MAP DESIGN: GRAPHIC DESIGN BASICS docx

Map Design: Graphic Design Basics 5.9 1 © 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: alf.kartographie@gmx.de Start Map Design: Graphic Design Basics Map Design: Graphic Design Basics 5.9 2 Contents Exercises Index Search Next results Previous results Print Exit 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: alf.kartographie@gmx.de Contents Map design: Graphic design basics 6 1 Perception 6 Outer and Inner Worlds 6 Perception overload 6 Selection 7 Processing 7 2 Communication 7 Communication 8 Code 9 Languages 10 Communication goals 11 3 Design 12 The form 12 Basic forms 13 Graphic elements 14 Variations 15 Design principles 15 4 Optical Illusions 17 Lines 17 Areas 18 Tonal value 20 5 The area 21 Empty space / white space 21 Map Design: Graphic Design Basics 5.9 3 Contents Exercises Index Search Next results Previous results Print Exit 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: alf.kartographie@gmx.de Locations of effect 22 Effect 22 Associative meanings 24 6 Area aesthetics 25 Size 25 Area subdivision 26 Composition 27 7 Colour 29 Colour psychology 29 Colour dimension (CIELAB-colour system) 30 Colour contrast 31 8 Type aesthetics 33 Evolution of type 33 Geometry 35 Letter spacing 35 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 Map Design: Graphic Design Basics 5.9 4 Contents Exercises Index Search Next results Previous results Print Exit 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: alf.kartographie@gmx.de Design 43 To find a shape 44 11 Publications 45 Notepaper and visiting cards 45 Books 46 Dustjacket 47 Magazine 47 Poster 48 Packaging 48 12 Map symbols 49 Symbol system 49 Symbol types 49 Variations 50 Design 51 Map symbols 52 Type 53 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 Map Design: Graphic Design Basics 5.9 5 Contents Exercises Index Search Next results Previous results Print Exit 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: alf.kartographie@gmx.de 15 Exercises 62 Perception 62 Communication 63 Area effect 63 Area composition 64 Type balance 65 Typography 65 Logo 66 Notepaper 67 Poster 68 Symbols 68 Map 69 Travel guide 70 Index 72 Map Design: Graphic Design Basics 5.9 6 Contents Exercises Index Search Next results Previous results Print Exit 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: alf.kartographie@gmx.de Map design: Graphic design basics 1 Perception Cartographers and design both use visual inter- human communication. In order to discuss graphic design, we have to deal with the topic of the communicating human. But to understand the communication process, first of all we have to speak about human perception. Outer and Inner Worlds What and how do people perceive? Well, primarily people perceive their environ- ment - the outer world. They see, hear, touch, smell and taste it. For that purpose they have perceptual organs. During the perception proc- ess all senses work simultaneously and therefore it is not easy to decide which sense is decisive for the occurrence of a reaction in a certain situ- ation. Take supper for example: Is the tasting sense dominating, because the meal is tasting deli- ciously, or the eye, because the table is nicely laid out, or the ear, because the conversation and the music are pleasing? Humans also per- manently experience themselves, their inner world. The limbs and organs call our attention if they are exhausted or diseased. The soul, the psyche plays an important role deciding on the state of well-being. Humans feel, they perceive moods and instincts and know whether they are walking or sitting or doing something. Perception overload People’s inner and outer worlds impact upon them simultaneously and are perceived in con- junction. the perception process is a permanent state during every situation of life, impossible to switch off. It is impossible also for people to fil- ter out a specific perception, as in addition to that they have to survey its environment; like- wise they cannot switch off one particular sense. They can only try to concentrate on some specif- ic aspect. Map Design: Graphic Design Basics 5.9 7 Contents Exercises Index Search Next results Previous results Print Exit 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: alf.kartographie@gmx.de Selection The biggest part of all incoming stimuli is per- ceived subconsciously and this part decisively shapes us. To shield from a stimuli overflow peo- ple can try to perceive part of all information consciously, just big enough to be digested sep- arately (selection). The perception process pro- ceeds as follows: ■ First of all people are confronted with a disor- dered general impression. ■ Consecutively they select specific information (selection). ■ They try to order them by looking at them con- sciously (synthesis). ■ But simultaneously they discover new stimuli and try to integrate them in their system as well. ■ Finally they receive an ordered whole, an over- view. While analysing it a feedback process is initiated influenced by many components. Processing The designer intends to effectuate a certain re- action in the viewer (or customer). What are the components of human perception that he has to deal with? ■ The feeling is a spontaneous all-embracing per- sonal reaction to a perception, responsible for actions. ■ Needs are caused by a shortage and have to be satisfied immediately. ■ Interest is controlled by the mind and aims on a field that is not covered by needs. ■ Motivation is the conscious and subconscious combination of these components. ■ Expectation is the more or less clear temporary objective we have in mind. ■ Memory is a conscious or subconscious feedback factor. 2 Communication The designer has to deal with the exchange of information, the communication. He must under- stand their functioning, the codes and languag- es. Only then will he be able to define the design goals. Map Design: Graphic Design Basics 5.9 8 Contents Exercises Index Search Next results Previous results Print Exit 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: alf.kartographie@gmx.de Communication A simplified scheme of (visual) communication looks a follows: The transmitter (the designer) communicates with the receiver (the viewer) by sending mes- sages with the help of a language (here: pictori- al language and written language). For that end he uses codes to transmit his message effective- ly. A picture, for instance, showing the sea, the sun and palm trees, is not only an image of the coast, but leads the viewer to further associa- tions and can stand for recovery, relaxation, warmth, holidays etc. 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- torrid climate, a certain flora and fauna etc. 2a A traffic sign whose meaning is known in Germa- ny immediately is used in the USA with two explan- atory texts. 2b The ships do not understand each other because they use different languages. Although the viewer cannot understand the dialogue he would be able to understand the course of events. Map Design: Graphic Design Basics 5.9 9 Contents Exercises Index Search Next results Previous results Print Exit 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: alf.kartographie@gmx.de Code The code encodes messages. The receiver is able to understand the content only with knowledge about the code (Example: map legend). Every symbol has a certain meaning the receiver has to know. The spoken language is a code as well: Someone may for instance understand German fairly well, French less well and Finnish not at all. 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. 2c Different stars; each of them has its own mean- ing that exceeds its pure geometric form. 2d: Someone can only use the pattern sheet if he knows its function and its signs. Map Design: Graphic Design Basics 5.9 10 Contents Exercises Index Search Next results Previous results Print Exit 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: alf.kartographie@gmx.de Languages At the beginning of human history people under- stood each other through facial expressions and gestures or sounds. Information as discoveries, moods, desires or orders could be thus communicated. Since the stone age linguistic signs are recorded permanently by engraving them in wood or painting them on stone walls. The signs were taken from nature. In the 5th century BC schematic pictorial signs have been stringed together for the first time, enabling us to visualize trains of thought and courses of events. Now languages could be developed according to cultural expression and social requirements. Sign-like pictures were combined to form sign language (e.g. the symbols on maps). 2f: Encoded: sign language, musical notation, braille, machine language, bar code . 2e: Pictorial lan- guage: This picture comprises more than two windows, one door, two walls, the floor and a roof slope. It transmits a certain mood. 2g: A possible com- munication goal: At- tract attention. Look here! [...]... its effect Design principles It does not make sense to define rigid design © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000 rules because, as described above, graphic design is influenced by changing perceptions, c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: alf.kartographie@gmx.de Home 16 Map Design: Graphic Design Basics changing... ungewissem Ausgang 12 13 14 Map Design: Graphic Design Basics 5.9 Graphic elements 1 2 3 4 The elements can be simple, composite or complex (Fig 3b, lower part): Contents Exercises Index Sign(7, 10): A letter, a logo etc 5 10 Writing(6, 8): Text in books, newspapers, on posters, in advertisements etc 6 Search Next results Previous results Print Graphic (11, 12): A diagram, a map, an illustra11 tion etc... EMail: alf.kartographie@gmx.de Home 12 Map Design: Graphic Design Basics 3 5.9 Design After this quite abstract introduction the terms 'form' and 'design' will be used to conduct us to Contents more practical topics Exercises Index The form Rep blica Cruz del Argentina Rayo Search Next results Previous results Print Exit The form is the composition, the result of the design process In this connection form... Mart n Atocha Atocha Renfe Men ndez Pelayo Conde del Casal 13 Map Design: Graphic Design Basics 5.9 Basic forms 1 2 3 4 For the design one tends to fall back gladly on the elementary basic forms (Fig 3b, upper row): Contents Exercises Index Point(1): In the true sense it is a zero-dimen5 sional object and therefore cannot be represent- 10 ed In graphic arts a point is that what is not yet a circle 6 Search... 3/1 D-71394 Kernen im Remstal EMail: alf.kartographie@gmx.de Home 33 Map Design: Graphic Design Basics 8 5.9 Type aesthetics Now type will be introduced as a new design element In this section we look at type from the Contents viewpoint of readability Exercises Index Evolution of type Search Next results Previous results Print Pictographic system: Letters have been created by imitating natural shapes... Kernen im Remstal EMail: alf.kartographie@gmx.de Home positive negative 24 Map Design: Graphic Design Basics 5.9 Now, if one tries to look at the white spaces as new forms in their own right, that lie before a grey background, a new effect can be realized Contents Exercises The general effect is changed by every new element within the design 5i Index Search Next results Previous results Print Exit Associative... Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: alf.kartographie@gmx.de Home 1: 5 (DIN A-size) 26 Map Design: Graphic Design Basics 5.9 Area subdivision Depending on the size, the area can be subdivided according to the following principles, in view Contents Exercises of the design purpose: Proportion, harmony and contrast This results in a layout Here a square has been chosen as the mounting... Map Design: Graphic Design Basics 5.9 In Fig 6f a grid has been constructed first at which the elements have been oriented Different methods have been used to create tension Now the composition is more complex, it comContents Exercises Index bines different shapes, tonal values and sizes In Fig 6g pages containing text are simulated The different elements can be column titles, headings, initials, graphics... Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000 c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: alf.kartographie@gmx.de Home 29 Map Design: Graphic Design Basics 7 5.9 Colour Colour is an important design element It has an immediate impact on the viewers and addresses Contents their subconsciousness Exercises Index Colour psychology Search Next results Previous... Deutsche Gesellschaft für Kartographie e.V., Germany 2000 4k c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: alf.kartographie@gmx.de Home 5.9 21 Map Design: Graphic Design Basics 5 5.9 The area The area is the space for mounting the design It should be sufficiently considered because the Contents Exercises area more or less influences the elements arranged on it Index Search 5a Empty space . Remstal EMail: alf.kartographie@gmx.de Start Map Design: Graphic Design Basics Map Design: Graphic Design Basics 5.9 2 Contents Exercises Index Search Next. principles 57 14 External map design 58 Principles 58 Map title 59 Scale and linear scale 60 Legend 61 Title page 62 Map Design: Graphic Design Basics 5.9 5 Contents Exercises Index Search Next