sug243 - cartography (perception and design)

8/9/2019 SUG243 - Cartography (Perception and Design)

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Perception and

Design

Perception and

Design


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Perception and Design 2

IntroductionIntroduction

Communication skills are crucial to every

professional

Verbal skills are not enough when presenting

geographic information Graphic skills are needed for mapmaking

Cartographic expertise allows you to communicate

geographic information clearly with maps

Designing better maps means thinking carefully abouteach aspect of the map design process


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Perception andPerception andDesignDesign Cartographic design

Symbolization

Colour theory and models

Patterns Typography and lettering the map


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CartographicCartographicDesignDesign

Design is creation.

Objectives of map design. General reference map.

Thematic map.

Functional design. There are almost unlimited options for organising

the visual character of the display.

Most design choices are compromises.


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Design ProcessDesign Process(Robinson)(Robinson)

Draw heavily on imagination and creativity -graphic ideation

Develop a specific graphic plan by analysing

various alternatives and weigh them within thelimits of the general plan

Prepare detailed specifications for mapconstruction

Design prototypes


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VisualizationVisualizationProcessProcess


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Map Design ProcessMap Design Process

RealWorldandPurpose

RawData

Map

MapImage

datacollection

mapproduction

mapreading

Design Process


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Map Design -cont..Map Design -cont..

Step 1Consider what the real world distribution of the

phenomenon might look like

Step 2Determine the purpose of the map and its

intended audience

Step 3 Collect data appropriate for the map's purpose

Step 4 Design and construct the map

Step 5Determine whether users find the map useful

and informative


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Design &ConstructDesign &ConstructProcess (Slocum)Process (Slocum)

forces the designer to construct a map with a particular focus & purpose

directs the reader's attention to a particular message

combines intellectual and aesthetic processes


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Design &ConstructDesign &ConstructProcess -DesignProcess -DesignFiltersFilters


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Map Design -cont..Map Design -cont..

Determine how the map will be reproduced

Select a scale and map projection that is appropriate for the maps theme

Determine the most appropriate methods for data symbolization and classification

Select which map elements to employ and decide how each will be implemented

Establish a ranking of symbols and map elements according to their relative

importance

Create one or more sketch map or thumbnail sketch

Construct the map in your chosen software application. Print rough drafts first..

then refine the map design

If possible, allow members of intended audience to evaluate the maps

effectiveness


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Essentials 0fEssentials 0fdesigning betterdesigning better

maps (C. Brewer)maps (C. Brewer) Designing for map purpose and medium, consideraudience, media resolution, viewing distance, colour

quality

Linking layout to map purpose, using hierarchy,editing decorative design elements, select map

projections

Planning layout, refine alignments, value

experimentation

Choosing appropriate export options, maps for the

web


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Criteria for a GoodCriteria for a GoodDesignDesign Should be suited to the needs of map users

Should be easy to use

Should be accurate, present information without error

and distortion Should be clear, legible, and aesthetically pleasing

Should be thought provoking, and communicative

Beauty : beauty of symbols, beauty of colour, beauty

of layout, beauty of typographic appearance


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PerceptualPerceptualConsiderationsConsiderations

Graphic elements Point marks - position

Line marks - direction and position: a linear array

of points Area marks - extent, direction and position: a 2-

dimensional array of points


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Graphic elementsGraphic elementsRepresentation of Spatial Objects Point (0-dimensionality)

Occurs at only one location in space.

No length or width.

Stored as a single coordinate pair

Line (1-dimensionality)

Objects have a fundamentally long and skinny shape.

Store the line as an ordered sequence of points.

Area/polygon (2-dimensionality)

Areas occupy both length and width.


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Levels of GeographicLevels of GeographicData MeasurementsData Measurements

Nominal scale

The simplest level of measurement.

Qualitative information that divides a group intodifferent categories or classes.

Cannot perform any mathematical operation betweenclasses. Ordinal scale

Quantitative information classified on the basis ofcomparative values

Objects can be compared in terms of greater than,

equal, or less than No way to determining how much distance separates

the adjacent items in the array.


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Levels of GeographicLevels of GeographicData MeasurementsData Measurements

Interval scale

Provides the exact value of some phenomena on a standardscale with uniform intervals but an arbitrary zero value.

Ratio scale

Quantitative information that provides the exact value of some

phenomena on a standard scale that has uniform intervalsand a real (non-arbitrary) zero value. Conversion between different scales

As one progress from nominal to ratio scaling, the amount ofinformation obtainable increases.

Data available at higher measurement levels can begeneralized to lower levels, but the reverse is not possible.

Permissible mathematical and statistical operations onmeasurements of different scale are different


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Classes of SymbolsClasses of Symbols

Point-emphasising symbols

Line-emphasising symbols

Area-emphasising symbols

Volume-emphasising symbols

ClCl


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ClassesClassesofof

SymbolsSymbols(Cont.)(Cont.)

Some examples ofthe four classes ofsymbols (point-,

line-, area-, andvolume-emphasising) andhow they might beused for a few of thekinds of qualitativeand quantitativedata.

From Robinson, et al., 1995


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Spatial data Spatial data temporal dimensiontemporal dimension Identifies the time period for which

measurements are valid

3 basic temporal cartographic models

Static mapsshows single slice of time

snapshot taken at particular instant of time

uses graphic variables and symbols to show

temporal change


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Cont..Cont.. Series of static maps

is a series of snapshots of the same area andthe same phenomenon at different points intime

Animated map

result of connecting the snapshots maps intoanimation

moving objects - movements is animated on

the screen


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Visual Variables-Visual Variables-BertinBertin

visual variables Shape

Size

Orientation Colour -Hue ,Value, Chroma

Value

Texture (pattern)


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Visual VariablesVisual Variables(cont)(cont)

The visual variables with some examples of their simple applicationto the basic graphic elements.



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VisualVisualVariablesVariables(cont)(cont)


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MultivariateMultivariate


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ExampleExample

Dent visualDent visual


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Dent visualDent visualrepresentationrepresentation

l i l


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Slocum-VisualSlocum-VisualVariablesVariables

Slocum VisualSlocum Visual


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Slocum-VisualSlocum-VisualVariables ColourVariables Colour

Visual PerceptionVisual Perception


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Visual PerceptionVisual Perception(Bertin)(Bertin)

Perception of and the immediate discriminatory response / spontaneous impression to

an object which is presented to the viewer.

If all symbols look of equal importance , the perception

characteristics of the visual variable applied is called

ASSOCIATIVE If groups of symbols can easily be distinguished, the perception

characteristics of the visual variable is called SELECTIVE

If any order between symbols can be distinguished, the perception

characteristics of the visual variable applied is called ORDERED

If any order in terms of amounts can be distinguished, the perception

characteristics of the visual variable is called QUANTITATIVE

Subjective andSubjective and


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Subjective andSubjective andConventionalConventional

associationsassociations Spontaneous reactionsto a specific v/v which

are more or less

common to all users

Form, Orientation,

Colour,Value,

Texture,Size

Learned and based on

custom and agreement

Eg on topographic map

Colour, value,size

Visual PerceptionVisual Perception


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Visual Perception-Visual Perception-ExamplesExamples

Associative Selective

Ordered Quantitative


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Examples ofExamples ofThematic MapsThematic Maps A map is a two-dimensional scale model of a part of

the surface of the earth.

Common thematic maps. Choroplethmaps show relative magnitudes of continuous

variables as they occur within the boundaries of unit areas.

Contour/Isarithmic maps represent quantities by lines of

equal value and emphasise gradients among the values.


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Choropleth MapsChoropleth Maps

i h iC /I i h i


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Contour/IsarithmicContour/IsarithmicMapsMaps

O h i d fOth Ki d f


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Other Kinds ofOther Kinds ofMapsMaps

Dot maps (e.g. Population)

Symbol maps (e.g. Labour force)

Line maps (e.g. Transport)

3-dimensional maps (e.g. Landform)

Animation maps (e.g. Weather)

DotDot


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DotDotMapsMaps


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Symbol MapsSymbol Maps


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Animation MapsAnimation Maps


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Animation MapsAnimation Maps (Cont.)(Cont.)

Other GraphicsOther Graphics


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Other GraphicsOther GraphicsOutputOutput

Bar chart

Pie chart

Scatter plot

Histogram0

50

100

Urban

1974

1984

1994

1994

ural

21%

Sub-

urban

40%

Urban

39%

0

10

20

30

40

50

60

70

80

90

100

0 50 100

1974

19841994

0

20

40

60

80

100

120

140

Band5


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Design PrinciplesDesign Principles

Legibility - graphic symbols must be easy to read and

understand e.g. Size

Visual contrast

Figure-ground organisation Differentiation, closed forms, familiarity, lightness, good

contour, detail, and size

Hierarchical organisation - visual layering

stereogrammic, extensional and subdivisional


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LegibilityLegibility

Graphic symbols must be easy to read andunderstand

Differences between colours, pattern, andshadings used to differentiate between symbols

must be visually distinct Symbols should be larger than minimum size for

average vision and viewing conditions

Focus of attention : attempt to get important part

in visual center


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i l C


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Visual ContrastVisual Contrast

Size contrast of lines.Uniformity producesunpleasant monotony. Theareas that are mostinteresting are thosewith with considerablecontrast.

After Robinson,et al

., 1995

Figure-groundFigure-ground


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Figure-groundFigure groundOrganisationOrganisation

establish figure - ground

figure = object of importance - to be remembered

ground = background - less distinct,not to be remembered

techniques to make figure stand out

grouping - multiple smaller items appear 'on top'

closure - objects are 'complete'

texture - heterogeneous visual display - perceive difference

crisp edges - sharpness & intensity will pull object forward

interposition - interrupt the plane of one object with another

map frame - use frame to extend object boundaries

vignetting / gradience - to distinguish land from water, torecognize outlines of towns, islands and harbors

Figure-groundFigure-ground


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Figure groundFigure groundOrganisationOrganisation

Four simple sketch maps to illustrate various aspects ofthe figure-ground relationship.


HierarchicalHierarchical


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HierarchicalHierarchicalOrganisationOrganisation

visual layering of mapped features

separate meaningful characteristics and to show

likeness, differences and interrelationships

visual order defines the place and function of each

element of the whole

implies an underlying structure rather than randomness

techniques :through stereogrammic, extensional and

subdivisional

HierarchicalHierarchicalOrganisationOrganisation


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OrganisationOrganisation

An example ofstereogrammic hierarchical graphicorganisation: (A): all elements lie in the same visual plane; (B):the land seems to be above the water, and mordern boundariesrise above the visual plane of the land.


StereogrammicStereogrammic


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StereogrammicStereogrammicOrganisationOrganisation

Some examples ofdepth cues that maybe useful instereogrammicorganisation. (A), (B),(C) and (D) illustratevarious kinds ofsuperimposition. (E)

illustrates aprogression of size,and (F) illustrates aprogression of value.(G) depth cues may beused additively.


ExtensionalExtensional


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ExtensionalExtensionalOrganisationOrganisation

An example ofextensionalhierarchicalgraphicorganisation inwhich a set ofroads is gradedaccording torelativeimportance.


Sub-Sub-divisionaldivisional


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divisionaldivisionalOrganisatiOrganisati

ononAn example ofsub-divisionalhierarchicalorganisation in whichthe primary divisionis between humidand dry climates,with a secondarysub-division basedon temperature, anda tertiary sub-division based ondesert versus steppe.


Graphic controlsGraphic controls


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Graphic controlsGraphic controls

Purpose

Audience

Format

Reality

Technical limits

Design Planning-Design Planning-


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Design PlanningDesign PlanningLayoutLayout

The graphic outline

Composition

Visual balance

Contextual items Titles

Legends

Insets

The Graphic OutlineThe Graphic Outline


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The Graphic OutlineThe Graphic OutlineThe fundamental

organisational elements:1.The place Europe.

2.The features the twodistributions.

3.The position of thefeatures with respect to

Europe.4.The relative position ofthe two distributions.

(A): 1-2-3-4, (B): 2-3-4-1, (C):3-1-4-2, (D): 4-2-3-1.


CompositionComposition


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CompositionComposition

Explanatory aids such as titles, legends, scales, insets anddirection indicators are also standard components of mapcomposition. They may be arranged in various ways in the

graphic organisation of a map.From Robinson, et al., 1995


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Which one?

Perception of Balance


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Which one?

Which one?

Which one?

Which one?

Which one?

Which one?

Which one?Which one?

Which one?

off center = more weight

Perception of Balance


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upper = more weight

right = more weight

bigger = more weight

red = more weight

bright = more weight

isolated = more weight

regular shape = more

weight

Visual RulesVisual Rules


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Map Composition andMap Composition andLL t


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p pp pLayoutLayout

Layout refers to the spatial arrangement of the various

map elements making together what is called the map.

Goals of map layout

Clarity

Order

Visual balance

Contrast

Unity

Map Layout-Map Layout-di iditi


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p yp ypreconditionspreconditions The process of map layout can only start after it is

clear:

What the purpose of the map is

Who is the map user

What is the topic of the map

What the scale and the format is

How the map will be reproduced

Layout (cont)Layout (cont)


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Layout (cont)Layout (cont)

Beauty of layout

Arrange and organize map elements into meaningful,

aesthetically pleasing layout

The position size, and style of all map elements,

including titles, legends, scale, graticule, neatlines,symbols and place names, credits can be arranged and

customized in various ways in a map

Importance of experimental studies

Map layoutMap layout


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for presentation maps, some conventions on what to

include: a title (or caption). clearly state what the map shows. plus relevant

date of data, sources, missing values, author, contact info, etc

a legend, so any reader can interpret the content of the map.

meaning of all symbol and colours

scale indication. translates distance on the map to distance on the

ground

orientation indication (the good old north arrow)

borders and neatlines

these conventions are widely broken!

Main map layoutMain map layoutelementselements


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elementselements

Map face

Neat lines

Outer border

Border information

North indicator Marginal information

Title

Legend

Location diagram

Sheet history /Source

Insets

Balance and centreBalance and centre


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Visual impact of arrangement.

harmonious arrangement around

the optical centre

concern for weight and direction of

objects around the natural centre

unbalanced composition lookrandom and accidental

optical centre

geometric centre


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Interesting balanceInteresting balance


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Sketches of a MapSketches of a Map


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Sketches of a MapSketches of a Map

Preliminary sketches of a map made in order to arrive at adesirable layout and balance.

From Robinson,et al

., 1995

Contextual ItemsContextual Items


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Contextual ItemsContextual Items

Examples of variations in the prominence of map legends. Note theoperation of the principles of figure-ground relationships.


Map InsetsMap Insets


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is a smaller map which

show the primary mapped area in relation to a larger area

enlarges important or congested areas

adds information relative to theme (topic, year...)

style

size and position is variable depending on importance of the

inset to the communication of map purpose

Types of LayoutTypes of Layout


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Types of Layoutyp y

Island Map LayoutFrame LayoutFrame Layout

Frame Layout

Bleeding edge Layout

Bleeding edge Layout

BalanceBalance


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Symmetric balance

Informal balance

Formal grid balance

Balanced LayoutBalanced Layout-Examples-Examples


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pp

Careless layout

Searching all over for marginal information

ColourColour


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Functions simplifies or clarifies the organization /

message of the map

makes information more legible and clear

e.g. text creates a subjective reaction /adds visual

interest

Aesthetic

ColourColour


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Light, or different colours, is a narrow

frequency band within the electromagnetic

spectrum.

Visible colours are electromagnetic wave with

the wavelength of approximately 700nm (red)

to 400nm (violet).

ElectromagneticElectromagneticSpectrumSpectrum


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SpectrumSpectrum

10-3 10-2 10-1 1 101 102 103 104 105 106 107 108 109 1010 1011millim

etre

centim

etre

metre

INVISIBLE INVISIBLE

400 500 600 700

Gamma and X-rays Infrared Radio Microwave - Television

nm

nm

VISIBLE LIGHTInfraredUV


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Rods and cones are specialized nerve cells that contain light-sensitive

chemicals called visual pigments, which generate an electrical

responses to light. (Slocum, et. al, p.182)

Colour Theory andColour Theory andModelsModels


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ModelsModels Using colour on maps is one of the most interesting

and challenging aspects of cartography.

Colour is a perceptual phenomenon, a product of our

mental processing of electromagnetic radiation

detected by our eyes. colour perception is a combination of physiological

(sensing in the eye and cognitive processing) and

psychological reactions

A colour is measured by its hue,brightness (value)

and saturation (chroma).

Dimensions ofDimensions ofColourColour


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Hue Unique wavelength in colour spectrum (400-700nm)

Name given to colours: red,green blue

Value (Brigthness,Lightness-Darkness) The quantity of lightness or darkness

Value is controlled by adding white or black pigment Saturation (Chroma)

Brilliance,richmess of a colour

Chroma varies from 0% (gray) to 100(saturated, pure colour, no

gray); amount of pigment vs amount of gray

hue - basic colour we

perceive eg 12 step


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perceive, eg 12 step

wheel

value - lightness or

darkness. Can be hard

to perceive variations

in value

saturation - intensity or

purity compared to a

neutral gray

Components of aComponents of aColourColour


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ColourColour

P(

)energy

dens

ity

Dominantwavelength (hue)

Wavelength (nm)400Violet

700Red

e1

e2

Area brightness

Components of aComponents of aColourColour


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ColourCo ou


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Color Cultural Significance

Color Symbolism byColor Symbolism byCultureCulture


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Red China - symbol of celebration and luck, used in many cultural ceremonies thatrange from funerals to weddings.India - color of purity (used in wedding outfits).United States - Christmas color when combined with green, ValentinesDay when combined with pink, indicates stop (danger) at traffic lights.Eastern cultures - signifies joy when combined with white.

Yellow Asia - sacred, imperial.Western cultures - joy, happiness.

Blue China - associated with immortality.Colombia - associated with soap.Hindus - the color of Krishna.

Jews - holiness.Middle East - protective color.* Note: Blue is often considered to be the safest global color.

Orange Ireland - religious significance (Protestant).United States - inexpensive goods, Halloween (with black).

Green China - studies indicate this is not a good color choice for packaging, greenhats mean a man's wife is cheating on him.France - studies indicate this is not a good color choice for packaging.

India - the color of Islam.Ireland - religious significance (Catholic).Some tropical countries - associated with dangerUnited States - indicates go (safe) at traffic lights, environmentalawareness, St. Patrick's Day, Christmas color (red and green).

Purple Western cultures - royalty.

Brown Colombia - discourages sales.


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White Eastern cultures - mourning, death.Japan - white carnations signify death.United States - purity (used in weddings).

Black Western cultures - mourning, death.

Saffron Hindu - sacred color. (orangish peach color)

Pastels Korea - trust.United States - spring, Easter; pale blue (baby blue) stands foran infant boy; pale pink stands for an infant girl.


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Perceptual andPerceptual andPsychologicalPsychologicalFactors influencingFactors influencing


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gg

colour choice -colour choice -contcont Contrast enhancement is depending upon the

background. A light clolour may appear more clear or

bright against a dark background and will look darker

if against a light background Specific hues are related to human associations eg.

Red = warm, Blue=Cool

Visual Perception of V/variable:

Hue-Associative, Selective, Value-Selective, Ordered

What are colorWhat are colormodels?models?


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Color models are different ways to organize and interrelate the

three dimensions of color Munsell (1915): A system originally developed for government

color coding, it works well for cartography because the threedimensions of color (above) are divided into equally spacedsteps from a perceptual standpoint.

Ostwald (1917): Similar to Munsell but colors are achieved bymanipulation of hue, white and black rather than hue, value

and saturation. CIE (1931): The Commission International de lEclairage

(International Commission on Illumination) system; allowsprecise color specification in numerical terms.

CMY(K) - subtractive primaries (color laser/inkjet printing onhardcopy)

RGB Cube: A more recent model of additive primaries(graphics card for color monitor)

The Additive ColourThe Additive ColourSystemSystem


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yy


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Munsell ModelMunsell Model:Munsell model is:Munsell model isasymmetrical, because the model isasymmetrical, because the model is

perceptually basedperceptually based..


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The RGB ColourThe RGB ColourModelModel

Most applicable to the colour generated by computer display devices


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Based on Additive mixture of three primary colour : red, green, blue

Each hue is specified in terms of intensities of red, green and blue. At thecorners of RGB colour cube are

Red + Green..Yellow

Red + Blue.Magenta

Green+ BlueCyan

Red + Green+ BlueWhite

NoneBlack Equal amounts of RGB give grays along a scale from black (0,0,0 for

RGB) to white (255,255,255 for RGB). The line joining the black and whitepoints in colour space is the neutral or gray axis

The combination of 256x256x256 creates 16,777,216 possible colours onthe computer display

The RGB ColourThe RGB ColourModelModel


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Blue = (0, 0, 1) Cyan = (0, 1, 1)

Green = (0, 1, 0)

Yellow = (1, 1, 0)Red = (1, 0, 0)

Black = (0, 0, 0)

Magenta = (1, 0, 1)White = (1, 1, 1)

CYMK Color ModelCYMK Color Model

S b i l bi i f C Y ll M d Bl k


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Subtractive colour combination of, Cyan , Yellow, Magenta, and Black

Process colour printing uses transparent inks (pigments) : Cyan ,Yellow, Magenta which together can create any hue in a continuous tonecolour image. CYM are the Subtractive primary colours. Magentasubtracts (absorbs) the blues and greens and transmits red light

Theoretically mixing magenta, cyan and yellow should produce black, butit results in dark muddy brown in practice. Thus Black is usually used toovercome the limitation

Colour printers or plotters use this model to produce colour images,known as four-colour process printing. Colour produced by printing is not

based on additive primaries of projective light, but on ink pigment laiddown on paper

The SubtractiveThe SubtractiveColour SystemColour System


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Yellow

B G R Y+C = G

cyan

paper

Example: Paper reflects whatever lightreaches it, in this case green

CMYK Model:CMYK Model:subtractive colors.subtractive colors.(K: Black)(K: Black)


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(For printing)


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Saturated color - pure colorhue, undilutedby othercolors, white orgray, i.e. the

primary colors, red, yellow andblue are

saturated colors.

To desaturate a color in a subtractive system

(such as watercolor), you can add white,black

, gray, or the hue's complement

The CMY ColourThe CMY ColourModelModel
http://en.mimi.hu/photography/color.htmlhttp://en.mimi.hu/photography/hue.htmlhttp://en.mimi.hu/photography/color.htmlhttp://en.mimi.hu/photography/gray.htmlhttp://en.mimi.hu/photography/primary_colors.htmlhttp://en.mimi.hu/photography/yellow.htmlhttp://en.mimi.hu/photography/blue.htmlhttp://en.wikipedia.org/wiki/Subtractive_colorhttp://en.wikipedia.org/wiki/Watercolorhttp://en.wikipedia.org/wiki/Whitehttp://en.wikipedia.org/wiki/Blackhttp://en.wikipedia.org/wiki/Gray_%28color%29http://en.wikipedia.org/wiki/Complementary_colorhttp://en.wikipedia.org/wiki/Complementary_colorhttp://en.wikipedia.org/wiki/Gray_%28color%29http://en.wikipedia.org/wiki/Blackhttp://en.wikipedia.org/wiki/Whitehttp://en.wikipedia.org/wiki/Watercolorhttp://en.wikipedia.org/wiki/Subtractive_colorhttp://en.mimi.hu/photography/blue.htmlhttp://en.mimi.hu/photography/yellow.htmlhttp://en.mimi.hu/photography/primary_colors.htmlhttp://en.mimi.hu/photography/gray.htmlhttp://en.mimi.hu/photography/color.htmlhttp://en.mimi.hu/photography/hue.htmlhttp://en.mimi.hu/photography/color.html


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The Relation

between RGB

and CMY

Yellow + Cyan = Green

Yellow + Magenta = Red

Cyan + Magenta = Blue

The HSI ColourThe HSI ColourModelModel


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Colour (hue). Purity (saturation).

Brightness (intensity).

The HSI coordinates are derived using theRGB colour cube with axes redefined

according to the shade of colour, the purity of

colour and the brightness of colour.

The HSI ColourThe HSI ColourModelModel (Cont.)(Cont.)


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HSV Colour ModelHSV Colour Model


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HSV System -User-oriented

system, being

based on the

intuitive appeal ofthe artists tint,

shade and tone.

HLS Colour ModelHLS Colour Model


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HLS System - is

defined in the

double-hexcone

subset of a

cylindrical space.

Colour Conventions forColour Conventions forQualitative MapsQualitative Maps


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On nominal data classes : use different hues of samevalue

Maximum number of hues is often limited between 8to 15

Blue for water- learned association

Red with warm and blue with cool temperature forclimatic and ocean representations

Yellow on tans for dry and little vegetation

Brown for soil or bare ground

Green for vegetation

QualitativeQualitativemappingmapping


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Colour Convention forColour Convention forQuantitative mapsQuantitative maps


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The quantitative colour plan is based on graded seriesof colours to show varying amounts

Either colour value (lightness) or chroma differences

correspond with numerical gradations in the mapped

variable

A number of colour schemes can be used for

quantitative maps, namely the schemes to use

dimensions of hue, value and chroma to symbolize

varying amounts of data on the map

QuantitativeQuantitativemappingmapping


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PatternsPatterns


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Commonly used as a qualitative area symbolfor depicting area features.

Also used to add graphic distinctiveness to

uniformly coloured areas, especially on maps

with a large number of classes.

Categories ofCategories ofPatternsPatterns


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Coarse line patterns Dot patterns

Pictographic patterns

Reversed patterns

Categories ofCategories ofPatternsPatterns


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An assortmentof common line,

dot,pictographic,and reversedpatterns.


Use of PatternsUse of Patterns


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A simple monochrome map contrasting the use of parallel line

and dot patterns. Line patterns are perceptually unstable, andall but the finest textures should be used with caution.From Robinson, et al., 1995

Typography andTypography andLettering the MapLettering the Map


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Serves to mainly to name places and toidentify or label things, to provide titles,

legends and other elements

Letterforms, characteristics, size, letter

spacing, word spacing, typefaces, andlegibility are important aspects of lettering

Typography andTypography andLettering the MapLettering the Map


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Elements of typographic design Type style (typeface)

Type form (style)

Type size - measured by points (1 point = 1/72

0.35mm) Type colour

Lettering the map Positioning

History of MapHistory of MapLetteringLettering


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A portion of one of the maps in Sir Robert Dudleys atlas,Dell

Arcano del Mare (1646-1647).Cited in Robinson, et al., 1995

Type StyleType Style

Normal Italic Bold Bold Italic


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Times Roman

Helvetica

Courier

Bookman

Century Gothic

Comic Sans

Sans Serif

Times Roman

Helvetica

Courier

Bookman

Century Gothic

Comic Sans

Sans Serif

Times Roman

Helvetica

Courier

Bookman

Century Gothic

Comic Sans

Sans Serif

Times Roman

Helvetica

Courier

Bookman

Century Gothic

Comic Sans

Sans Serif

Type FormType Form

Arial Black


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ArialArial Italic Arial Black Italic

Arial Bold Italic

Arial Bold

Arial NarrowBold

Arial Black

Arial Narrow

Arial Narrow BoldItalic

Arial Narrow Italic

Serif vs San serifSerif vs San serif


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S vs sWorld Arial = san serif

World Times New Roman = serif

World Bookman old style = serifWorld Century Gothic = san serif

SpacingSpacing


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General rules ofGeneral rules ofPositioning of textPositioning of text


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There should not be any ambiguity as towhich feature a name refers

Name of the feature should be positioned

within the open graphic space surrounding

the featureNames of point features should be parallel to

the lines of latitude ( or parallel to the frame

of the map)

Positioning of textPositioning of text


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Point feature labels Point feature that require fixed text positions eg. Benchmarks,spot

heights

Point feature with relative freedom of text positioning

Point symbols should be labeled with no letter spacing

The most preferred position on lettering is above and to the right of the

place Name should be either entirely on land or on water

Lettering should never be upside down

Alignment of point features:

alignment parallel to the parallels or to the neatlines of the map

horizontal alignment a combination of horizontal and fixed alignmentalong curved paths


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Linear feature labels In principle, the orientation of a name for line

feature should be in line with the feature

Linear feature should be labeled with no letter

spacing, and repeated many times along thefeatures

Ideal position is above and oriented parallel to the

feature

Positioning of textPositioning of text- linear feature- linear feature


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Areal features label Example of features such as oceans, lakes, mountain

ranges, districts, countries

Name of the feature should give a good impression of theextent and character of the area

In general, names representing administrative featuresshould be placed horizontal, while names representingnatural features can follow the natural extension of thearea, even along curved lines

Names should be placed in the optical center of the areaand cover approx. 2/3 of the area.

Positioning of textPositioning of text-Areal feature-Areal feature


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Order of NameOrder of NamePlacementPlacement


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Order of Name Placement Spotheights,benchmarks,trig. Points etc

Names of other point symbols (from small to big)

Names of natural line symbols

Names of natural area symbols (from small to big)

Names of administrative areas (from small to big)

Contour numbers and non-toponomic text

Lettering the MapLettering the Map


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Comparison between inappropriately positioning type (left) andgood design practice (right).



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GPS (Global PositionalSystem)


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sug243 - cartography (perception and design)

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