13-meissner2

Map Design: Graphic Design Basics 1

5.9

Map Design:
Graphic Design Basics

Start

© copyright:
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000
c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal
EMail: [email protected]

Map Design: Graphic Design Basics 2

Contents 5.9

Map design: Graphic design basics ................................................ 6

Contents 1 Perception ............................................................................................... 6
Exercises Outer and Inner Worlds ............................................................................................ 6
Index Perception overload ................................................................................................. 6
Selection ................................................................................................................ 7
Search Processing .............................................................................................................. 7

Next results 2 Communication ........................................................................................ 7
Previous results Communication ....................................................................................................... 8
Code ...................................................................................................................... 9
Print Languages ............................................................................................................ 10
Exit Communication goals ............................................................................................. 11

© copyright: 3 Design ................................................................................................... 12
Kommission Aus- und Weiterbildung, The form .............................................................................................................. 12
Deutsche Gesellschaft für Kartographie Basic forms ........................................................................................................... 13
e.V., Germany 2000 Graphic elements ................................................................................................... 14
c/o Reinhard Urbanke Variations ............................................................................................................. 15
Erlenweg 3/1 Design principles ................................................................................................... 15
D-71394 Kernen im Remstal
EMail: [email protected] 4 Optical Illusions ..................................................................................... 17
Lines .................................................................................................................... 17
Areas ................................................................................................................... 18
Tonal value ........................................................................................................... 20

5 The area ................................................................................................ 21
Empty space / white space ..................................................................................... 21

Home

Map Design: Graphic Design Basics 3

Contents 5.9Locations of effect ................................................................................................. 22
Exercises
Index Effect ................................................................................................................... 22
Associative meanings ............................................................................................. 24
Search
6 Area aesthetics ...................................................................................... 25
Next results Size ..................................................................................................................... 25
Previous results Area subdivision .................................................................................................... 26
Composition .......................................................................................................... 27
Print
Exit 7 Colour .................................................................................................... 29
Colour psychology ................................................................................................. 29
© copyright: Colour dimension (CIELAB-colour system) ................................................................ 30
Kommission Aus- und Weiterbildung, Colour contrast ...................................................................................................... 31
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000 8 Type aesthetics ...................................................................................... 33
c/o Reinhard Urbanke Evolution of type ................................................................................................... 33
Erlenweg 3/1 Geometry ............................................................................................................. 35
D-71394 Kernen im Remstal Letter spacing ....................................................................................................... 35
EMail: [email protected]
9 Type composition ................................................................................... 37
Grey value ............................................................................................................ 37
Reading process .................................................................................................... 37
Type face selection ................................................................................................ 38
Type face mixture .................................................................................................. 39
Compositions ........................................................................................................ 39
Typographic errors ................................................................................................. 40

10 Signs ...................................................................................................... 41
Communication ..................................................................................................... 41
Function ............................................................................................................... 43
Trademarks ........................................................................................................... 43

Home

Map Design: Graphic Design Basics 4

Contents 5.9Design ................................................................................................................. 43
Exercises
Index To find a shape ...................................................................................................... 44

Search 11 Publications ........................................................................................... 45
Notepaper and visiting cards ................................................................................... 45
Next results Books ................................................................................................................... 46
Previous results Dustjacket ............................................................................................................ 47
Magazine .............................................................................................................. 47
Print Poster .................................................................................................................. 48
Exit Packaging ............................................................................................................. 48

© copyright: 12 Map symbols .......................................................................................... 49
Kommission Aus- und Weiterbildung, Symbol system ...................................................................................................... 49
Deutsche Gesellschaft für Kartographie Symbol types ........................................................................................................ 49
e.V., Germany 2000 Variations ............................................................................................................. 50
c/o Reinhard Urbanke Design ................................................................................................................. 51
Erlenweg 3/1 Map symbols ......................................................................................................... 52
D-71394 Kernen im Remstal Type .................................................................................................................... 53
EMail: [email protected]
13 Map design: Graphic structure ............................................................... 54
Image of nature .................................................................................................... 54
Purpose of the map ................................................................................................ 55
........................................................................................................................... 55
Legibility .............................................................................................................. 56
Assessment principles ............................................................................................ 57

14 External map design .............................................................................. 58
Principles .............................................................................................................. 58
Map title ............................................................................................................... 59
Scale and linear scale ............................................................................................. 60
Legend ................................................................................................................. 61
Title page ............................................................................................................. 62

Home

Map Design: Graphic Design Basics 5

Contents 15 Exercises ............................................................................................... 56.29
Exercises
Index Perception ............................................................................................................ 62
Communication ..................................................................................................... 63
Search Area effect ............................................................................................................ 63
Area composition ................................................................................................... 64
Next results Type balance ......................................................................................................... 65
Previous results Typography ........................................................................................................... 65
Logo .................................................................................................................... 66
Print Notepaper ............................................................................................................ 67
Exit Poster .................................................................................................................. 68
Symbols ............................................................................................................... 68
Map ..................................................................................................................... 69
Travel guide .......................................................................................................... 70

Index ............................................................................................................... 72

© copyright: Home
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 6
Map design: Graphic design basics
Take supper for example: Is the tasti5ng.9sense
Contents 1 Perception
Exercises dominating, because the meal is tasting deli-
Index Cartographers and design both use visual inter- ciously, or the eye, because the table is nicely
human communication. In order to discuss laid out, or the ear, because the conversation
Search graphic design, we have to deal with the topic of and the music are pleasing? Humans also per-
the communicating human. But to understand manently experience themselves, their inner
Next results the communication process, first of all we have world. The limbs and organs call our attention if
Previous results to speak about human perception. they are exhausted or diseased. The soul, the
psyche plays an important role deciding on the
Print Outer and Inner Worlds state of well-being. Humans feel, they perceive
Exit moods and instincts and know whether they are
walking or sitting or doing something.
What and how do people perceive?
Perception overload
© copyright: Well, primarily people perceive their environ-
Kommission Aus- und Weiterbildung, ment - the outer world. They see, hear, touch, People’s inner and outer worlds impact upon
Deutsche Gesellschaft für Kartographie smell and taste it. For that purpose they have them simultaneously and are perceived in con-
e.V., Germany 2000 perceptual organs. During the perception proc- junction. the perception process is a permanent
ess all senses work simultaneously and therefore state during every situation of life, impossible to
c/o Reinhard Urbanke it is not easy to decide which sense is decisive switch off. It is impossible also for people to fil-
Erlenweg 3/1 for the occurrence of a reaction in a certain situ- ter out a specific perception, as in addition to
D-71394 Kernen im Remstal ation. that they have to survey its environment; like-
wise they cannot switch off one particular sense.
EMail: [email protected] Home They can only try to concentrate on some specif-
ic aspect.

Map Design: Graphic Design Basics 7

Selection What are the components of human p5er.c9eption

Contents The biggest part of all incoming stimuli is per- that he has to deal with?
Exercises ceived subconsciously and this part decisively
Index shapes us. To shield from a stimuli overflow peo- s The feeling is a spontaneous all-embracing per-
ple can try to perceive part of all information sonal reaction to a perception, responsible for
Search consciously, just big enough to be digested sep- actions.
arately (selection). The perception process pro-
Next results ceeds as follows: s Needs are caused by a shortage and have to be
Previous results satisfied immediately.
s First of all people are confronted with a disor-
Print dered general impression. s Interest is controlled by the mind and aims on a
Exit field that is not covered by needs.
s Consecutively they select specific information
(selection). s Motivation is the conscious and subconscious
combination of these components.
s They try to order them by looking at them con-
sciously (synthesis). s Expectation is the more or less clear temporary
objective we have in mind.
s But simultaneously they discover new stimuli and
try to integrate them in their system as well. s Memory is a conscious or subconscious feedback
factor.
s Finally they receive an ordered whole, an over-
view. While analysing it a feedback process is 2 Communication
initiated influenced by many components.
The designer has to deal with the exchange of
© copyright: Processing information, the communication. He must under-
Kommission Aus- und Weiterbildung, stand their functioning, the codes and languag-
Deutsche Gesellschaft für Kartographie The designer intends to effectuate a certain re- es. Only then will he be able to define the design
e.V., Germany 2000 action in the viewer (or customer). goals.

c/o Reinhard Urbanke Home
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 8
Communication
5.9

A simplified scheme of (visual) communication
looks a follows:

Contents The transmitter (the designer) communicates 2a A traffic sign whose meaning is known in Germa-
Exercises with the receiver (the viewer) by sending mes- ny immediately is used in the USA with two explan-
Index sages with the help of a language (here: pictori- atory texts.
al language and written language). For that end
Search he uses codes to transmit his message effective-
ly. A picture, for instance, showing the sea, the
Next results sun and palm trees, is not only an image of the
Previous results coast, but leads the viewer to further associa-
tions and can stand for recovery, relaxation,
Print warmth, holidays etc.
Exit

The cartographer uses codes with his symbols as
well.

✉The symbol not only stands for a letter, but

also for a post office.

The symbol does not only mean several

trees and rain forest, but also tropics, humid-

© copyright: torrid climate, a certain flora and fauna etc. 2b The ships do not understand each other because
Kommission Aus- und Weiterbildung, they use different languages. Although the viewer
Deutsche Gesellschaft für Kartographie cannot understand the dialogue he would be able to
e.V., Germany 2000 understand the course of events.

c/o Reinhard Urbanke Home
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 9
Code
5.9

Contents The code encodes messages. The receiver is able
Exercises to understand the content only with knowledge
Index about the code (Example: map legend).

Search Every symbol has a certain meaning the receiver
has to know.
Next results
Previous results The spoken language is a code as well: Someone 2c Different stars; each of them has its own mean-
may for instance understand German fairly well, ing that exceeds its pure geometric form.
Print French less well and Finnish not at all.
Exit
It may happen of course that two or more mean-
ings exist for one symbol .

In maps, for example, the symbol + can stand
for a church, a chapel, a graveyard or a rock.

Shaking our head is also codified: it means No to
us, in Greece it means Yes.

© copyright: 2d: Someone can only use the pattern sheet if he
Kommission Aus- und Weiterbildung, knows its function and its signs.
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000 Home

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 10

Languages 5.92e: Pictorial lan-

Contents At the beginning of human history people under- guage: This picture
Exercises stood each other through facial expressions and comprises more than
Index gestures or sounds. two windows, one
door, two walls, the
Information as discoveries, moods, desires or floor and a roof slope.
orders could be thus communicated. It transmits a certain
mood.

Search Since the stone age linguistic signs are recorded 2f: Encoded: sign
permanently by engraving them in wood or language, musical
Next results painting them on stone walls. The signs were notation, braille,
Previous results taken from nature. machine language,
bar code .
Print In the 5th century BC schematic pictorial signs
have been stringed together for the first time,
Exit enabling us to visualize trains of thought and
courses of events.

Now languages could be developed according to 2g: A possible com-
cultural expression and social requirements. munication goal: At-
tract attention.
Sign-like pictures were combined to form sign
language (e.g. the symbols on maps). Look here!

© copyright: Home
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 11

Letters, that are symbols as well, were combined 5.9
to form words and finally sentences: the written
language.

Contents Pictures such as photographs, illustrations and
Exercises paintings have a pictorial language.
Index Beyond that further languages exist as sign lan-
guage, braille, musical notation, etc..
Search
Communication goals
Next results
Previous results

Print
Exit

The designer has to know exactly whom he A designer must be endowed with the following
wants to address and what he wants to impart. personal conditions:
He has to respond to the receiver, his perception
and his surrounding. He has to comb his design s Sensibility and receptiveness,
possibilities for suitable tools. He must use ade- s agility and creativity,
quate methods, languages and codes. s ability for abstraction and analysis,
s ability for synthesis and
s ability to aesthetical organization.

© copyright: Home
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 12

3 Design 5.9

Contents After this quite abstract introduction the terms
Exercises 'form' and 'design' will be used to conduct us to
Index more practical topics.

Search The form

Next results Rep blica Cruz del
Previous results Argentina Rayo

Print The form is the composition, the result of the Avenida de
Exit design process. Am rica

In this connection form (the whole thing) means

more than the sum of the parts (Fig. 3a; c. Fig. er slowenische
Philosoph Slavoj
Zizek ist mit sei-
2e and the rain forest symbol from the previous nen philosophischen Mix- Ibiza
turen aus Hegels Logik,
Hitchcocks Leichen und Retiro
chapter). Lacans Leerstellen ein Tirso de Molina
bekanntes enfant terrible Ant n Mart n
in akademischen Philoso- Atocha
phenzirkeln. Seine Auf-
tritte sind überwältigende Atocha Renfe
Rede-Performances mit
The form is even maintained if single elements 3a ungewissem Ausgang. Men ndez Conde
Pelayo del Casal

are changed.

A form cannot exist without its surroundings.

© copyright: A form has something like a soul that has to be
Kommission Aus- und Weiterbildung, filled with life by the designer.
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000 Home

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 13

Basic forms 5.9

1234

Contents For the design one tends to fall back gladly on 5 10
Exercises the elementary basic forms (Fig. 3b, upper row): 6 11
Index 7 12
Point(1): In the true sense it is a zero-dimen- 13
Search sional object and therefore cannot be represent- The Sloveneiarn splhoilwoseonpihsecr hSlea-
ed. In graphic arts a point is that what is not yet voi Zizek Pwihthilohiss opphhilosSoplah-ic
Next results a circle. vmoijxtZuriezsek oifst Hmegiet l’ss eilnoegnic,
Previous results pHhiticlohcsoocpkh’sisdceahdenbodMieixs taun-d
Line(2): A one-dimensional object, a stroke.
Print 8 reLancaan’us semHpetygeslpsacLeos giisk,a
Exit Area(3): A two-dimensional object, e.g. a rec- HkintcowhncoecnkfasntLteerircibhlee nin uancda-
tangle, a circle, a polygon. The area has a form. Ldaecmainc sphiLloeseoprsheter lcleircnlese. iHnis
beenktraannncetes saerenfaonvet rwtehrerlimblineg
Volume/Body(4): A three-dimensional object inspaekeacdh-epmerifsocrmheanncPehs iwloitshoa-n
that will not be dealt with at this point. puhneknnzoiwrkneelnnd..Seine Auftrit-
te sind überwältigende
Rede-Performances mit
ungewissem Ausgang.

9

© copyright: 3b
Kommission Aus- und Weiterbildung, Home
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 14

Graphic elements 5.9

1234

Contents The elements can be simple, composite or com- 5 10
Exercises plex (Fig. 3b, lower part): 6 11
Index 7 12
Sign(7, 10): A letter, a logo etc. 13
Search The Sloveniearn pshliolowsoepnhiesrcShlae-
Writing(6, 8): Text in books, newspapers, on voi Zizek wPithhilhoissophpilhosoSplhaic-
Next results posters, in advertisements etc. vmoixj tuZreizsekofistHemgeitl’sseliongeicn,
Previous results pHhitcilhocsoockp’hs idsecahdebnodMieisxatund-
Graphic (11, 12): A diagram, a map, an illustra-
Print tion etc. 8 rLeancana’susemHpetygesplsaceLsogisika,
Exit Hknitocwhnceoncfkasnt Lteerriicbhleenin uacnad-
Picture (13): A photograph or a detail. LdaemcaicnpshilLoseoeprhsetrecllirecnles.eHinis
beentkraanncnetsesareenfoavnetrwtheerrlmibinleg
Background (9): The background, the surround- isnpeaekcahd-epmerfiosrcmhaenncePshwiliothsoan-
ing, has to be included in the design even if it is puhnkennozwirnkeenlnd.. Seine Auftrit-
merely white. te sind überwältigende
Rede-Performances mit
ungewissem Ausgang.

9

© copyright: 3b
Kommission Aus- und Weiterbildung, Home
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 15

Variations 5.9

The forms and elements can be varied by (Fig.
3c):

Contents Structure: The inner arrangement of areal ob-
Exercises jects, as screens, hatches, patterns.
Index
Tonal value: The brightness of objects. 3c
Search
Colour: Reaches the viewer directly, puts him in
Next results a certain mood, rouses feelings.
Previous results
Size: To emphasize, to cause tension.
Print
Exit

Position: The position of an object within a com-
position is of substantial importance concerning
its effect.

Design principles

© copyright: It does not make sense to define rigid design
Kommission Aus- und Weiterbildung, rules because, as described above, graphic de-
Deutsche Gesellschaft für Kartographie sign is influenced by changing perceptions,
e.V., Germany 2000
Home
c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 16

changing communication methods and changing By the detailed inspection of countles5s.9design
design goals.
examples a designer should try to get a reliable
flair for proportions, harmony and good design.

Contents But the following principles (Fig. 3d) that guar-
Exercises antee a good and successful design should still
Index be considered:

Search Proportion or the relation between single ob-
jects and their surroundings. Many attempts
Next results have been made to determine the ideal absolute
Previous results proportion, but without success. Some models
such as the golden section are considered as be-
Print ing almost perfect.
Exit
Harmony: A design is harmonic when it is well
ordered and when all internal elements have
been combined properly according to an aes-
thetic sense, which means that nothing disturbs,
tips over or drops out.

© copyright: Contrast: Every effect is based on contrast. 3d
Kommission Aus- und Weiterbildung, Contrast creates tension and therewith the at-
Deutsche Gesellschaft für Kartographie tention of the viewer. It is created through the
e.V., Germany 2000 use of contrast pairs: To be activated every ob-
ject needs a counter object.
c/o Reinhard Urbanke
Erlenweg 3/1 Home
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 17

4 Optical Illusions 5.9

Contents Optical illusions are of particular interest due to
Exercises their unexpected results and the effects thus
Index achieved. They show again that the personal
aesthetic experience is set above the strict geo-
metric construction.

Search Lines

Next results Fig. 4a demonstrates that vertical lines of the
Previous results same length seem to differ in length if their add-
ed corners are changed. As a result sharp and
Print round letters must jut out from the type line
(Schriftlinie) so that they do not seem smaller
Exit than the letters D and T.

4a

Fig. 4b shows that repeatedly subdivided lines 4b
seem longer that undivided.

© copyright: In Fig. 4c thick narrow set lines appear shorter 4c
Kommission Aus- und Weiterbildung, than the ones that are further apart. For that
Deutsche Gesellschaft für Kartographie reason type faces with thin line gauges seem to
e.V., Germany 2000 be higher than that with bold ones.

c/o Reinhard Urbanke Home
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 18

The optic centre is not always the same as the 5.9
geometric center, as shown by Fig. 4d.

The Futur type face has been constructed geo- 4d
metrically but was subsequently modified ac-
Contents cording to optic-aesthetic viewpoints. Because
Exercises of that it appears calmer and more harmonic
Index now.

Search Fig. 4e shows optical deformations: The circle 4e
seems dented and the single line repeatedly bro-
Next results ken.
Previous results

Print

Exit

Areas

A square optically seems wider than higher. 4f
Therefore squares must be exaggerated vertical-
ly (Fig. 4f). The same applies to circles.

© copyright: 4g
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie Home
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 19

In Fig. 4g the horizontal lines 5.9
widen the square area whereas
the vertical ones exaggerate it
vertically.

Contents In Fig. 4h all central squares 4h
Exercises have the same size. Their apparent size (the
Index
other squares and the white space) is influenced
Search by their surrounding.

Next results
Previous results

Print
Exit

In Fig. 4i and 4j the bright areas (or letters) 4i
seem larger than the dark areas (or letters) of

© copyright: AB AB
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie 4j
e.V., Germany 2000 Home

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 20

the same size because their brightness out- 5.9
shines their contour.

Contents Tonal value
Exercises
Index In Fig. 4k it becomes apparent of how little im-
portance the actual brightness is (all inner
Search squares have the same grey value). Their sur-
rounding is decisive for the effect of the grey ar-
Next results eas.
Previous results
It is possible to create depth with the help of
Print tonal values: the inner square in the left field
Exit seems to lie clearly above the surface area
whereas in the most right one the black area
seems to be a window.

© copyright: 4k
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie Home
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 21

5 The area 5.9

Contents The area is the space for mounting the design. It
Exercises should be sufficiently considered because the
Index area more or less influences the elements ar-
ranged on it.
Search
5a
Next results
Previous results Empty space / white space

Print Some elements need a big area (empty space)
Exit to unfold. Empty spaces are fields of force.

A composition can appear disharmonious if the 5b
empty space is not incorporated. A design can
be thrown out of balance or upset optically if the
relation between printed and empty areas is dis-
turbed. Empty space can create tension and dy-
namics in connection with design elements. It
can order and emphasize them.

© copyright: Even a completely empty area is not empty for 5c
Kommission Aus- und Weiterbildung, the viewer: he wanders around with his eyes
Deutsche Gesellschaft für Kartographie (Fig. 5b, a typical reading loop), projects things
e.V., Germany 2000 on it and divides it into specific sub-areas (Fig.
5c).
c/o Reinhard Urbanke
Erlenweg 3/1 Home
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 22

Locations of effect 5.9

Contents If an area is divided in the middle, the upper half
Exercises seems to be larger than the lower half (Fig. 5d).
Index Elements positioned in the upper sector seem
more weighty than the ones below.
Search
This has to do with the natural human field of vi-
Next results sion. Above the horizon people expect just the
Previous results sky which seems to be unlimited. This viewing
habit is unconsciously applied to the area.
Print
Exit In the same way the left and the right side of the 5d
area have different meanings. The reading direc-
tion proceeds from left to right. People feel a
movement mostly directed to the right. There-
fore the right side is more important than the
left one (Fig. 5e).

Effect 5e

© copyright: As a consequence elements get a certain mean-
Kommission Aus- und Weiterbildung, ing if they are located at a certain spot within
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000 Home

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 23

the empty space. Points appear calm and stable 5.9
if they lie on lines in Fig, 5c, but restless and dy-
namic off them (Fig. 5f).

Contents Lines have different qualities as well, depending calmness active, far passive, near
Exercises on their location (Fig. 5g and h).
Index
The effect can be described by adjectives as
Search light, heavy, floating, unstable, rising, distant
etc.
Next results
Previous results restless, move- quiet, at the

Print Fig. 5i shows different black elements on white ment to the right objective
Exit
areas with a specific effect in each case. 5f

passive, active, seemingly
left right bottom top endless

5g 5h positive negative

© copyright: Home
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 24

Now, if one tries to look at the white spaces as 5.9
new forms in their own right, that lie before a
grey background, a new effect can be realized.

Contents The general effect is changed by every new ele-
Exercises ment within the design.
Index
5i

Search Associative meanings

Next results Empirical investigations have resulted in discerning specific associative meanings:
Previous results

Print

Exit

THE HORIZONTAL: CLIMBING THE DESCENDING THE LEFT: RIGHT:
VERTICAL: VERTICAL:
horizon passiveness activity
sea tower plumb line reflection deed
steppe obelisk weight introversion extroversion
plain fountain heavy past future
calmness powerful serious self you
sleep
© copyright: death
Kommission Aus- und Weiterbildung, impressive
Deutsche Gesellschaft für Kartographie important
e.V., Germany 2000 quiet

c/o Reinhard Urbanke Home
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 25

6 Area aesthetics 5.9

Contents We have already spoken about the importance of 1 : 1,538
Exercises the area as the mounting space. Now, the pro- (base line
Index portions, distribution and composition will be and height of
analysed. a pentagon)

1: 2 2:3 1: 5
1: 3 (DIN A-size)
Search Size 5:8
(approxima
Next results Already at the beginning of the design process golden section)
Previous results the designer has to decide about a page size.
The size and shape naturally depends on the 6a
Print purpose: Is the design object a map, a folder or
Exit a book?
There are shapes whose proportions seem to be
© copyright: especially well balanced, including the golden
Kommission Aus- und Weiterbildung, section.
Deutsche Gesellschaft für Kartographie Squares can look interesting as well if they are
e.V., Germany 2000 divided appropriately.
c/o Reinhard Urbanke
Erlenweg 3/1 Home
D-71394 Kernen im Remstal
EMail: [email protected]

Map Design: Graphic Design Basics 26

Area subdivision 5.9

Contents Depending on the size, the area can be subdivid- 6b
Exercises ed according to the following principles, in view
Index of the design purpose: Proportion, harmony and
contrast. This results in a layout. Here a square
Search has been chosen as the mounting space.

Next results In Fig. 6b the area is subdivided by two continu-
Previous results ous intersecting lines.

Print In Fig. 6c the subdivision is realised by three dif-
Exit ferent shapes that vary in size and tonal value.
Moreover the shapes are arranged vertically and
horizontally. This example shows the white area
as an independent shape as well.

© copyright: 6c
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie Home
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 27

Composition 5.9

Contents Fig. 6d shows a composition with simple shapes 6d
Exercises and their variation possibilities. 6e
Index
The necessary tension (contrast) is achieved by:
Search
(Fig. 6d, upper row, from left to right)
Next results s different shapes
Previous results s different sizes
s position within the area
Print
Exit (Fig. 6d, lower row, from left to right)
s asymmetry
s negative – positive
s tonal value (brightness).

© copyright: Fig. 6e shows a dynamic composition in which
Kommission Aus- und Weiterbildung, the elements are arranged in first slice, i.e. they
Deutsche Gesellschaft für Kartographie extend beyond the format. They are cut at the
e.V., Germany 2000 margin and now obtain another interesting out-
line. Their real form can be reconstructed or
c/o Reinhard Urbanke rather surmised. The viewers complete the parts
Erlenweg 3/1 indicated or missing in their imagination.
D-71394 Kernen im Remstal
Home
EMail: [email protected]

Map Design: Graphic Design Basics 28

In Fig. 6f a grid has been constructed first at 5.9
which the elements have been oriented. Differ-
Contents ent methods have been used to create tension.
Exercises Now the composition is more complex, it com-
Index bines different shapes, tonal values and sizes.

Search In Fig. 6g pages containing text are simulated.
The different elements can be column titles,
Next results headings, initials, graphics and pictures within
Previous results the layout of a map catalogue.

Print Classical newspapers (Fig. 6h) are a good exam- 6f
Exit ple of area aesthetics because they have to
manage with few design elements: Text and pic-
tures are the principal design elements. Apart
from them, lines and boxes are applied. Every
page of a newspaper comes alive through the in-
terplay between the text areas and the blank
spaces: The reader needs to be able "to breathe"
while reading.

© copyright: 6h
Kommission Aus- und Weiterbildung, Home
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 29
7 Colour
5.9

Contents Colour is an important design element. It has an
Exercises immediate impact on the viewers and addresses
Index their subconsciousness.

Search Colour psychology

Next results The following characteristics are associated with
Previous results certain colours:

Print YELLOW: RED: BLACK: 7a
Exit expansion vivacity hopelessness
communication power darkness Colour assignment after Wassily Kandinsky
© copyright: reason imagination death
Kommission Aus- und Weiterbildung, Colour assignment after Oskar Schlemmer
Deutsche Gesellschaft für Kartographie BLUE: ORANGE: WHITE: 7b
e.V., Germany 2000 introversion health all possibilities
c/o Reinhard Urbanke absorption full of drive glaring bright-
Erlenweg 3/1 intellect pleasure ness
D-71394 Kernen im Remstal birth
EMail: [email protected] GREEN: VIOLET:
immobility illness
contentment irresolute-
sensuality ness
melancholia

Home

Map Design: Graphic Design Basics 30

Of course this table is not universally valid. An 5.9
essential factor is the personal colour sensitivity
Contents of the viewer: colours remind us of sensory im-
Exercises pressions, put someone into a mood.
Index
Gender and gender-specific roles of the viewers
are just as important as cultural influences, e.g.
fashion (fashion colours).

Search Therefore colours should be carefully selected
and the colour experience of the target group
Next results should be taken into account.
Previous results
Colour dimension (CIELAB-colour
Print system)

Exit

A colour tint can be varied by the two factors 7c
brightness (Fig. 7c) and saturation (addition of Colour brightness: 15% – 25% – 40% – 65% –
white, black or grey; Fig. 7d) 100%

© copyright: 7d
Kommission Aus- und Weiterbildung, Colour saturation: 0% – 25% – 50% – 75% – 100%
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000 Home

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 31

Colour contrast 5.9

Contents The relationship between colours is named col-
Exercises our contrast. When working with colours much
Index can be learned about their characteristics, their
effects and their interplay. A warm tonal value
Search can suddenly become cold due to an adjacent
tonal value. Harmonic compositions can abruptly
Next results change completely because of additional colour
Previous results elements. The following types of colour contrast
are distinguished:
Print
Exit s Complementary contrast

Colours which face each other in the colour circle 7e
are termed complementary. Each colour has its
complementary colour with which it is balanced
and even can increase to the highest luminosity
(Fig. 7e).

s Simultaneous contrast

© copyright: Simultaneous contrast appears where a rich col- 7f
Kommission Aus- und Weiterbildung, our stands without its complementary colour (in
Deutsche Gesellschaft für Kartographie which case the eye will generate this comple-
e.V., Germany 2000 mentary colour), through which phenomenon its
tonal value is optically changed (Fig. 7f).
c/o Reinhard Urbanke
Erlenweg 3/1 Home
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 32

s Quality contrast 5.9

Contents Quality contrast depends on the opposition be- 7g
Exercises tween bright and dull colours (Fig. 7g). 7h
Index
s Quantity contrast
Search
Quantity contrast arises from the confrontation
Next results of differently sized colour areas (Fig. 7h).
Previous results
Here the intensity, the strength of a colour’s
Print brightness is of importance, e.g. yellow has a
Exit much bigger optical impact than violet. The or-
der reads: yellow, orange, red, green, blue and
violet.

s Cold-warm-contrast

The opposition between the red-orange and
blue-green pair has the biggest effect on the
contrast (Fig. 7i).

© copyright: 7i
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie Home
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 33

8 Type aesthetics 5.9

Contents Now type will be introduced as a new design ele- 8a
Exercises ment. In this section we look at type from the 8b
Index viewpoint of readability. 8c

Search Evolution of type

Next results Pictographic system: Letters have been created
Previous results by imitating natural shapes. The symbol to the
left in Fig. 8a was developed in Egypt approxi-
Print mately 3000 BC.
Exit
Letters: The pictorial symbols became more and
more abstract in the course of time and finally
became letters: Fig. 8b Phoenician alphabet, ap-
proximately 1300 BC.

© copyright: Capital letters and serifs (Serifen): The letters in
Kommission Aus- und Weiterbildung, Fig. 8c are derived from the Greek /Roman al-
Deutsche Gesellschaft für Kartographie phabet between 200 BC and 300 AD. Special at-
e.V., Germany 2000 tention has been paid to aesthetics and propor-
tions. Only capital letters existed. The Greeks
c/o Reinhard Urbanke did not use spaces between word or sentences.
Erlenweg 3/1
D-71394 Kernen im Remstal Home

EMail: [email protected]

Map Design: Graphic Design Basics 34

The Romans invented serifs (Serifen) for aes- 5.9
thetic reasons.
Contents 8d
Exercises Lower case letters: Fig. 8d shows further devel-
Index opment in the Middle Ages. With the "Karolinger 8a
Minuskel" lower case letters were first devel- 8e 8e
Search oped. Later on letters became narrow, heavy
and angular (Gothic type). 8f f
Next results
Previous results Roman type: At the rediscovery of classical an-
tiquity the roman type originated around 1450,
Print e.g. Garamond (Fig. 8e, left). The alternation
Exit between capital and lower case letters resulted
in a better readability, because now several let-
ters, so-called word images, could be registered
simultaneously.

Grotesque: At the end of the 19th century graph-
ically reduced type faces have been developed.
e.g. Akzidenz-Grotesque (Fig. 8f, left).

Design fonts: Today good readability is now and 8g
then opposed by trendy type face creations (Fig.
© copyright: 8g).
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie Home
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 35

Screen fonts: Computers require specific font 5.9
types that have been adjusted to the screen res-
olution (Fig. 8g, right).

Contents 8h
Exercises
Index Geometry

Search Around 1920 characters have been reduced to 8i
the basic geometric forms rectangle, circle and
Next results triangle (Fig. 8h, Futura). However, since abso-
Previous results lute geometry impairs readability, small modifi-
cations have been made.
Print
Exit

Letter spacing

© copyright: Over 2000 years ago Greeks and Romans al- The optic weight of the blank space between the
Kommission Aus- und Weiterbildung, ready dealt with the aesthetics of letters letters must correspond to the inner space of the
Deutsche Gesellschaft für Kartographie stringed together. They discovered that not only letter.
e.V., Germany 2000 the shape of every single letter should be taken
into account in order to obtain a good typeface, In Fig. 8i the blank spaces and the inner spaces
c/o Reinhard Urbanke but also the blank space between the words. of the letters are made clear through geometric
Erlenweg 3/1 forms.
D-71394 Kernen im Remstal Home

EMail: [email protected]

Map Design: Graphic Design Basics 36

Fig. 8j shows a badly balanced word, because 5.9
the spacing between the letters is exactly the
same. The principle of geometric forms (in line
3) shows distinct harmonic disturbances.

Contents In line 4 positive and negative forms have been 8j
Exercises balanced according to aesthetic considerations. 8k
Index The result is an in itself well proportioned word
(Fig. 8k).
Search
The harmonic balance of the letter spacing has
Next results to be considered especially when using graphic
Previous results or big type faces.

Print To get a correct spacing no measurable values
Exit can be provided. The recognition of the size of
blank spaces and the weight balance of words
has to be practised in order to acquire an aes-
thetic competence.

© copyright: It can be helpful to turn a word upside down, in 8l
Kommission Aus- und Weiterbildung, order to recognize the forms and spaces unhin-
Deutsche Gesellschaft für Kartographie dered (Fig. 8l). By the way, this method may be
e.V., Germany 2000 useful for each kind of design task.

c/o Reinhard Urbanke Home
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 37

9 Type composition Grauwert: Aus einigem Abstand Grauwert: Aus einigem Abstand be- 5.9Grauwert:Aus einigemAbstand be-
betrachtet, wirkt Text auf einer Seite trachtet, wirkt Text auf einer Seite als
Contents Following the analysis of letters and single words als Bild, als graue Fläche; sie steht Bild, als graue Fläche; sie steht trachtet, wirkt Text auf einer Seite als
Exercises this section deals with the characteristics of bekanntermaßen in Beziehung zum bekanntermaßen in Beziehung zum Bild, als graue Fläche; sie steht
Index typefaces in printed texts. sie umgebenden Weißraum. Um die sie umgebenden Weißraum. Um die bekanntermaßen in Beziehung zum
Lesehemmschwelle gering zu hal- Lesehemmschwelle gering zu hal- sie umgebenden Weißraum. Um die
Search Grey value ten, soll der Grauwert nicht zu dun- ten, soll der Grauwert nicht zu dun- Lesehemmschwelle gering zu hal-
kel sein, aber auch nicht zu hell, da kel sein, aber auch nicht zu hell, da ten, soll der Grauwert nicht zu dun-
Next results When viewed from a distance a text block looks die Seite sonst löchrig wirkt. Er wird die Seite sonst löchrig wirkt. Er wird kel sein, aber auch nicht zu hell, da
Previous results to be an image, a grey area (Fig. 9), related to a durch die Schriftstärke, die Laufwei- durch die Schriftstärke, die Lauf- die Seite
known degree to the surrounding blank space. te, den Wort- und den Zeilenab- weite, den Wort- und den Zeilenab-
Print stand bestimmt. Aus einigem Ab- stand bestimmt. Aus einigem Ab-
Exit To keep the reading inhibition threshold small, stand betrachtet, wirkt Text auf einer stand be
the grey value of the text block should not be Seite als Bild, als graue Fläche; sie
too dark, but also not too bright, because then steht bekanntermaßen in Bezie-
the page would look to be full of holes. The grey hung zu dem sie umgebenden
value is determined by the line gauge, the letter Weißraum. Um die
spacing, the word spacing and the line spacing.
Grauwert: Aus einigem Abstand Grauwert: Aus einigem Abstand Grauwert: Aus einigem Abstand
betrachtet, wirkt Text auf meiner betrachtet, wirkt Text auf meiner betrachtet, wirkt Text auf meiner
Seite als Bild, als graue Fläche; Seite als Bild, als graue Fläche; Seite als Bild, als graue Fläche;
sie steht bekanntermaßen in Be- sie steht bekanntermaßen in Be- sie steht bekanntermaßen in Be-
ziehung zum sie umenden Weiß- ziehung zum sie umenden Weiß- ziehung zum sie umgebenden
raum. Um die Lesehemmschwel- raum. Um die Lesehemmschwel- Weißraum. Um die Lesehemm-
le gering zu halten, soll der le gering zu halten, soll der schwelle gering zu halten, soll
Grauwert nicht zu dunkel sein, Grauwert nicht zu dunkel sein, der Grauwert nicht zu dun
aber auch nicht zu hell, da die aber auch nicht zu hell, da die
Seiten sonst sehr löchrig wirkt. Seiten sonst sehr löchrig wirkt.
Er wird durch die Schriftstärke, Er wird durch die Schriftstärke,
die Laufweite, den Wort- und den die Laufweite, den Wort- und den
Zeilenabstand bestimmt. Aus ei- Zeilen
nigem Abstand betrachtet, wirkt
der auf einer Seite als Bild, als
graue Fläche; sie steht be-
kanntermaßen

9a

groups of words. It jumps form one point of fo-
cus to the next one.

© copyright: Reading process Texts should be designed so as to be interesting
Kommission Aus- und Weiterbildung, and not tiresome. Texts written in capital letters
Deutsche Gesellschaft für Kartographie The eye scans the lines erratically. It does not are difficult to read because word contours are
e.V., Germany 2000 register single letters but whole words and blurred. Mixed type (with ascenders and de-
scenders) offers satisfactory variation. The pro-
c/o Reinhard Urbanke Home portion of the type face is decisive for its reada-
Erlenweg 3/1 bility. Lines should be perceived as bands, so
D-71394 Kernen im Remstal that the eye will not skip away. A line should
comprise a maximum of 50 – 60 letters (about
EMail: [email protected] 10 words). The longer the line, the bigger the

Map Design: Graphic Design Basics 38

line spacing should be. A type must be adjusted 5.9
to the intended purpose. Specific type exist for a
book setting and for headings.

Contents Type face selection
Exercises
Index Every type imparts associations (Fig. 9b). There-
fore target groups (scientists, customers, holi-
Search daymakers…) are decisive for the selection of
the type face. Here as well only recommenda-
Next results tions can be made (Fig. 9c).
Previous results
9c CHARACTER 9b: left: wrong type face selected; right: correct
Print choice
Exit PURPOSE elegant-fashionable
traditional TYPE E.G.
© copyright: beauty culture, fashion neutral
Kommission Aus- und Weiterbildung, food articles elegant, plain Bodoni, Avant-Garde
Deutsche Gesellschaft für Kartographie technique neutral-elegant Different type faces
e.V., Germany 2000 Hi-tech classical, approved Garamond, Akzidenz
c/o Reinhard Urbanke art, photography factual-neutral Gill, Bodoni
Erlenweg 3/1 fiction factual-elegant Grotesque, Copperplate
D-71394 Kernen im Remstal professional literature informative, quiet Janson, Bembo, Caslon
EMail: [email protected] business reports functional, elegant Garamond, Egyptienne
transportation rustic, slogan-like Futura, Bodoni, Univers
letters, business cards strong, slogan-like Frutiger, DIN-types
street party playful, romantic Copperplate, Meta
poster factual, neutral Berlin grotesque, Revue
décor colourful, vivid Rockwell, Aachen
sixties aggressive, provocative Plaza, Avant-Garde
seventies Helvetica, Akzidenz
modern media Hobo, VAG Rounded
new types

Home

Map Design: Graphic Design Basics 39
Type face mixture
5.9

Contents Type faces should only be mixed if they have dif-
Exercises ferent functions (as e.g. continuous text, head-
Index ings) or rather different positions within the lay-
out (e.g. inserted headings, columns).
Search
The type faces used (Fig. 9d) must look alike re-
Next results garding style, line gauge and geometry (relation
Previous results of x-height to the height of the ascender), but
still differ sufficiently to prevent any impressions
Print of type setting errors. To put mixed type faces
Exit right next to one another might cause problems.

9d

Compositions

Type faces can be varied by:

s type style and size, For this the correct (sensible, aesthetic) applica-
s type shape (bold or italic), tion of the resources is of paramount impor-
s initials, headings and inserted headings, tance. Pictures, lines etc. have to be purposeful-
s unjustified setting and justified setting. ly employed as well. Fig. 9e shows a poem
designed by Ernst Jandl and next to it a typo-
Home
© copyright:
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 40

graphic sketch of an invitation card for an event. fliegen 5.9
The inner rectangle stands for getting together
Contents at one place and functions as an eyecatcher si- 9e fliegen
Exercises multaneously. Fig. 9f shows a page layout that
Index uses very few elements and still has originality. 9f fliegen
9g
Search Typographic errors fliegen
fliegen
Next results Unfortunately typographic errors are found fre- fliegen
Previous results quently: fliegen

Print s inadequate word spacing ("holes" in the text),
Exit s lines too long,
s wrong line spacing,
© copyright: s inappropriate type faces,
Kommission Aus- und Weiterbildung, s isolated lines of a paragraph at the end or at the
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000 beginning of a page (windows)
c/o Reinhard Urbanke s nasty divisions (Fig. 9g),
Erlenweg 3/1 s inadequate contrast,
D-71394 Kernen im Remstal s too small blank space,
EMail: [email protected] s too many type faces, elements, styles,
s playing around with the computer (Fig. 9g)

Home

Map Design: Graphic Design Basics 41

10 Signs 5.9

Contents A sign is a visual expression of information, of an © DiskArt™ 1988
Exercises idea, of an occasion or of a form that has been
Index reduced to the essential. © DiskArt™ 1988

Search Communication

Next results If someone says: "Give me a sign when I have to
Previous results begin," he expects, that it will be shown clearly
and unmistakably in its meaning.
Print
Exit Signs not only consist of gestures. The signs that
we are actually speaking of can be found every-
where: in the streets, in buildings, in business
life, on flag poles (Fig. 10a).

Every graphic shape of a sign conceals a certain
meaning, revealed only to someone who knows
the accompanying code system.

© copyright: 10a
Kommission Aus- und Weiterbildung, Home
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 42

Types of signs (Fig. 10b) 5.9

Contents symbol: refers to idealistic facts, e.g. the cross symbol
Exercises of christianity.
Index elementary sign
elementary sign: formed from basic geometric
Search shapes (cf. Fig. 3a) pictorial sign
imprint
Next results pictorial sign: graphic representation of an ob-
Previous results ject. word trademark
logo
Print imprint: graphic trademark of a company or a
Exit product. pictogram

word trademark: A sign of a company or product cartographic
only made up of letters. symbol

logo: pictorial or verbal trademark of a company.

pictogram: strongly simplified pictorial symbol
for an object or a situation with an international-
ly defined connotation.

© copyright: cartographic symbol: symbol on maps.
Kommission Aus- und Weiterbildung, 10b
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000 Home

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics Design 43
Function
5.9

Signs can have different functions: Requirements for the shapes of signs:

Contents s message, hint, warning (traffic sign, pictogram), s quick and unequivocal to recognize,
Exercises s product, service, image (trademark), s concentration on the essentials,
Index s tradition, origin, relationship (coat of arms, flag), s easily remembered, original and unmistakable
s association, reference (symbol, cartographic sym- s fusion of the graphic components to a whole,
Search s equivalence of graphic form and meaning of the
bol).
Next results content.
Previous results
Trademarks
Print
Exit In our consumer society trademarks are not only
identifiers for companies, their products or serv-
ices. They also carry certain messages regarding
lifestyle, social affiliation, sometimes even ideol-
ogies.

© copyright: Therefore it is important to know that a trade- 10c
Kommission Aus- und Weiterbildung, mark does not only inform on a factual basis but
Deutsche Gesellschaft für Kartographie also addresses the customer emotionally, so that
e.V., Germany 2000 a desire to buy the product or getting served is
produced.
c/o Reinhard Urbanke
Erlenweg 3/1 Home
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 44

To find a shape 5.9

Contents First of all the function of the sign must be de- basic forms
Exercises fined before the suitable concepts and images stlied objects
Index are collected during a brainstorming session. letters and words
The ensuing data collection has to be ordered
Search and examined for its suitability. Then the ele- combinations
ments selected must be formally reduced until
Next results an effective sign has been developed that also
Previous results meets aesthetic demands.

Print During the process of finding a shape the follow-
Exit ing paths can be treaded (Fig. 10d):

s proceed from basic shapes (circles, rectangles,
triangles) or their derivations,

s simplification, abstraction and stylization of the
element that forms the basis for the sign,

s modification of an existing sign (copyright has to
be considered),

s choose letters and words as the basic idea.

© copyright: 10d
Kommission Aus- und Weiterbildung, Home
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 45

11 Publications 105 5.9
45 45
20 85

Contents The design of a publication requires a complex 105
Exercises graphical understanding, because all elements
Index have to match with each other concerning their
effect. Where paper is used the sense of touch
has to be considered: e.g. a book must also feel
good.

Search Notepaper and visiting cards

Next results A company or a person represents itself publicly
Previous results by such printed products. A decisive first im-
pression is generated by them, which touches
Print upon the image it wants to project. Therefore,
first of all some basic questions have to be put,
Exit such as: Who am I? What do I want? How do I
want to look? What do I want to achieve?
11a

© copyright: Company notepaper is subject to certain stand-
Kommission Aus- und Weiterbildung, ards (Letter window, folding, etc.; see Fig. 11a
Deutsche Gesellschaft für Kartographie above). But on the other hand there are almost
e.V., Germany 2000 no limits to the individual design. Every paper
size and every stylistic device may be used.
c/o Reinhard Urbanke
Erlenweg 3/1 Home
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics y 46
Books x
5.9

z

Contents Books are different from single pages as in {
Exercises books we have to proceed from the opened up
Index spread concerning the type area and the margin 11b 6
proportions. Type area and page size should
Search stand in harmony to each other. With the help of 78 Diesmal treibe ich es nicht
the golden section a good result can be achieved
Next results in this case as well (Fig. 11b). Unusual formats will ich sagen, daß ich die ganze Zeit damit beschäftigt war, ihnen allen zu bewei- Meine ALTE Freundin Addy Possa hat angerufen. Sie will jetzt eine Karriere als
Previous results require individual solutions (Fig. 11c). sen, was ich für ein Monstrum bin und daß ich ihre Liebe nicht verdiene. Obwohl Filmregisseurin starten und wollte mir eine Rolle in ihrem ersten Film anbieten.
ich kein Blatt vor den Mund genommen habe, hat es dann doch ein bißchen länger Gestattet mir, euch an dieser Stelle ein wenig von ihr zu erzählen.
Print A further peculiarity of books is their general gedauert als erwartet, bis ich endgültig mit ihnen allen Schluß gemacht hatte. Al- Addy wiegt wesentlich mehr als die frühe Bette Midler und Mae West zusammen,
Exit principle of design. French title, table of con- lerdings lohnt es sich nicht im geringsten, hier all die Einzelheiten zu erzählen. Ich und sie glaubt auch über den gleichen unanständigen Charme der beiden zu verfü-
tents, text blocks etc. have to be treated stylisti- hasse es, Geschichten noch mit einem Epilog zu versehen, und ich habe keine gen. Die Weltgeschichte hat sehr viel über das Drama der Fettleibigkeit zu sagen.
cally in the same way. Lust, sie noch einmal zu durchleben, geschweige denn, darüber zu schreiben. Des- Seht euch zum Beispiel Roseanne Barr an, deren Mann drauf und dran ist, sich von
halb bin ich stumm geblieben. Deshalb – und weil ich sehen wollte, welche neuen ihr scheiden zu lassen, und das nur, weil sie innerhalb weniger Tage zwanzig Kilo
Wege diese verdammte Stadt wohl ohne meinen Einfluß einschlagen würde. zugenommen hat. Oder Christina Onassis, der es an nichts mangelt, außer an ei-
Nachdem ich herausgefunden habe, daß seit meinem Rückzug NICHTS NEUES
passiert ist, KEHRE ich nun ZURÜCK. Denn, wie viele intelligente Leute gesagt
haben, gibt es in Madrid nur eine INTERESSANTE Person. Und diese Person bin
ICH. PATTY DIPHUSA.
Wie ich ja schon anfangs gesagt habe, wandelte ich eines Nachts wieder einmal auf
den alten Pfaden der Laster, denn die Genügsamkeit tut dir nur dann gut, wenn du
weißt, wie du sie durch einen kräftigen Fehltritt unterbrechen kannst, etwa so, wie
es auch die alten, millionenschweren Rockstars hin und wieder machen.
Der Übersetzer, der meine Memoiren ins Englische übertragen hat, kam nach
Madrid. Wie es scheint, ist in den USA gerade Pornographie ohne jeden künstleri-
schen Anspruch angesagt, und deshalb hat er die geniale Idee gehabt, mein Werk
für eine Serie zu übersetzen, in der Morgan Fairchild die Hauptrolle spielen soll.
»Warum diese häßliche Mißgeburt – und nicht ich?« fragte ich ihn.
»Du versprühst einfach zu viel Lebenslust«, erklärte er mir. »Außerdem bist du zu
gut. In Hollywood könnte dich keiner ertragen.«
»Okay. Dann muß ich mich eben damit zufriedengeben, daß ich von meinen Au-
torenrechten reich werde.«

© copyright: 11c
Kommission Aus- und Weiterbildung, Home
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000

c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 47

Dustjacket 5.9

Contents The dustjacket or cover (Fig. 11d) more likely
Exercises functions as an advertising medium. It is subject
Index to the same design principles as the poster. It
should harmonize with the inner design.

Search Magazine 11d

Next results Magazines (Fig. 11e) differ from books in the
Previous results possibility to design every article in a new way.
But in doing so the overall concept has to be
Print maintained. Although if you browse through a
magazine its design may appear varied (a maga-
Exit zine on exclusive fashion gives another impres-
sion than one on jeans fashion) - the overall im-
age will remain upright and uniform.

Die Kluft zwischen den Entdeckungen der Physik des 20. Jahrhunderts und dem Alltagsverst‰ndnis

des Normalb¸rgers wird immer grˆfler. Heutige Abiturienten gehen mit einem Wissen von der Schule,

Of course its stock of elements is bigger than das dem Stand der Physik gegen Ende des letzten Jahrhunderts entspricht. Das Bohrsche Atommodell
that of a book; additional elements are pictures,
graphics, illustrations, lines, headings, subhead- ist uns allen ein Begriff. Doch selbst Nils Bohr hat zu seinen Lebzeiten (1885-1962) ein wesentlich kom-
ings, headlines, initials etc. Here it is essential
as well that all these elements have to be coordi- plexeres Modell entwickelt als das, was uns in der Erinnerung ist.
nated page after page.
Die theoretischen Erkenntnisse der modernen Physik erreichen uns meist nur in Form
Home
von Science-fiction-Geschichten und popul‰rwissenschaftlichen Magazi- nen und Fern-

sehsendungen. Bei dem, der sich darauf einl‰flt, entfachen diese Theorien und Fiktionen

ein reges Interesse, kreative Gedankenspiele oder gar wilde Phantastereien.

Den praktischen Ergebnissen der Quantenphysik dagegen begegnet der B¸rger nahezu jeden

Tag: der Computer, der Taschenrechner, der Walkman, die CD, der Laser - ohne all das m¸flte unsere

Gesellschaft sonst auskommen.

Nach was aber suchen unsere Wissenschaftler Tag f¸r Tag aufs neue? Was treibt sie in ihrem Eifer voran?

Nun, sie erwarten etwas, was sie selbst brotlos machen w¸rde: eine Antwort auf alle Fragen der Welt, auf

die letzte der Fragen, eine Antwort auf die Frage der Fragen. Und ihre Forschungen treiben sie immer

weiter weg von unserer Welt, wie wir sie allt‰glich erleben: sie ergr¸nden die Extreme. Nichts ist

ihnen zu klein, nichts zu schnell, nichts zu heifl. Keine Zeitspanne ist zu kurz. Nichts ist ihnen heilig.

Ihre Ausgangsmethoden sind der Zweifel, das Umkehren von Ordnungen, die absichtliche Verwirrung,

das In-Frage-stellen, das Stellen neuer Fragen.

Neue Erkenntnisse sind jedoch meist derart abstrakt und komplex, dafl es sogar den Wissenschaftlern

schwerf‰llt, ihre Bedeutung immer gleich vollst‰ndig zu erfassen.

Die Logik, die Mathematilk, die uns zu dieser neuen Theorie gef¸hrt hat, ist dabei noch verst‰ndlich;

sie weist uns den richtigen Weg. Manchmal machen wir sie uns auch gef¸gig: wenn wir durch Un-

endlich teilen, damit unliebsame Terme eliminiert werden, um zu sauberen, ‰sthetischen

Lˆsungen zu kommen. Doch wie kˆnnen wir diesen Kunstgriff interpretieren?

Mit der ƒsthetik kommt eine weitere Komponente ins Spiel: in der Tat ist fast f¸r jeden Wissenschaftler eine

kurze, pr‰gnante, eben ‰sthetische Lˆsung eines Problems richtiger als eine komplizierte.

Nicht zuletzt, glaube ich, erhofft man sich eine mini- malistische Antwort auf die letzte aller Fragen,

‰hnlich der, die "42" lautete in Douglas Adams' ber¸hmtem Buch "Per Anhalter durch die Gala-

xis".

Aber die Wissenschaftler sind in ihrer Gesch‰ftigkeit und Zielstrebigkeit durchaus erfinderisch und hu-

morvoll: Der Name des (bislang) kleinsten Elementarteilchens, Quark, entstammt James Joyce' experi-

© copyright: mentellen Buch "Finnegans Wake" - es bedeutet bei Joyce anscheinend nichts, eine reine Wortschˆpfung,
Kommission Aus- und Weiterbildung,
Deutsche Gesellschaft für Kartographie die die Physiker begeistert aufgriffen. Es finden sich viele Wortschˆpfungen, z.B. "Falsches Vakuum",
e.V., Germany 2000
"Wurmloch" oder "Big Bang - Urknall".
c/o Reinhard Urbanke
Erlenweg 3/1 Wie jedoch soll man den Urknall wirklich verstehen? Wie die Raumzeitkr¸mmung? Wie die Imagin‰re
D-71394 Kernen im Remstal
Zeit? Wie eine Siebendimensionale Kugel?
EMail: [email protected]
Wie haben wir uns das alles vorzustellen? Hier wird es interessant, wie ich finde. Aus einer logisch abge-

leiteten Formel wird eine wissenschaftliche Erkl‰rung, wird eine popul‰rwissenschaftliche Deutung, wird

eine neue Sinn- und Wortschˆpfung, wird eine neue Begrifflichkeit.

Niemand wuflte genau, an welcher Krankheit die Leute gestorben waren, aber alle konnten sie be-

schreiben, hatten ein Gef¸hl daf¸r; als dann das Wort "Krebs" auftauchte, waren alle er-

leichtert, denn man hatte nun endlich ein Wort daf¸r.

irgendeine vage Vorstellung von etwas. Es ist aber ungewifl, wie wir, die

ihn erstmalig hˆren, ihn in unserem Gehirn umsetzten. Jeder

assoziiert ein etwas anderes Bild, wenn er "Auto" hˆrt. Jeder

denkt bei "Feld" an etwas anderes. Woran denken Sie bei "Roter Riese" oder

"W¸rstcheninstabilit‰t"? Die im Folgenden aufgef¸hrten physikalisch-philosophischen

Ph‰nomene sind Gegenstand meines Buches. Sie seien hier nur komprimiert erw‰hnt. Zu be-

11e achten ist, dafl die meisten Aussagen ausschliefllich f¸r die subatomare Welt der Quantenphysik gelten.

Meine Absicht war, diese Ph‰nomene in unsere eigene Welt hinauf- und hineinzuprojezieren.

Teilchen bewegen sich auf jedem mˆglichen Weg von A nach B; jedem Weg liegt eine bestimmte

Wahrscheinlichkeit zugrunde; dem wahrscheinlichsten sollte das Teilchen schliefllich gefolgt sein.

Das Ergebnis eines Experiments kann immer anders sein, da Wahrscheinlichkeit und Zufall ent-

Map Design: Graphic Design Basics 48

Poster 5.9

Contents Posters sell ideas, products or events (Fig. 11f). 11f
Exercises They should be composed clearly and unequivo-
Index cally, because passers-by will often have just a
short look at them. But they can also be complex
Search and profound if they are conceptually designed
in such way. Mostly posters are a combination
Next results between pictorial and text elements. The pic-
Previous results tures often stand in the foreground; if the type is
emphasized it may also become a picture. Be-
Print cause of the big size of posters the elements
Exit may strongly vary in dimensions.

Packaging

© copyright: Packages (Fig. 11g) were meant originally only 11g
Kommission Aus- und Weiterbildung, to protect a product; nowadays they have an im-
Deutsche Gesellschaft für Kartographie portant advertising function. They should evoke
e.V., Germany 2000 positive notions or emotions. The buyer subcon-
sciously transfers the optical presentation of the
c/o Reinhard Urbanke product to its quality characteristics.
Erlenweg 3/1
D-71394 Kernen im Remstal In the package the third dimension plays an im-
portant role as a new graphic design factor, but
EMail: [email protected] it will not be further dealt with in this context.

Home

Map Design: Graphic Design Basics 49

12 Map symbols 5.9

Contents A map is an information system; a complex com- point
Exercises bination of different symbols. line
Index area
Symbol system map symbol
halftone
Search Every map symbol contains information that is 12a diagram
coded. It conveys a message about itself, e.g. "I type
Next results am a church", as well as about its relation to the Sansibar 1707
Previous results other map symbols: "I am a church and stand in
the center of a village called… that is located on .............
Print the river … in the landscape … etc." (Fig. 12a) .

Exit ........

...............

Symbol types

Map symbols can be subdivided on the basis of
their shape (Fig. 12b):

© copyright: point: Represents the exact location of a single 12b
Kommission Aus- und Weiterbildung, object or (if they are accumulated) an amount of
Deutsche Gesellschaft für Kartographie objects
e.V., Germany 2000
Home
c/o Reinhard Urbanke
Erlenweg 3/1
D-71394 Kernen im Remstal

EMail: [email protected]

Map Design: Graphic Design Basics 50

line: Boundaries of regional objects or (if the 5.9
scale does not permit this) median lines of nar-
row objects. size
shape
Contents area: Characterizes regional objects as well as texture
Exercises value classes, e.g. contour zones. tonal value
Index orientation
map symbol: Abstracted (pictorial) symbol that colour
Search is used depending on the scale.
12c
Next results halftone: Areas which have changing tonal val-
Previous results ues, e.g. hill shading and aerial photograph. Variations

Print diagram: renders statistical quantities; it may, To make differentiated statements, symbols are
Exit similar to a symbol, refer to a point location or to varied graphically (Fig. 12c):
an area.

type: Explains the map or its symbols.

© copyright: s size: suitable to emphasize (quantity).
Kommission Aus- und Weiterbildung, s shape: associative differentiation (quality).
Deutsche Gesellschaft für Kartographie s texture: most quantitative differentiation.
e.V., Germany 2000 s tonal value: quantitative differentiation as well.
s orientation: spatial and temporal orientation.
c/o Reinhard Urbanke s colour: versatile use for associative, qualitative
Erlenweg 3/1
D-71394 Kernen im Remstal (hue) and quantitative (saturation) differentia-
tion.
EMail: [email protected]
Home