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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 and Design 4
Perception andPerception andDesignDesign Cartographic design
Symbolization
Colour theory and models
Patterns Typography and lettering the map
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Perception and Design 5
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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Perception and Design 6
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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Perception and Design 7
VisualizationVisualizationProcessProcess
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Perception and Design 8
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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Perception and Design 10
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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Perception and Design 13
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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Perception and Design 14
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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Perception and Design 16
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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Perception and Design 17
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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Perception and Design 18
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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Perception and Design 20
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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Perception and Design 21
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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Perception and Design 22
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.
From Robinson, et al., 1995
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Perception and Design 27
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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Perception and Design 36
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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Perception and Design 53
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.
From Robinson, et al., 1995
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.
From Robinson, et al., 1995
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.
From Robinson, et al., 1995
ExtensionalExtensional
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ExtensionalExtensionalOrganisationOrganisation
An example ofextensionalhierarchicalgraphicorganisation inwhich a set ofroads is gradedaccording torelativeimportance.
From Robinson, et al., 1995
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.
From Robinson, et al., 1995
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.
From Robinson, et al., 1995
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.
From Robinson, et al., 1995
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.html8/9/2019 SUG243 - Cartography (Perception and Design)
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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.
From Robinson, et al., 1995
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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Positioning of textPositioning of text
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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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Positioning of textPositioning of text
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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).
From Robinson, et al., 1995
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GPS (Global PositionalSystem)
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