DOCSLIB.ORG

Map Compiling, Map Reading, and Cartographic Design in “Pragmatic Pyramid of Thematic Mapping”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Map Compiling, Map Reading, and Cartographic Design in “Pragmatic Pyramid of Thematic Mapping” QUAESTIONES GEOGRAPHICAE 29/1 • 2010 MAP COMPILING, MAP READING, AND CARTOGRAPHIC DESIGN IN “PRAGMATIC PYRAMID OF THEMATIC MAPPING” BEATA MEDYŃSKA-GULIJ Adam Mickiewicz University, Institute of Physical Geography and Environmental Planning, Department of Cartography and Geomatics, Poznań, Poland Manuscript received January 21, 2010 Revised version March 12, 2010 MEDYŃSKA-GULIJ B., 2010. Map compiling, map reading and cartographic design in “Pragmatic pyramid of thematic mapping”. Quaestiones Geographicae 29(1), Adam Mickiewicz University Press, Poznań 2010, pp. 57-63, Figs 5. ISBN 978-83-232-2136. ISSN 0137-477X. DOI: 10.2478/v10117-010-0006-5. ABSTRACT. This paper concerns the dependent relationships between map compilation, map reading, and carto- graphic design with special regard to thematic mapping. The fi rst step is to measure the simple relationship be- tween cartographic practice and map design and present a pyramid of pragmatic thematic mapping. The model contains various types of maps, a range of cartographic principles, and sources of knowledge for map design. When presented as a pyramid, these functional dependencies can refer to a series of pragmatic criteria which relate to the use of thematic maps. KEYWORDS: pragmatic cartography, thematic mapping, cartographic design. Beata Medyńska-Gulij, Institute of Physical Geography and Environmental Planning, Adam Mickiewicz University, Dzięgielowa 27, 61-680 Poznań, Poland, e-mail: [email protected] Introdution example by cartographic compilation. Most often, map compilation results in the creation of themat- Pragmatic cartography may be understood ic maps. These represent the distribution of one both in the sense of practical and in a more lim- particular phenomenon, though a thematic map ited way pertaining to semiotics. According to needs topographic information as a basis (Kraak Morris (1971), the pragmatic is the relationship & Ormeling, 2003). Thematic maps have topi- between the sign and the interpreter, and, in par- cal contents which are graphically-emphasized ticular, the problem of how the intended desig- or highlighted over a basis which has a status of nation is understood by the perceiver. Freitag ‘ground’. According to Dent (1990), thematic map (1971) associates the research area of pragmatic compilation refers to the construction of a special- cartography with the map’s function as a vehicle purpose map from a variety of previously exist- of information. ing sources: base maps, other thematic maps, or Pragmatic cartography is connected fi rst and both, and it involves numerous steps. foremost with map reading. With various meth- This paper on thematic mapping concerns ods of using digital maps, the relationship be- the inter-relationship between map compila- tween map and user has broadened its scope, for tion, map reading, and cartographic design. It 58 BEATA MEDYŃSKA-GULIJ presents a measurement of the relationship be- to Dent (1999), no one best way to a design so- tween pragmatic cartography and map design, lution can be predetermined for all maps – only resulting in a pyramid of pragmatic cartography principles and general approaches can guide the for thematic mapping. The model contains many cartographer. Design characteristics of successful types of maps, a range cartographic principles, maps include clear, legible, attractive, easy to use, and sources of knowledge for map design. The accurate (Southworth & Southworth, 1982) are in- functional dependencies in these inter-relation- exact and therefore inexplicable and unclear for ships will reveal pragmatic criteria for the use of map-makers such GIS users. thematic maps. The measurable parameter of map design is the number of designed symbols on the map. The number of symbols directly infl uences the Methodology ease of preparation of an effective map and also map reading. The greater the number of symbols, The study was carried out in the following the more diffi cult it becomes to organize them stages. visually in the reading process. The number of Thematic mapping includes the following: designed symbols determines the method and • a choice of two aspects of pragmatic car- number of graphical variables used (Bertin, 1983) tography: map compilation and map reading and so the more symbols there are to be defi ned, • a choice two measurable parameters on the more complicated the graphic design stage the thematic map: the number of designed sym- becomes. bols on the map and theme:base ratio on the the- The second measurable parameter on the matic map thematic map is theme-base proportions. Fol- • include the dependence in the graphic lowing Slocum et al. (2005), thematic symbols model – the main wall of pyramid directly represent a map’s theme, and should • refer these dependences to types of maps, stand out. They are often used in conjunction adaptation of cartographic principles, and sourc- with base information in the mapped area. One es of knowledge for map design of the basic parameters adopted for developing • refer pyramid dependences to the prag- thematic maps is the proportion between the the- matic criteria of thematic map use. matic content and the base content. Three main Vector databases allow the GIS-user to make variants of the relationship exist: the predomi- maps individually, which in fact constitutes car- nance of thematic content over base content, a tographic compilation. Compilation relates to the state of equilibrium between thematic and base connection of vectors in a layered structure, with contents, and the predominance of base content the subsequent subjection of elements (point, line (Fig. 1). and area) to the process of graphical design. In this study the fi rst aspect of pragmatic cartogra- phy will be connected with cartographic compi- lation: the limit of preparation of cartographic compilation by the GIS-user (non-cartographer). The second aspect of pragmatic cartography will be connected with comprehension, i.e. map read- ing. In this case, it will concern the limit of map reading without specialized training, namely, Fig. 1. Proportions of the thematic content to base content on a thematic map maps designed for the general user versus those designed for specialists. The division into more and less important as- Pragmatic cartography is dependent, in part, pects streamlines the method of graphical design on effective cartographic design comprised of of thematic maps. A visual reinforcement of the many aspects, e.g. appropriate choice and imple- theme with respect to the base gains key impor- mentation of map elements, visual hierarchy, con- tance in the cartographic design of thematic maps. trast, and balance (Slocum et al., 2005). According The topical contents contain the main elements MAP COMPILING, MAP READING, AND CARTOGRAPHIC DESIGN IM “PRAGMATIC PYRAMID OF THEMATIC MAPPING” 59 which form the basic contents of the map and Results should be located at the highest (fi rst) reading lev- el. The base contents, considered as supplemen- Fig. 3 presents a view of the pyramid of the- tary (referential), should be visually weakened to matic mapping comprising four walls above, such an extent that their elements ought to be situ- which are set forward in detail. All of the walls ated at the lower (second) level of map reading. may be considered as vertical according to three steps, that is, according to the number of sym- bols. In turn, the main wall and the map types wall may also be interpreted horizontally accord- ing to three columns, according to the theme-base relationship. Fig. 3 presents the main wall of the pyramid, which contains the three theme-base relations on the thematic map mentioned above. In turn, the horizontal steps are three variants of the number of symbols designed on the map. The pinnacle of the pyramid is not sharp, but bevelled, for the minimum number of symbols to be designed on the thematic map is 2 (for balance 1=1) or 3 (2>1, 1<2). The maximum number of designed sym- bols is the greatest possible number of symbols located on one thematic map, i.e. ones that can be read. Between the upper and the middle steps of the pyramid there is the limit of preparation and cartographic compilation by the GIS-user. The long limit between the middle and lower steps of the pyramid is the limit of map reading without specialist training (Fig. 3). The ability of reading the map in the lower step of the pyramid requires professional knowledge and practice. Fig. 2. Legend of the thematic map in three variants of pro- The map types wall presented in Figure 4 portions of the theme to the base shows examples of thematic maps, whereas in Fig. 2 fragments show of the appropriate car- In the vertical legend of the map in Fig. 2, tographic images. At the highest step there are symbols are placed in accordance with their hi- cartographic compilations; a fragment of the erarchy: symbols related to the theme are located multivariate symbol map in three variants of the higher, while those related to the base are lower. theme-base relation (Fig. 4). In the fi rst column, one can see the predominance On the middle step there are maps published of the theme (9>5); in the second a state of equilib- in school atlases: in the left column an economic rium (9=9); while in the third, the predominance map, in the middle column a map of power in- of signature numbers in the base (9<14). On the dustry, and in the right column a map of land- map containing symbols on the left of the legend scape. On the lower step there are the following (Fig. 2), the theme is highlighted in relation to the examples of thematic maps: in the left column, a smaller number of symbols in the base. In turn, geological map with a reduced topographic base; in the right legend there are fewer symbols con- in the middle column, a tourist map; while in the nected with the theme, but it is possible to refer- right column, a sozological map with complete ence their location to the topographical contents topographic contents.
Load more

Recommended publications
  • Cartographic Visualisation and Landscape Modeling
    CARTOGRAPHIC VISUALISATION AND LANDSCAPE MODELING Milap Punia Associate Professor, Centre for the Study of Regional Development, School of Social Sciences, Jawaharlal Nehru University, New Delhi-110067 - [email protected] KEY WORDS: Preception, Aesthetics, Cartographic Design,Visualisation, Landscape ABSTRACT: Perception plays a major role for interpretation or extracting information from remote sensing data and from thematic maps. With advances in information technology, there remains a necessary and critical role for the “human in the loop” in the interpretation of remotely sensed imagery, in earth sciences and cartography. On the side of information technology display systems play a critical role in supporting visualization, and in recent years it has become widely recognized that the visualization of data is critical in science, including the domain of cartography, a field with a long-standing interest in issues of communication effectiveness. These cartographic concerns pertaining to the features of display symbols, elements, and patterns have clear effects on process of perception and visual search. In this study an attempt has been made to harness, interpret, compare and evaluate landscape aesthetics with cartographic aesthetics. By understanding and incorporating cartographic aesthetics with landscape aesthetics, the cartographic design process can be strengthened and effective maps can be generated. Here both landscape and cartography are considered as objects of aesthetics and an attempt has been made to evaluate their aesthetic experience and to analyze their various patterns of similarity and exceptions. By doing this it formulates and facilitates conception of feeling, expression and visual reality all together in the cartographic design process. 1. INTRODUCTION Aesthetics has been a subject of philosophy since long period.
    [Show full text]
  • MAP DESIGN a Development of Background Map Visualisation in Digpro Dppower Application
    EXAMENSARBETE INOM TEKNIK, GRUNDNIVÅ, 15 HP STOCKHOLM, SVERIGE 2017 MAP DESIGN A development of background map visualisation in Digpro dpPower application FREDRIK AHNLÉN KTH SKOLAN FÖR ARKITEKTUR OCH SAMHÄLLSBYGGNAD Acknowledgments Annmari Skrifvare, Digpro AB, co-supervisor. For setting up test environment, providing feed- back and support throughout the thesis work. Jesper Svedberg, Digpro AB, senior-supervisor. For providing feedback both in the start up process of the thesis work as well as the evaluation part. Milan Horemuz, KTH Geodesy and Geoinformatics, co-supervisor. For assisting in the structur- ing of the thesis work as well as providing feedback and support. Anna Jenssen, KTH Geodesy and Geoinformatics, examiner. Finally big thanks to Anders Nerman, Digpro AB, for explaining the fundamentals of cus- tomer usage of dpPower and Jeanette Stenberg, Kraftringen, Gunilla Pettersson, Eon Energi, Karin Backström, Borlänge Energi, Lars Boström, Torbjörn Persson and Thomas Björn- hager, Smedjebacken Energi Nät AB, for providing user feedback via interviews and survey evaluation. i Abstract What is good map design and how should information best be visualised for a human reader? This is a general question relevant for all types of design and especially for digital maps and various Geographic Information Systems (GIS), due to the rapid development of our digital world. This general question is answered in this thesis by presenting a number of principles and tips for design of maps and specifically interactive digital visualisation systems, such as a GIS. Furthermore, this knowledge is applied to the application dpPower, by Digpro, which present the tools to help customers manage, visualise, design and perform calculations on their electrical networks.
    [Show full text]
  • Map Layout and Cartographic Design with Arcgis Desktop
    Map Layout and Cartographic Design with ArcGIS Desktop Matthew Baker ESRI Educational Services Redlands, CA Education UC 2008 1 Seminar overview • General map design principles • Working with map elements • UiUsing Arc Map temp ltlates • Tips and tricks for improving maps Education UC 2008 2 Affective and substantive design • ‘Thin k be fore you draw ’ – Map design is a timetime--consumingconsuming process • Affec tive – What is the ‘look’ or ‘feel’ of the map? • Historical, modern, technical • Substantive – What is shown on the map and for what purpose? • Text blocks, charts, tables, images Map image from the Atlas of Oregon (2nd. Ed.), Copyright 2001 University of Oregon Press Education UC 2008 3 Layout design • Balance – Margins – White space – Bounding boxes – Alignment Unbalanced layout Education UC 2008 4 Layout design • Balance – Margins – White space – Bounding boxes – Alignment Balanced layout Education UC 2008 5 Layout design: Figure Ground Relationship • Figure: – object in front of the background • Ground: – Underlying plane behind elements • Figure-Ground Relationship – Separating figure from ground – Enhanced using • Drop shadow • Draw order • Contrast Map image from the Atlas of Oregon (2nd. Ed.) Copyright 2001 University of Oregon Press Education UC 2008 6 Layout design • Visua l contrast – Separates figure from ground Education UC 2008 7 Layout design • Visual contrast Education UC 2008 8 Layout design • Visual hierarchy • More attention paid from top down • Top: – Important items – Larger items • Bottom – Less important
    [Show full text]
  • Cartographic Perspectives Perspectives 1 Journal of the North American Cartographic Information Society Number 65, Winter 2010
    Number 65, Winter 2010 cartographicCartographic perspectives Perspectives 1 Journal of the North American Cartographic Information Society Number 65, Winter 2010 From the Editor In this Issue Dear NACIS Members: OPINION PIECE Outside the Bubble: Real-world Mapmaking Advice for Students 7 The winter of 2010 was quite an ordeal to get through here on the FEATURED ARTICLES eastern side of Big Savage Moun- Considerations in Design of Transition Behaviors for Dynamic 16 tain. A nearby weather recording Thematic Maps station located on Keysers Ridge Sarah E. Battersby and Kirk P. Goldsberry (about 10 miles to the west of Frostburg) recorded 262.5 inches Non-Connective Linear Cartograms for Mapping Traffic Conditions 33 of snow for the winter of 2010. Yi-Hwa Wu and Ming-Chih Hung For the first time in my eleven- year tenure at Frostburg State REVIEWS University, the university was Cartography Design Annual # 1 51 shut down for an entire week. Reviewed by Mary L. Johnson The crews that normally plow the sidewalks and parking lots were Cartographic Relief Presentation 53 snowed in and could not get out of Reviewed by Dawn Youngblood their homes. As storm after storm swept through the area, plow- GIS Tutorial for Marketing 54 ing became more difficult. There Reviewed by Eva Dodsworth wasn’t enough room to pile up the snow. Even today, snow drifts The State of the Middle East: An Atlas of Conflict and Resolution 56 remain dotted amidst the green- Reviewed by Daniel G. Cole ing fields. However, it appears as though spring will pass us by as CARTOGRAPHIC COLLECTIONS summer apparently is already here More than Just a Pretty Picture: The Map Collection at the Library 59 with several days that have broken of Virginia existing record high temperatures.
    [Show full text]
  • Design Issues with 3D Maps and the Need for 3D Cartographic Design
    Design Issues with 3D Maps and the Need for 3D Cartographic Design Principles Dave Pegg Abstract Design issues regarding the presentation of geographical information in a th ree- dimensional perspective are varied and complex. This paper looks at some of issues of 3D mapping stemming from its rapid development as a cartographic tool, its growing popularity and accessibility amongst users, and the 3D cartographic principles proposed to manage the design and presentation that are not covered by traditional cartographic principles. Introduction Multimedia cartography has been propelled forward by the rapid technological advances for the capture, manipulation and presentation of geographical data, with most map products now being developed digitally. The quality and accuracy of data capture, data storage & manipulation capabilities, as well as the advancements in software, mean that a cartographer now has the ability to digitally create spatially accurate, detailed and high resolution three-dimensional maps and visualizations. The advent of Digital terrain or elevation models make available the presentation of geographical data in three dimensional space, and allowing precise modelling of not only x and y locations, but the z height creating a three-dimensional landscape. In the case of three-dimensional cartographic mapping, there are many different applications that have been designed for the creation of 3D maps and visualizations, and the development of standards and guidelines in regards to the technical aspects of such models. 3D maps can be done in several different ways, each way creating a different representation of the landscape. 3D maps can be photorealistic, where the landscape is created to match the exact landscape, using techniques of overlaying ortho-photography over a 3D model, or can be “symbolistic”, where the maps are generalized and symbols designed to show object locations and information.
    [Show full text]
  • CARTOGRAPHIC DESIGN: Cartographic Design Principles Symbology Type Map Compilation Cartographic Design Principles from the Outset…
    DAY 2 CARTOGRAPHIC DESIGN: Cartographic Design Principles Symbology Type Map Compilation Cartographic Design Principles From the outset… • …know your message • These will guide your decisions about • …know your audience – map projections • …design for the medium – generalization – symbology – labeling – map elements (scale bars, legends, north arrows, etc.) – page layout – everything! A couple of cartographic terms… • Substantive objective • Affective objective – What you are showing – the – How you are showing it – the “substance” of the map’ “affect” of the map – The map is the MAIN thing!!!! – Sets the mood – Map elements support the map – Use map to promote it • these should be informative , • content not just take up space • colors, text, symbols • legend, title, inset maps, text – Use map elements to promote blocks, logos, north arrow, scale this • bounding box, north arrow, scale • text, color • images, graphs, other graphics • others Examples courtesy of the University of Oregon InfoGraphics Lab Design Planning • Visual balance – all elements balanced, aligned, thoughtful use of white space • Visual flow – movement of the eye across the page • Relative importance of map elements • Sketch map – starts you thinking, not the end Sketch Map • The place of interest • The distribution being mapped • The relative position of the data in the distribution being mapped • The map elements • The relative position of the map elements Cartographic Design Principles – review! • Generalization - Coastline • Figure-ground - Whitewash • Visual hierarchy – Administrative boundaries, rivers, labels • Legibility - labels • Visual balance – let’s take a look! • Visual flow • Symbolization • Typography Controls on Map Design and Compilation • Purpose – substantive / affective • Reality – shape, complexity, color • Available data – data quality / symbolization • Map scale – smaller scale - less feature detail • Audience – old / young, experienced / not • Conditions of use – light, distance, time to read map, medium, etc.
    [Show full text]
  • Standards of Competence for Category "A" Nautical Cartographers
    INTERNATIONAL INTERNATIONAL INTERNATIONAL FEDERATION OF HYDROGRAPHIC CARTOGRAPHIC SURVEYORS ORGANIZATION ASSOCIATION STANDARDS OF COMPETENCE FOR CATEGORY "A" NAUTICAL CARTOGRAPHERS Publication S-8A First Edition Version 1.0.1 - June 2018 Published by: The International Hydrographic Organization © 4b, quai Antoine 1er B.P. 445 Monaco, MC 98011 Cedex MONACO [email protected] www.iho.int Comments arising from the experience gained in the application of the guidance are welcome. They should be addressed to the Chair of the International Board for Standards of Competence of Hydrographic Surveyors and Nautical Cartographers at the above address. This document is published periodically. Please check with IHO for the latest edition, including current amendments. © Copyright International Hydrographic Organization 2018 This work is copyright. Apart from any use permitted in accordance with the Berne Convention for the Protection of Literary and Artistic Works (1886), and except in the circumstances described below, no part may be translated, reproduced by any process, adapted, communicated or commercially exploited without prior written permission from the International Hydrographic Organization (IHO). Copyright in some of the material in this publication may be owned by another party and permission for the translation and/or reproduction of that material must be obtained from the owner. This document or partial material from this document may be translated, reproduced or distributed for general information, on no more than a cost recovery basis. Copies
    [Show full text]
  • An Assessment of Visual Variables for the Cartographic Design of 3D Informal Settlement Models
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2015 An assessment of visual variables for the cartographic design of 3D informal settlement models Rautenbach, Victoria ; Coetzee, Serena ; Schiewe, Jochen ; Cöltekin, Arzu Abstract: Visual variables were originally proposed for hard copy maps printed in black and white by Bertin in 1980s. However, we can now generate various digital geovisualization products that are inherently different from printed maps, such as interactive 3D city models. Additional visual variables have been proposed for some of these new geovisualizations, however the discussion is still on-going. In this paper, we contribute to this discussion by investigating the relevance of a subset of visual variables for planning informal settlement upgrades in 3D geovisualizations, and specifically how these variables contribute to the selectiveness of objects. The variables were systematically evaluated against specific requirements for planning upgrades which were compiled using expert knowledge. We observe that evaluated visual variables, except colour and texture, are not directly transferrable. Furthermore, we propose that; in an interactive 3D setting, visual variables position, orientation and motion should not be only considered in relation to the objects in a 3D environment, but also in relation to the camera, and the concept of Level of Detail (LoD) should replace shape. The results contribute towards building design principles of 3D informal settlement models for planning upgrades. Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-117989 Conference or Workshop Item Published Version Originally published at: Rautenbach, Victoria; Coetzee, Serena; Schiewe, Jochen; Cöltekin, Arzu (2015).
    [Show full text]
  • Compelling Thematic Cartography by Kenneth Field, Esri Senior Research Cartographer
    Compelling Thematic Cartography By Kenneth Field, Esri Senior Research Cartographer Clarity of Purpose ArcGIS Online has opened up the world of mapmaking, supporting You have some great thematic data and you want to share it. Establishing anyone to author and publish thematic web maps in interesting your goal is the first consideration. Without a goal, you won’t have a ways on an unlimited array of topics. This article explores why it is plan to follow. Are you making a map that allows people to interrogate important to think about design when creating thematic maps. data? Do you want to convey a story or a particular message? A recent survey by the author and Damien Demaj identified ex- A goal is more than just mapping an interesting dataset. You have amples of maps that exemplify great design. This survey found that to define what the hook is for your map. Start by asking strong ques- only 23 percent of these maps were made by people with a back- tions of the data. What will readers want to understand about the ground in cartography. Great thematic maps like Charles Minard’s map’s theme? The map is really just a graphic portrayal of the answer map of Napolean’s retreat from Moscow or Harry Beck’s London to a question. It helps establish how you are going to go about de- Underground map were created by an engineer and electrical drafts- signing the visuals to support that goal. A great map should tell an man, respectively. honest story, so don’t employ mapping techniques that distort.
    [Show full text]
  • Cartograms for Use in Forecasting Weather-Driven Natural Hazards
    Cartograms for use in forecasting weather driven natural hazards Article Published Version Creative Commons: Attribution 4.0 (CC-BY) Open Access Pappenberger, F., Cloke, H. L. and Baugh, C. A. (2019) Cartograms for use in forecasting weather driven natural hazards. The Cartographic Journal, 56 (2). pp. 134-145. ISSN 0008-7041 doi: https://doi.org/10.1080/00087041.2018.1534358 Available at http://centaur.reading.ac.uk/79521/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/00087041.2018.1534358 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online The Cartographic Journal The World of Mapping ISSN: 0008-7041 (Print) 1743-2774 (Online) Journal homepage: https://tandfonline.com/loi/ycaj20 Cartograms for Use in Forecasting Weather-Driven Natural Hazards Florian Pappenberger, Hannah L. Cloke & Calum A. Baugh To cite this article: Florian Pappenberger, Hannah L. Cloke & Calum A. Baugh (2019): Cartograms for Use in Forecasting Weather-Driven Natural Hazards, The Cartographic Journal To link to this article: https://doi.org/10.1080/00087041.2018.1534358 © 2018 ECMWF Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 20 Feb 2019.
    [Show full text]
  • Numbers on Thematic Maps: Helpful Simplicity Or Too Raw to Be Useful for Map Reading?
    International Journal of Geo-Information Article Numbers on Thematic Maps: Helpful Simplicity or Too Raw to Be Useful for Map Reading? Jolanta Korycka-Skorupa * and Izabela Małgorzata Goł˛ebiowska Department of Geoinformatics, Cartography and Remote Sensing, Faculty of Geography and Regional Studies, University of Warsaw, Krakowskie Przedmiescie 30, 00-927 Warsaw, Poland; [email protected] * Correspondence: [email protected] Received: 29 May 2020; Accepted: 26 June 2020; Published: 28 June 2020 Abstract: As the development of small-scale thematic cartography continues, there is a growing interest in simple graphic solutions, e.g., in the form of numerical values presented on maps to replace or complement well-established quantitative cartographic methods of presentation. Numbers on maps are used as an independent form of data presentation or function as a supplement to the cartographic presentation, becoming a legend placed directly on the map. Despite the frequent use of numbers on maps, this relatively simple form of presentation has not been extensively empirically evaluated. This article presents the results of an empirical study aimed at comparing the usability of numbers on maps for the presentation of quantitative information to frequently used proportional symbols, for simple map-reading tasks. The study showed that the use of numbers on single-variable and two-variable maps results in a greater number of correct answers and also often an improved response time compared to the use of proportional symbols. Interestingly, the introduction of different sizes of numbers did not significantly affect their usability. Thus, it has been proven that—for some tasks—map users accept this bare-bones version of data presentation, often demonstrating a higher level of preference for it than for proportional symbols.
    [Show full text]
  • The Historical Role of Photomechanical Techniques in Map Production Karen Severud Cook
    The Historical Role of Photomechanical Techniques in Map Production Karen Severud Cook ABSTRACT: From the 1880s until the 1970s, photomechanical techniques played an important role in map making. Images created by and for photography were manipulated to form the printing image(s) from which the map was reproduced in multiple copies. After experiments in mapmaking in the 1860s, photomechanical techniques gained acceptance by the 1880s and, thereafter, increasingly dominated mapmaking until their rapid decline after the 1970s, as the shift to computers and electronic technology occurred. When they replaced earlier manual methods in the nineteenth century, photomechanical techniques caused the tools and materials of map production and the roles of personnel to change. Control over image production shifted from the printer to the cartographer as pen-and-ink drafting and associated collage techniques developed in the early 1900s, and even more so when scribing came into general use in the 1960s. Having thus assumed more direct responsibility for the end product (the printed map), the cartographer also adopted methods of predicting and controlling its appearance, such as standardized tools and materials, drafting specifications, flow charting, and color proofing. Through the faster and cheaper production of maps whose graphic presentation of information was enhanced by tonal effects and color printing, photomechanical production techniques also contributed to the growth of the map trade and of map use during the twentieth century. KEYWORDS: Photomechanical map production; map design; map reproduction; production tools; production techniques; production materials; pen-and-ink drafting; photographic halftone screen; photographic tint screen; stick-up; negative scribing; technical pens; photolithography; photoengrav- ing; collage techniques Introduction images for and by photography that ultimately form the printing image(s) from which the map is or about a century (from the 1880s until reproduced in multiple copies.
    [Show full text]