporate design (colors, fonts, etc.) or special alphabets such as Cyrillic. • How should the data be entered? Is a graphical user interface necessary, or do the people implementing the timeline have programming skills? • What are the requirements of your institution’s IT department and information security? Consider, for example, information security concepts, the handling of licenses and contracts, and procurement processes. • Should readers be guided through the elements in a specific order, or should they be able to discover them independently? The choice of dramaturgy pattern is based on this. • What is the communication objective? The target group and the message are particularly important. See also "Communication objective". • What resources are available? This point refers to resources such as financial budget, data-competent staff, subject-competent staff (related to the content of the timeline), and available working time. See also "Creating good conditions: helpful skills and resources". 6.2 Tool collection This collection of tools that can display timelines is not exhaustive but shows the spectrum that spans between more or less interactive tools. 6.2.1 Tools for lowto non-interactive timelines If you are planning a mere presentation that does not require interactivity, presentation tools such as MS PowerPoint or Open Office and online whiteboards such as Miro or Conceptboard are suitable. WordPress plugins such as Cool Timeline or Getwid also enable implementation on websites. Minimal interactive functions such as embedding links to further information or directly playable videos are possible. The timelines in these tools often have a size limit and are rigid, meaning that not an unlimited number of elements can be displayed, or the timelines cannot display many elements without becoming confusing. 6.2.2 Tools for interactive timelines Tools that can create interactive timelines include Genially and TimelineJS. Like the latter, Histropedia also has the option of creating the data basis via a Google Sheet. In addition, a JavaScript library and a data query from the Wikidata knowledge graph can also be used for this purpose. The degree and possibilities of interactivity vary from tool to tool. The timelines can be designed more freely in these tools and a larger number of elements can be displayed. 7. Elements in the timeline An element (the data to be displayed) is an event. It can take various forms. Depending on the communication objective, the focus is on the content or the formal information level. Think carefully about the elements so that they convey clear messages and are not overloaded with additional information. 7.1 Information levels Elements in a timeline have two levels of information: a formal level and a content level (based on formal and subject indexing in librarianship [10]). The formal information level contains the appearance and its corresponding properties, which it naturally possess even without being integrated into a timeline. The content information level contains the topic or content, a statement tailored to the communication objective and a context created by the timeline. The metadata of the elements is derived from the information levels. For example, the context can be created by assigning categories that serve as filters. Depending on their appearance, the elements also have different formal metadata. 8 The greater the similarity between the elements, the more important the formal information level becomes. In this case, the metadata serves to structure and compare. If the elements are very different, their relationship with each other is often not obvious at first glance. Here, the story and thus the content level come to the fore. Two examples clarify the distinction between the information levels: • Timeline of publications on a technology: The aim is to communicate that an institution has more than 30 years of research experience with this technology. Formally, the events have the appearance of publications. They hold metadata such as the authors, publication date, title, etc., and provide information on when and where the research was communicated. In terms of content, each publication conveys a statement such as "We published our first publication on this technology 30 years ago" or "This publication discusses our groundbreaking discovery that fundamentally changed the view of this technology". These statements are evident from metadata such as the abstract. Together, they form the message of the communication objective. • Timeline for the development of new software: The aim is to communicate the potential benefits of using the software for companies. Formally, the events take various forms, such as a machine on which the software was successfully implemented or a consortium that was formed for further development. The formal metadata for these elements is not unimportant, because it informs the users of the timeline about its nature. However, the formal information level is in the foreground here, as the elements must be linked to form a story. The story begins with the idea for the software and ends in the present. In between there are milestones that advance development and show step by step how companies could benefit from the software - the message of the timeline. 7.2 Forms of appearance The elements in timelines can appear in various forms. Especially when you provide additional information for an element, make sure you are clear about what the focus is so that you can specify the appropriate metadata. The following list of forms (see Figure 7) is not exhaustive and not always clear-cut. . Figure 7: Forms of appearance of timeline elements 15 7.2 Coordinates Coordinates Geographical coordinates of the location, or the center point for larger areas 0-1 Mandatory/optional 7.3 Country String Country in which the location is located 0-1 Mandatory/optional 7.4 History Text History of the location that is relevant to the communication objective Should be tailored to the target audience in terms of language, and follow institutional writing rules if necessary 0-1 Mandatory/optional 7.5 Institution String/text Institutions located at this location Use the official name of the institution, no abbreviations If string, several institutions can also be specified 0-n Mandatory/optional 8.3.7 Machines Table 9: Metadata for the appearance form "Machines" Number Name Type Definition Frequency Obligation 8.1 Name_Machine String Name of the machine according to the manufacturer 1 Mandatory 8.2 Functionality String/text Description of what the machine does If string, use individual controlled vocabulary if necessary If string, multiple functionalities can also be specified 1-n Mandatory 8.3 Acquisition date Date Date on which the machine was delivered to the respective institution Format depends on tool, observe institutional writing rules if necessary 1 Mandatory/optional 8.4 Manufacturer String Manufacturer of the machine Use the official name of the manufacturer, no abbreviations 1-n Mandatory/optional 8.5 Model designation ID/string Model designation of the machine according to the manufacturer Type depends on the form of the model designation 1 Mandatory/optional 16 8.3.8 Patents Table 10: Metadata for the appearance form "Patents" Number Name Type Definition Frequency Obligation 9.1 Title_Document String Title of the patent as it appears on the document 1 Mandatory 9.2 Patent number ID Patent number 1 Mandatory 9.3 Publication date Date Publication date of the patent Format depends on tool, observe institutional writing rules if necessary 0-1 Mandatory/optional 9.4 Application date Date Date of application for the patent Format depends on tool, observe institutional writing rules if necessary 0-1 Mandatory/optional 9.5 Inventor String Name of the inventor Format: First name Last name 0-n Mandatory/optional 8.3.9 Persons For example, institute directors or politicians. Please note the protection of personal data! Table 11: Metadata for the appearance form "Persons" Number Name Type Definition Frequency Obligation 10.1 Name_Person String Name of the person Format: First name Last name 1 Mandatory 10.2 Affiliation String Institutional affiliation of the person Use the official name of the institution, no abbreviations 0-1 Mandatory/optional 10.3 ORCID ID ORCID of the person Format with or without link resolver: https://orcid.org/0000-0001-2345-6789 or 0000-0001-23456789 0-1 Mandatory/optional 10.4 Occupation String/text Occupations performed by the person Use individual controlled vocabulary if strings are used If string, multiple activities can also be specified 0-n Mandatory/optional 17 10.5 Focus topic String/text Topics in which the person primarily active Use individual controlled vocabulary if strings are used If string, multiple focus topics can also be specified 0-n Mandatory/optional 8.3.10 Prizes Table 12: Metadata for the appearance form "Prizes" Number Name Type Definition Frequency Obligation 11.1 Title_Prize String Name of the prize 1 Mandatory 11.2 Distributor String Persons or institutions awarding the prize Format Person: First name Last name Institution: Use the official name of the institution, no abbreviations 0-n Mandatory/optional 11.3 Award date Date Date of the award ceremony Format depends on tool, observe institutional writing rules if necessary 0-1 Mandatory/optional 11.4 Awardee String Name of the award winners Format: First name Last name 1-n Mandatory 11.5 Subject String/text Content that is labelled Use vocabulary if strings are used If string, multiple subjects can also be specified Should be tailored to the target audience in terms of language, and follow institutional writing rules if necessary 1-n Mandatory 8.3.11 Projects Table 13: Metadata for the appearance form "Projects" Number Name Type Definition Frequency Obligation 12.1 Project manager String Name of the persons in charge Format: First name Last name 1 Mandatory/optional 12.2 Title_Project String Official project title 1 Mandatory 18 12.3 Funding organization String Institution providing the project funds 1-n Mandatory/optional 12.4 Project duration Date Period during which the project is being processed Format depends on tool, observe institutional writing rules if necessary 1 Mandatory/optional 12.5 Project partner String Other institutions involved in the project 0-1 Mandatory/optional 8.3.12 Publications Table 14: Metadata for the appearance form "Publications" Number Name Type Definition Frequency Obligation 13.1 Author String Name of the author Format: First name Last name 1-n Mandatory 13.2 Publication date Date Publication date Format depends on tool, observe institutional writing rules if necessary 0-1 Mandatory/optional 13.3 Title_Document String Title of the publication as it appears on the document 1 Mandatory 13.4 Type String Type of publication (article, book, conference paper, etc.) Use individual controlled vocabulary 1 Mandatory 13.5 Publisher String Publisher that published the publication 0-1 Mandatory/optional 8.3.13 Research data sets Table 15: Metadata for the appearance form "Research data sets" Number Name Type Definition Frequency Obligation 14.1 Title_Research data set String Title of the research data set, e.g., as specified in the repository It is best to upload research data sets to repositories and link them in the timeline to ensure FAIRness 1 Mandatory 14.2 Creator String Name of the creator Format: First name Last name 0-n Mandatory/optional 14.3 License String License under which the research data set may be reused 0-1 Mandatory/optional 19 Ensure that the full license name is specified, e.g., including version number Information on the most common license set (Creative Commons) can be found here. 14.4 Keyword String Keyword describing the content of the research data set Use individual controlled vocabulary Should be tailored to the target audience in terms of language 0-n Mandatory/optional 14.5 Abstract Text Short text describing the content of the research dataset Should be tailored to the target audience in terms of language and, if necessary, follow institutional writing rules when rewritten for the timeline 0-1 Mandatory/optional 8.3.14 Standards Table 16: Metadata for the appearance form "Standards" Number Name Type Definition Frequency Obligation 15.1 Title_Document String Title of the standard as it appears on the document 1 Mandatory 15.2 Standard number ID/string Number of the standard 1 Mandatory 15.3 Publication date Date Publication date of the standard Format depends on tool, observe institutional writing rules if necessary 0-1 Mandatory/optional 15.4 Application area String Industries, technologies, etc. in which this standard can be applied Use individual controlled vocabulary Should be tailored to the target audience in terms of language 0-n Mandatory/optional 15.5 ICS classification ID ICS classification of the standard 0-n Mandatory/optional 8.3.15 Student theses Table 17: Metadata for the appearance form "Student theses" Number Name Type Definition Frequency Obligation 16.1 Graduating student String Name of the author Format: First name Last name 1 Mandatory 20 16.2 Publication date Date Publication date of the student thesis Format depends on tool, observe institutional writing rules if necessary 0-1 Mandatory/optional 16.3 Title_Document String Title of the student thesis as it appears on the document 1 Mandatory 16.4 Number of pages Number Number of pages in the student thesis Format depends on tool, observe institutional writing rules if necessary 0-1 Mandatory/optional 16.5 Abstract Text Short text describing the content of the student thesis Should be tailored to the target audience in terms of language, and, if necessary, follow institutional writing rules when rewritten for the timeline 0-1 Mandatory/optional 8.3.16 Technologies For example, artificial intelligence or mp3. Table 18: Metadata for the appearance form "Technologies" Number Name Type Definition Frequency Obligation 17.1 Name_Technology String Name of the technology Should be known to the target group, could therefore also come from the respective technical language Short, concise 1 Mandatory 17.2 History Text History of the technology relevant to the narrative Should be tailored to the target audience in terms of language, and follow institutional writing rules if necessary Includes, e.g., developments or applications 0-1 Mandatory/optional 17.3 Maturity level String/text Description of how mature the technology is and how it can be applied Use individual controlled vocabulary Should be tailored to the target audience in terms of language, and follow institutional writing rules if necessary 0-1 Mandatory/optional 17.4 Application area String/text Industries or problems in which the technology can be applied Use individual controlled vocabulary 0-n Mandatory/optional 21 If string, multiple functionalities can also be specified Should be tailored to the target audience in terms of language, and follow institutional writing rules if necessary 17.5 Developer String Name of the person who developed the technology Format: First name Last name 0-n Mandatory/optional 9. Visual aspects If you create the time scale, i.e., the line on which the events are displayed, yourself, you should decide on an appropriate scale—or make it adjustable. A complete overview of all elements should be possible for timelines that focus on the content information level. When selecting images, make sure that you are permitted to use them and provide copyright information if necessary. The images should be simple in design to ensure that the timeline is clear and easy to read. Also, observe any corporate design guidelines for your institution. 10. The timeline is finished - what's next? A natural characteristic of timelines is that they end in the present. As time progresses, new elements may arise. Make sure that the timeline can be maintained on an ongoing basis. If you link to external content, you should also check regularly to see if it is still accessible. You can also evaluate your timeline: • Before making it accessible to the target group: To evaluate the comprehensibility and usability of the timeline, you can conduct thinking-aloud tests or have other data or subject matter experts perform peer reviews. You should also test the technical functionality and check how it displays on different devices, especially mobile ones. • After making it accessible to the target group: You can use surveys and interviews with users to determine whether you have achieved your communication objective. However, these methods involve a certain amount of effort. With website usage analysis tools, you can determine with paths users use to access the website with the timeline, how long they stay there, or which elements they click on most frequently. . 22 11. Practical example: dPart® - A Digital Twin Framework for the Machining Domain The timeline "dPart – from idea to operational tool" (see Figure 8) shows how the recommendations in this guide have been put into practice. It is a scaled [1] interactive timeline implemented with the Histropedia tool. It offers a great degree of interactivity, as users can manipulate it by setting filters, for example. [7] The timeline contains 15 elements, including publications, projects, a spin-off, a brand and a standard. The elements are very different, so the focus is on the content information level. Each element contains a title, a time stamp, a description, an image and further information. The target group for the timeline are people from industry who are potential customers of Fraunhofer IPT. The message is the presentation of the typical Fraunhofer way of working. The dramaturgy follows a linearnonlinear pattern with linear guidance through a nonlinear structure: Users can follow the chronological order of the elements or click individually through the stations of the timeline. When embedded in a website, a moderator's text would recommend following the chronological order in order to discover the entire message. Additionally, it would contextualize the timeline to integrate it into a larger communication framework. In addition to global metadata, the metadata concept of the timeline only contains a schema for the content information level of the elements, as this is the main focus. The elements are very different, which means that the focus is on the dramaturgy pattern and the story in order to make the message clear. Metadata on the formal information level is added as required. The greatest difficulties were encountered when gathering information. Many events took place years ago and had to be compiled from various sources (people, files, websites). Embedding websites also proved difficult, as this function is often disabled for security reasons. The solution was a workaround: central support enabled the Fraunhofer IPT’s website. A hidden area was created on the website to display all content that cannot be embedded from external websites. The prerequisite for this is that the content may be used, for example, publications with Creative Commons licenses. 12. References [1] The Data Visualisation Catalogue. "Timeline." Accessed: May 19, 2025. [Online]. Available: https:// datavizcatalogue.com/methods/timeline.html [2] S. K. Card, J. D. Mackinlay, and B. Shneiderman, Eds. Readings in information visualization: Using vision to think (The Morgan Kaufmann series in interactive technologies). San Francisco: Morgan Kaufmann, 2007. [3] M. Sauer, "Die Zeitleiste," in Handbuch Medien im Geschichtsunterricht (Wochenschau Geschichte), H.-J. Pandel, U. A. J. Becher, and G. Schneider, Eds., 5th ed. Schwalbach/Ts.: WOCHENSCHAU Verlag, 2010, pp. 211–222. [4] R. Williams. "What is vibe coding, exactly?" Accessed: Jun. 13, 2025. [Online]. Available: https:// www.technologyreview.com/2025/04/16/1115135/what-is-vibe-coding-exactly/ Figure 8: Timeline "dPart – from idea to operational tool" (as of September 19, 2025) 23 [5] The Data Visualisation Catalogue. "Chart Combinations: Overlaying Extra Data Onto Timelines." Accessed: Jun. 13, 2025. [Online]. Available: http://datavizcatalogue.com/blog/chart-combinationstimelines/ [6] S. P. Radtke, P. Pisani, and W. Wolters, Handbuch visuelle Mediengestaltung: Visuelle Sprache. Grundlagen der Gestaltung. Konzeption digitaler Medien, 4th ed. Berlin: Cornelsen, 2008. [7] W. Weber and A. Wenzel, "Interaktive Infografiken: Standortbestimmung und Definition," in Interaktive Infografiken (X.media.press), W. Weber, M. Burmester, and R. Tille, Eds., Berlin, Heidelberg: Springer, 2013, pp. 3–23. [8] C. Fries, Grundlagen der Mediengestaltung: Konzeption, Ideenfindung, Bildaufbau, Farbe, Typografie, Interface Design, 6th ed. München: Hanser, 2021. [9] W. Weber, "Typen, Muster und hybride Formen: Ein Typologisierungsmodell für interaktive Infografiken," in Interaktive Infografiken (X.media.press), W. Weber, M. Burmester, and R. Tille, Eds., Berlin, Heidelberg: Springer, 2013, pp. 25–37. [10] K. Gantert, Bibliothekarisches Grundwissen, 9th ed. Berlin, Boston: De Gruyter Saur, 2016.