When GOOD Maps Go BAD (Cartography)

E.J. McNaughton

Introduction

Cartography• The study and practice of making maps• Combines Science, Aesthetics, and Technique

to create an ART based on the premise that reality can be modeled in ways that communicate spatial information effectively

WHAT MAKES A GOOD MAP?

“I don’t know much abut cartography but I know what I like”

What Makes a good map?

• Conveys information to the map readers• Based on the interpretation of the viewer• Accurate, Current, Topical, Aesthetic, Timely,

Relevant, and Informative• It is controlled by Map Size, Map Elements,

Symbology, Typography, Color, and Design

GENERAL MAP DESIGN

“For a successful map, we should not stick to accurate representation, but design them in the way our brains work.” — Aris Venetikidis

Concept before compilation

• Design the whole map before the part• Design once, devise, design again• Once the map purpose is achieved, do not

include any feature that doesn’t fit

• Important things must look important!

• All parts contribute to the whole

Simplicity from sacrifice• Great design tends towards simplicity (KISS)• Design is complete when you can take nothing else

out• Content determines scale or scale determines

content• How much info can be gained from the map AT A

GLANCE?• Minimize the users effort• Designs are always a compromise

Engage emotion to engage understanding

• Only by feeling what the user feels can we see what the user sees

• Aesthetics focuses the attention• Focusing the attention is the purpose of map

design

BASIC PRINCIPLES

“There are three kinds of lies: lies, damned lies, and maps.”— Mark Twain”

Visual Contrast• Extent a symbol contrasts with its background

and other symbols• The basis of seeing• “Crisp, clean, sharp”• Lack of contrast can be effective• Too much contrast can overload

Visual Hierarchy• “Visual layering” of map features• Internal graphic structuring that portrays

levels of importance• Goal is the separation of characteristics to

show similarities, differences, and relationships

Extensional Hierarchy• Ranking of features like points and lines

– Ordinal symbolization• Objective is to show relative importance

– Visual variables (size, value, texture)

Visual Balance• Layout that promotes well-balanced design

– Light/dark, small/large, long/short, within/outside• Relative position• Visual importance of map elements• Visual weight of each item• White space

Legibility• Ability to be seen AND recognized

– Symbol size– Contrast colors and shapes– Familiarity– Perfect vision and conditions“2 minutes of angle at the eye”

Visual Flow• Movement of the eye across the page• Design can force they eye to move in a desired

manor

Symbol Selection Process• Level of measurement

– Of data describing each feature

– Of information about the feature that we want to communicate to the map reader

• Spatial dimension– Point, line, area, surface,

volume

• Graphic marks– Point, line, area, surface,

pixels• Visual Variables

– For the different graphic marks

– For the different conceived spatial structures

– For the different levels of measurement

In Cartography

• Qualitative– Hue– Orientation– Shape– Arrangement

• Quantitative– Value (Lightness)– Chroma (Saturation)– Spacing (Texture)– Size (incl. Perspective

Height)

Questions?

“A map is the greatest of all epic poems. Its lines and colors show the realization of great dreams.”― Gilbert H. Grosvenor

Resources• http://mappingcenter.esri.com/• http://blogs.esri.com/esri/arcgis/category/ma

pping/• Books

– Elements of Cartography– Map Use (Reading, Analysis, and Interpretation)– How to Lie with Maps

“Making a map with GIS is like playing the piano. Somebody else has done the difficult job of making the tools, you just need to know what buttons to push!”

Thank you!

“The good cartographer is both a scientist and an artist. He must have a thorough knowledge of his subject and model, the Earth…. He must have the ability to generalize intelligently and to make a right selection of the features to show. These are represented by means of lines or colors; and the effective use of lines or colors requires more than knowledge of the subject – it requires artistic judgment.”― Erwin Josephus Raisz