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(1)1. Map Design: Graphic Design Basics. 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].

(2) 2. Map Design: Graphic Design Basics. 5.9. Contents. Map design: Graphic design basics ................................................ 6 Contents. 1. Outer and Inner Worlds ............................................................................................ 6 Perception overload ................................................................................................. 6 Selection ................................................................................................................ 7 Processing .............................................................................................................. 7. Exercises Index. Search. 2. Next results. Communication ........................................................................................ 7 Communication ....................................................................................................... 8 Code ...................................................................................................................... 9 Languages ............................................................................................................ 10 Communication goals ............................................................................................. 11. Previous results. Print Exit. Perception ............................................................................................... 6. 3. Design ................................................................................................... 12 The form .............................................................................................................. Basic forms ........................................................................................................... Graphic elements ................................................................................................... Variations ............................................................................................................. Design principles .................................................................................................... 4. 12 13 14 15 15. Optical Illusions ..................................................................................... 17 Lines .................................................................................................................... 17 Areas ................................................................................................................... 18 Tonal value ........................................................................................................... 20. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 5. The area ................................................................................................ 21 Empty space / white space ..................................................................................... 21. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(3) 3. Map Design: Graphic Design Basics Locations of effect .................................................................................................5.9 22 Effect ................................................................................................................... 22 Associative meanings ............................................................................................. 24. 6 Contents. Size ..................................................................................................................... 25 Area subdivision .................................................................................................... 26 Composition .......................................................................................................... 27. Exercises Index. 7. Colour .................................................................................................... 29 Colour psychology ................................................................................................. 29 Colour dimension (CIELAB-colour system) ................................................................ 30 Colour contrast ...................................................................................................... 31. Search Next results Previous results. Area aesthetics ...................................................................................... 25. 8. Print. Type aesthetics ...................................................................................... 33 Evolution of type ................................................................................................... 33 Geometry ............................................................................................................. 35 Letter spacing ....................................................................................................... 35. Exit. 9. Type composition ................................................................................... 37 Grey value ............................................................................................................ Reading process .................................................................................................... Type face selection ................................................................................................ Type face mixture .................................................................................................. Compositions ........................................................................................................ Typographic errors .................................................................................................. 37 37 38 39 39 40. 10 Signs ...................................................................................................... 41 © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. Communication ..................................................................................................... 41 Function ............................................................................................................... 43 Trademarks ........................................................................................................... 43. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(4) 4. Map Design: Graphic Design Basics Design .................................................................................................................5.9 43 To find a shape ...................................................................................................... 44. 11 Publications ........................................................................................... 45 Contents Exercises Index. Search Next results Previous results. Print Exit. Notepaper and visiting cards ................................................................................... Books ................................................................................................................... Dustjacket ............................................................................................................ Magazine .............................................................................................................. Poster .................................................................................................................. Packaging .............................................................................................................. 45 46 47 47 48 48. 12 Map symbols .......................................................................................... 49 Symbol system ...................................................................................................... Symbol types ........................................................................................................ Variations ............................................................................................................. Design ................................................................................................................. Map symbols ......................................................................................................... Type ..................................................................................................................... 49 49 50 51 52 53. 13 Map design: Graphic structure ............................................................... 54 Image of nature .................................................................................................... Purpose of the map ................................................................................................ ........................................................................................................................... Legibility .............................................................................................................. Assessment principles ............................................................................................. 54 55 55 56 57. 14 External map design .............................................................................. 58 © 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]. Principles .............................................................................................................. Map title ............................................................................................................... Scale and linear scale ............................................................................................. Legend ................................................................................................................. Title page .............................................................................................................. Home. 58 59 60 61 62.

(5) 5. Map Design: Graphic Design Basics 15 Exercises ............................................................................................... 5.9 62. Contents Exercises Index. Search Next results. Perception ............................................................................................................ Communication ..................................................................................................... Area effect ............................................................................................................ Area composition ................................................................................................... Type balance ......................................................................................................... Typography ........................................................................................................... Logo .................................................................................................................... Notepaper ............................................................................................................ Poster .................................................................................................................. Symbols ............................................................................................................... Map ..................................................................................................................... Travel guide ........................................................................................................... 62 63 63 64 65 65 66 67 68 68 69 70. Previous results. Print. Index ............................................................................................................... 72. Exit. © 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]. Home.

(6) 6. Map Design: Graphic Design Basics. Map design: Graphic design basics. 5.9sense Take supper for example: Is the tasting dominating, because the meal is tasting deliciously, or the eye, because the table is nicely. 1. Perception. laid out, or the ear, because the conversation and the music are pleasing? Humans also per-. Contents Exercises Index. Search Next results. Cartographers and design both use visual inter-. manently experience themselves, their inner. human. discuss. world. The limbs and organs call our attention if. graphic design, we have to deal with the topic of. they are exhausted or diseased. The soul, the. the communicating human. But to understand. psyche plays an important role deciding on the. the communication process, first of all we have. state of well-being. Humans feel, they perceive. to speak about human perception.. moods and instincts and know whether they are. communication.. In. order. to. walking or sitting or doing something.. Previous results. Print Exit. Outer and Inner Worlds Perception overload What and how do people perceive? People’s inner and outer worlds impact upon. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. Well, primarily people perceive their environ-. them simultaneously and are perceived in con-. ment - the outer world. They see, hear, touch,. junction. the perception process is a permanent. smell and taste it. For that purpose they have. state during every situation of life, impossible to. perceptual organs. During the perception proc-. switch off. It is impossible also for people to fil-. ess all senses work simultaneously and therefore. ter out a specific perception, as in addition to. it is not easy to decide which sense is decisive. that they have to survey its environment; like-. for the occurrence of a reaction in a certain situ-. wise they cannot switch off one particular sense.. ation.. They can only try to concentrate on some specific aspect.. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(7) 7. Map Design: Graphic Design Basics. 5.9 What are the components of human perception. Selection. that he has to deal with? The biggest part of all incoming stimuli is perceived subconsciously and this part decisively Contents Exercises Index. ■. shapes us. To shield from a stimuli overflow peo-. sonal reaction to a perception, responsible for. ple can try to perceive part of all information. actions.. consciously, just big enough to be digested sep-. ■. arately (selection). The perception process proceeds as follows:. ■. Interest is controlled by the mind and aims on a field that is not covered by needs.. ■. First of all people are confronted with a disor-. ■. dered general impression.. Previous results ■. Print Exit. Needs are caused by a shortage and have to be satisfied immediately.. Search Next results. The feeling is a spontaneous all-embracing per-. combination of these components.. Consecutively they select specific information. ■. (selection). ■. Expectation is the more or less clear temporary objective we have in mind.. They try to order them by looking at them con-. ■. sciously (synthesis). ■. Motivation is the conscious and subconscious. Memory is a conscious or subconscious feedback factor.. But simultaneously they discover new stimuli and try to integrate them in their system as well.. ■. Finally they receive an ordered whole, an over-. 2. Communication. view. While analysing it a feedback process is initiated influenced by many components.. The designer has to deal with the exchange of information, the communication. He must understand their functioning, the codes and languag-. Processing © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. es. Only then will he be able to define the design goals.. The designer intends to effectuate a certain reaction in the viewer (or customer).. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(8) 8. Map Design: Graphic Design Basics. 5.9. Communication A simplified scheme of (visual) communication looks a follows: Contents Exercises Index. The transmitter (the designer) communicates with the receiver (the viewer) by sending messages with the help of a language (here: pictorial language and written language). For that end. Search. he uses codes to transmit his message effective-. Next results. ly. A picture, for instance, showing the sea, the. Previous results. sun and palm trees, is not only an image of the. Print Exit. 2a A traffic sign whose meaning is known in Germany immediately is used in the USA with two explanatory texts.. coast, but leads the viewer to further associations 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© copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. torrid climate, a certain flora and fauna etc.. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home. 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..

(9) 9. Map Design: Graphic Design Basics. 5.9. Code The code encodes messages. The receiver is able to understand the content only with knowledge Contents Exercises. about the code (Example: map legend). Every symbol has a certain meaning the receiver. Index. has to know.. Search. The spoken language is a code as well: Someone. Next results. may for instance understand German fairly well,. Previous results. French less well and Finnish not at all.. Print Exit. 2c Different stars; each of them has its own meaning that exceeds its pure geometric form.. It may happen of course that two or more meanings 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: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 2d: Someone can only use the pattern sheet if he knows its function and its signs.. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(10) 10. Map Design: Graphic Design Basics. 5.9. Languages. 2e: Pictorial language: This picture comprises more than two windows, one door, two walls, the floor and a roof slope. It transmits a certain mood.. At the beginning of human history people understood each other through facial expressions and Contents Exercises. gestures or sounds. Information as discoveries, moods, desires or. Index. orders could be thus communicated.. Search. Since the stone age linguistic signs are recorded. Next results. permanently by engraving them in wood or. Previous results. painting them on stone walls. The signs were. Print Exit. taken from nature. In the 5th century BC schematic pictorial signs. 2f: Encoded: sign language, musical notation, braille, machine language, bar code .. 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. 2g: A possible communication goal: Attract attention.. language (e.g. the symbols on maps).. Look here!. © 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]. Home.

(11) 11. Map Design: Graphic Design Basics. 5.9. Letters, that are symbols as well, were combined to form words and finally sentences: the written language. Contents Exercises Index. Pictures such as photographs, illustrations and paintings have a pictorial language. Beyond that further languages exist as sign language, braille, musical notation, etc... Search Next results Previous results. Print Exit. Communication goals 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. ■. Sensibility and receptiveness,. possibilities for suitable tools. He must use ade-. ■. agility and creativity,. quate methods, languages and codes.. ■. ability for abstraction and analysis,. ■. ability for synthesis and. ■. ability to aesthetical organization.. © 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]. Home.

(12) 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 del Rep blica Cruz Argentina Rayo. Search Next results. The form is the composition, the result of the. Previous results. design process.. Print Exit. Avenida de Am rica. In this connection form (the whole thing) means more than the sum of the parts (Fig. 3a; c. Fig. chapter). The form is even maintained if single elements are changed. A form cannot exist without its surroundings. A form has something like a soul that has to be. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. filled with life by the designer.. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home. 3a. Ibiza. ro ti Re. 2e and the rain forest symbol from the previous. er slowenische Philosoph Slavoj Zizek ist mit seinen philosophischen Mixturen aus Hegels Logik, Hitchcocks Leichen und Lacans Leerstellen ein bekanntes enfant terrible in akademischen Philosophenzirkeln. Seine Auftritte sind überwältigende Rede-Performances mit ungewissem Ausgang.. Tirso de Molina Ant n Mart n Atocha. Atocha Renfe Men ndez Pelayo. Conde del Casal.

(13) 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 Next results. Line(2): A one-dimensional object, a stroke. 11. Previous results. Print. 7. Area(3): A two-dimensional object, e.g. a rectangle, a circle, a polygon. The area has a form.. Exit Volume/Body(4):. A. three-dimensional. object. 8. that will not be dealt with at this point.. 9. 3b. © 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]. Home. The Slovenian philosopher Slaer slowenische voi Zizek Philosoph with his philosophic Slamixtures logic, voj Zizek ofist Hegel’s mit seinen Hitchcock’s dead bodies and philosophischen MixtuLacan’s empty spaces is a ren aus Hegels Logik, known enfantLeichen terrible in und acaHitchcocks demic philosopher circles. His Lacans Leerstellen ein entrances are overwhelming bekanntes enfant terrible with an inspeech-performances akademischen Philosounknown end. phenzirkeln. Seine Auftritte sind überwältigende Rede-Performances mit ungewissem Ausgang.. 12. 13.

(14) 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. Graphic (11, 12): A diagram, a map, an illustra-. Previous results. tion etc.. Print. 11 7. Picture (13): A photograph or a detail.. Exit Background (9): The background, the surround-. 8. ing, has to be included in the design even if it is merely white.. 9. 3b. © 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]. Home. The Slovenian Slaer philosopher slowenische voi Zizek with his philosophic Philosoph Slamixtures logic, voj ZizekofistHegel’s mit seinen Hitchcock’s dead bodies and philosophischen MixtuLacan’s spaces is a ren ausempty Hegels Logik, known enfant Leichen terrible in und acaHitchcocks demic philosopher circles.ein His Lacans Leerstellen entrances are overwhelming bekanntes enfant terrible speech-performances with an in akademischen Philosounknown end. Seine Auftritphenzirkeln. te sind überwältigende Rede-Performances mit ungewissem Ausgang.. 12. 13.

(15) 15. Map Design: Graphic Design Basics. 5.9. Variations The forms and elements can be varied by (Fig. 3c): Contents Exercises. Structure: The inner arrangement of areal objects, as screens, hatches, patterns.. Index Tonal value: The brightness of objects. 3c. Search Next results. Colour: Reaches the viewer directly, puts him in. Previous results. a certain mood, rouses feelings.. Print. Size: To emphasize, to cause tension.. Exit Position: The position of an object within a composition is of substantial importance concerning 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: [email protected]. Home.

(16) 16. Map Design: Graphic Design Basics changing communication methods and changing. 5.9 By the detailed inspection of countless design. design goals.. examples a designer should try to get a reliable flair for proportions, harmony and good design.. But the following principles (Fig. 3d) that guarContents Exercises Index. antee a good and successful design should still be considered: Proportion or the relation between single objects and their surroundings. Many attempts. Search. have been made to determine the ideal absolute. Next results. proportion, but without success. Some models. Previous results. such as the golden section are considered as be-. Print Exit. ing almost perfect. Harmony: A design is harmonic when it is well ordered and when all internal elements have been combined properly according to an aesthetic sense, which means that nothing disturbs, tips over or drops out. Contrast: Every effect is based on contrast. Contrast creates tension and therewith the attention of the viewer. It is created through the use of contrast pairs: To be activated every ob-. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. ject needs a counter object. 3d. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(17) 17. Map Design: Graphic Design Basics. 4. 5.9. Optical Illusions. Optical illusions are of particular interest due to their unexpected results and the effects thus Contents Exercises. achieved. They show again that the personal aesthetic experience is set above the strict geometric construction.. Index. Search Next results. Lines. Previous results. Print Exit. Fig. 4a demonstrates that vertical lines of the same length seem to differ in length if their added corners are changed. As a result sharp and round letters must jut out from the type line (Schriftlinie) so that they do not seem smaller. 4a. than the letters D and T. Fig. 4b shows that repeatedly subdivided lines seem longer that undivided.. 4b. In Fig. 4c thick narrow set lines appear shorter than the ones that are further apart. For that © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. reason type faces with thin line gauges seem to be higher than that with bold ones.. 4c. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(18) 18. Map Design: Graphic Design Basics. 5.9. The optic centre is not always the same as the geometric center, as shown by Fig. 4d. The Futur type face has been constructed geoContents Exercises. 4d. metrically but was subsequently modified according to optic-aesthetic viewpoints. Because of that it appears calmer and more harmonic. Index. now.. Search. Fig. 4e shows optical deformations: The circle. Next results. seems dented and the single line repeatedly bro-. Previous results. ken.. 4e. Print Exit. Areas A square optically seems wider than higher. Therefore squares must be exaggerated vertical-. 4f. ly (Fig. 4f). The same applies to circles.. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 4g c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(19) 19. Map Design: Graphic Design Basics. 5.9. In Fig. 4g the horizontal lines widen the square area whereas the vertical ones exaggerate it vertically. Contents Exercises. In Fig. 4h all central squares have the same size. Their apparent size (the. Index. 4h. 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. AB. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 4j. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home. AB.

(20) 20. Map Design: Graphic Design Basics the same size because their brightness outshines their contour.. Contents Exercises Index. Tonal value In Fig. 4k it becomes apparent of how little importance the actual brightness is (all inner. Search. squares have the same grey value). Their sur-. Next results. rounding is decisive for the effect of the grey ar-. Previous results. eas.. Print Exit. It is possible to create depth with the help of tonal values: the inner square in the left field seems to lie clearly above the surface area whereas in the most right one the black area seems to be a window.. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 4k. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home. 5.9.

(21) 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 5a. Search. Empty space / white space. Next results Previous results. Print Exit. Some elements need a big area (empty space) to unfold. Empty spaces are fields of force. A composition can appear disharmonious if the 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-. 5b. turbed. Empty space can create tension and dynamics in connection with design elements. It can order and emphasize them. Even a completely empty area is not empty for the viewer: he wanders around with his eyes © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. (Fig. 5b, a typical reading loop), projects things on it and divides it into specific sub-areas (Fig. 5c).. 5c. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(22) 22. Map Design: Graphic Design Basics. 5.9. Locations of effect If an area is divided in the middle, the upper half seems to be larger than the lower half (Fig. 5d). Contents Exercises Index. Elements positioned in the upper sector seem more weighty than the ones below. This has to do with the natural human field of vision. Above the horizon people expect just the. Search Next results. sky which seems to be unlimited. This viewing habit is unconsciously applied to the area.. Previous results. Print Exit. In the same way the left and the right side of the area have different meanings. The reading direc-. 5d. tion proceeds from left to right. People feel a movement mostly directed to the right. Therefore the right side is more important than the left one (Fig. 5e).. 5e. Effect © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. As a consequence elements get a certain meaning if they are located at a certain spot within. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(23) 23. Map Design: Graphic Design Basics. 5.9. the empty space. Points appear calm and stable if they lie on lines in Fig, 5c, but restless and dynamic off them (Fig. 5f). Contents Exercises Index. Lines have different qualities as well, depending. calmness. active, far. passive, near. on their location (Fig. 5g and h). The effect can be described by adjectives as light, heavy, floating, unstable, rising, distant. Search. etc. restless, movement to the right. Next results Previous results. Print. Fig. 5i shows different black elements on white areas with a specific effect in each case.. quiet, at the objective. 5f. Exit. passive, left right. active, bottom top. seemingly endless. 5g. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 5h c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home. positive. negative.

(24) 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 meanings Empirical investigations have resulted in discerning specific associative meanings: CLIMBING THE VERTICAL:. DESCENDING THE VERTICAL:. sea. tower. plumb line. steppe. obelisk. plain calmness. THE HORIZONTAL:. LEFT:. RIGHT:. passiveness. activity. reflection. deed. weight. introversion. extroversion. fountain. heavy. past. future. powerful. serious. self. you. horizon. sleep death © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. impressive important quiet. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(25) 25. Map Design: Graphic Design Basics. 6. 5.9. Area aesthetics. We have already spoken about the importance of the area as the mounting space. Now, the proContents Exercises. portions, distribution and composition will be analysed.. 1: 2. 2:3. 5:8 (approxima golden section). 1: 3. Index. Search. Size. 1 : 1,538 (base line and height of a pentagon). Next results Previous results. Print Exit. Already at the beginning of the design process the designer has to decide about a page size. The size and shape naturally depends on the purpose: Is the design object a map, a folder or a book? There are shapes whose proportions seem to be especially well balanced, including the golden section.. 6a. Squares can look interesting as well if they are divided appropriately. © 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]. Home. 1: 5 (DIN A-size).

(26) 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 space.. Index In Fig. 6b the area is subdivided by two continuSearch. ous intersecting lines.. Next results Previous results. Print. 6b. Exit In Fig. 6c the subdivision is realised by three different 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: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 6c c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(27) 27. Map Design: Graphic Design Basics. 5.9. Composition Fig. 6d shows a composition with simple shapes and their variation possibilities. Contents Exercises Index. Search Next results. The necessary tension (contrast) is achieved by: (Fig. 6d, upper row, from left to right) ■. different shapes. ■. different sizes. ■. position within the area. Previous results. Print Exit. (Fig. 6d, lower row, from left to right) ■. asymmetry. ■. negative – positive. ■. tonal value (brightness).. 6d. Fig. 6e shows a dynamic composition in which the elements are arranged in first slice, i.e. they extend beyond the format. They are cut at the margin and now obtain another interesting outline. Their real form can be reconstructed or rather surmised. The viewers complete the parts indicated or missing in their imagination. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 6e c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(28) 28. 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 and pictures within. Search. the layout of a map catalogue.. Next results Previous results. Print Exit. Classical newspapers (Fig. 6h) are a good exam-. 6f. ple of area aesthetics because they have to manage with few design elements: Text and pictures are the principal design elements. Apart from them, lines and boxes are applied. Every page of a newspaper comes alive through the interplay between the text areas and the blank spaces: The reader needs to be able "to breathe" while reading.. 6h © 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]. Home.

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

(30) 30. Map Design: Graphic Design Basics Of course this table is not universally valid. An. 5.9. essential factor is the personal colour sensitivity of the viewer: colours remind us of sensory impressions, put someone into a mood. Contents Exercises. Gender and gender-specific roles of the viewers are just as important as cultural influences, e.g.. Index. fashion (fashion colours).. Search. Therefore colours should be carefully selected. Next results. and the colour experience of the target group. Previous results. should be taken into account.. Print Exit. Colour dimension (CIELAB-colour system) A colour tint can be varied by the two factors brightness (Fig. 7c) and saturation (addition of white, black or grey; Fig. 7d). © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 7d Colour saturation: 0% – 25% – 50% – 75% – 100%. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. 7c Colour brightness: 15% – 25% – 40% – 65% – 100%. Home.

(31) 31. Map Design: Graphic Design Basics. 5.9. Colour contrast The relationship between colours is named colour contrast. When working with colours much Contents Exercises Index. can be learned about their characteristics, their effects and their interplay. A warm tonal value can suddenly become cold due to an adjacent tonal value. Harmonic compositions can abruptly change completely because of additional colour. Search Next results. elements. The following types of colour contrast are distinguished:. Previous results ■. Print Exit. Complementary contrast. Colours which face each other in the colour circle are termed complementary. Each colour has its complementary colour with which it is balanced and even can increase to the highest luminosity (Fig. 7e). ■. 7e. Simultaneous contrast. Simultaneous contrast appears where a rich colour stands without its complementary colour (in © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. which case the eye will generate this complementary colour), through which phenomenon its tonal value is optically changed (Fig. 7f).. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home. 7f.

(32) 32. Map Design: Graphic Design Basics ■. 5.9. Quality contrast. Quality contrast depends on the opposition between bright and dull colours (Fig. 7g). Contents Exercises Index. ■. Quantity contrast. Quantity contrast arises from the confrontation. 7g. of differently sized colour areas (Fig. 7h). Search Next results. Here the intensity, the strength of a colour’s. Previous results. brightness is of importance, e.g. yellow has a. Print Exit. much bigger optical impact than violet. The order reads: yellow, orange, red, green, blue and violet. ■. Cold-warm-contrast 7h. The opposition between the red-orange and blue-green pair has the biggest effect on the contrast (Fig. 7i).. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 7i. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(33) 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. Pictographic system: Letters have been created. Previous results. by imitating natural shapes. The symbol to the. Print. left in Fig. 8a was developed in Egypt approxi-. 8a. 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, approximately 1300 BC. 8b. Capital letters and serifs (Serifen): The letters in Fig. 8c are derived from the Greek /Roman alphabet between 200 BC and 300 AD. Special attention has been paid to aesthetics and propor© copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. tions. Only capital letters existed. The Greeks did not use spaces between word or sentences.. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home. 8c.

(34) 34. Map Design: Graphic Design Basics. 5.9. The Romans invented serifs (Serifen) for aesthetic reasons. 8d. Lower case letters: Fig. 8d shows further develContents Exercises. Minuskel" lower case letters were first developed. Later on letters became narrow, heavy. Index. and angular (Gothic type).. Search. Roman type: At the rediscovery of classical an-. Next results. tiquity the roman type originated around 1450,. Previous results. e.g. Garamond (Fig. 8e, left). The alternation. Print Exit. 8a. opment in the Middle Ages. With the "Karolinger. between capital and lower case letters resulted in a better readability, because now several letters, so-called word images, could be registered simultaneously.. 8f. Grotesque: At the end of the 19th century graphically reduced type faces have been developed. e.g. Akzidenz-Grotesque (Fig. 8f, left). Design fonts: Today good readability is now and then opposed by trendy type face creations (Fig. 8g). © 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]. 8e. 8e. Home. 8g. f.

(35) 35. Map Design: Graphic Design Basics. 5.9. Screen fonts: Computers require specific font types that have been adjusted to the screen resolution (Fig. 8g, right). Contents 8h. Exercises. Geometry. Index Around 1920 characters have been reduced to Search. the basic geometric forms rectangle, circle and. Next results. triangle (Fig. 8h, Futura). However, since abso-. Previous results. lute geometry impairs readability, small modifi-. Print. 8i. cations have been made.. Exit. Letter spacing Over 2000 years ago Greeks and Romans al-. The optic weight of the blank space between the. ready. letters must correspond to the inner space of the. dealt. with. the. aesthetics. of. letters. stringed together. They discovered that not only. letter.. 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. but also the blank space between the words.. of the letters are made clear through geometric. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. forms.. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(36) 36. Map Design: Graphic Design Basics. 5.9. Fig. 8j shows a badly balanced word, because the spacing between the letters is exactly the same. The principle of geometric forms (in line 3) shows distinct harmonic disturbances. Contents Exercises Index. In line 4 positive and negative forms have been balanced according to aesthetic considerations. The result is an in itself well proportioned word (Fig. 8k). 8j. Search Next results. The harmonic balance of the letter spacing has. Previous results. to be considered especially when using graphic. Print Exit. 8k. or big type faces. To get a correct spacing no measurable values 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 aesthetic competence. It can be helpful to turn a word upside down, in order to recognize the forms and spaces unhindered (Fig. 8l). By the way, this method may be useful for each kind of design task.. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 8l. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(37) 37. Map Design: Graphic Design Basics. 9. Type composition. Following the analysis of letters and single words this section deals with the characteristics of Contents. typefaces in printed texts.. Grauwert: Aus einigem Abstand betrachtet, wirkt Text auf einer Seite als Bild, als graue Fläche; sie steht bekanntermaßen in Beziehung zum sie umgebenden Weißraum. Um die Lesehemmschwelle gering zu halten, soll der Grauwert nicht zu dunkel sein, aber auch nicht zu hell, da die Seite sonst löchrig wirkt. Er wird durch die Schriftstärke, die Laufweite, den Wort- und den Zeilenabstand bestimmt. Aus einigem Abstand betrachtet, wirkt Text auf einer Seite als Bild, als graue Fläche; sie steht bekanntermaßen in Beziehung zu dem sie umgebenden Weißraum. Um die. Grauwert: Aus einigem Abstand betrachtet, wirkt Text auf einer Seite als Bild, als graue Fläche; sie steht bekanntermaßen in Beziehung zum sie umgebenden Weißraum. Um die Lesehemmschwelle gering zu halten, soll der Grauwert nicht zu dunkel sein, aber auch nicht zu hell, da die Seite sonst löchrig wirkt. Er wird durch die Schriftstärke, die Laufweite, den Wort- und den Zeilenabstand bestimmt. Aus einigem Abstand be. 5.9. Grauwert: Aus einigem Abstand betrachtet, wirkt Text auf einer Seite als Bild, als graue Fläche; sie steht bekanntermaßen in Beziehung zum sie umgebenden Weißraum. Um die Lesehemmschwelle gering zu halten, soll der Grauwert nicht zu dunkel sein, aber auch nicht zu hell, da die Seite. Exercises Index. Grey value Search Next results. When viewed from a distance a text block looks. Previous results. to be an image, a grey area (Fig. 9), related to a. Print Exit. known degree to the surrounding blank space.. Grauwert: Aus einigem Abstand betrachtet, wirkt Text auf meiner Seite als Bild, als graue Fläche; sie steht bekanntermaßen in Beziehung zum sie umenden Weißraum. Um die Lesehemmschwelle gering zu halten, soll der Grauwert nicht zu dunkel sein, aber auch nicht zu hell, da die Seiten sonst sehr löchrig wirkt. Er wird durch die Schriftstärke, die Laufweite, den Wort- und den Zeilenabstand bestimmt. Aus einigem Abstand betrachtet, wirkt der auf einer Seite als Bild, als graue Fläche; sie steht bekanntermaßen. Grauwert: Aus einigem Abstand betrachtet, wirkt Text auf meiner Seite als Bild, als graue Fläche; sie steht bekanntermaßen in Beziehung zum sie umenden Weißraum. Um die Lesehemmschwelle gering zu halten, soll der Grauwert nicht zu dunkel sein, aber auch nicht zu hell, da die Seiten sonst sehr löchrig wirkt. Er wird durch die Schriftstärke, die Laufweite, den Wort- und den Zeilen. Grauwert: Aus einigem Abstand betrachtet, wirkt Text auf meiner Seite als Bild, als graue Fläche; sie steht bekanntermaßen in Beziehung zum sie umgebenden Weißraum. Um die Lesehemmschwelle gering zu halten, soll der Grauwert nicht zu dun. 9a. To keep the reading inhibition threshold small,. groups of words. It jumps form one point of fo-. the grey value of the text block should not be. cus to the next one.. too dark, but also not too bright, because then the page would look to be full of holes. The grey. Texts should be designed so as to be interesting. value is determined by the line gauge, the letter. and not tiresome. Texts written in capital letters. spacing, the word spacing and the line spacing.. are difficult to read because word contours are blurred. Mixed type (with ascenders and descenders) offers satisfactory variation. The proportion of the type face is decisive for its reada-. Reading process © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. bility. Lines should be perceived as bands, so that the eye will not skip away. A line should. The eye scans the lines erratically. It does not. comprise a maximum of 50 – 60 letters (about. register single letters but whole words and. 10 words). The longer the line, the bigger the. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(38) 38. Map Design: Graphic Design Basics. 5.9. line spacing should be. A type must be adjusted to the intended purpose. Specific type exist for a book setting and for headings. Contents Exercises. Type face selection. Index Every type imparts associations (Fig. 9b). ThereSearch. fore target groups (scientists, customers, holi-. Next results. daymakers…) are decisive for the selection of. Previous results. the type face. Here as well only recommenda-. Print Exit. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. tions can be made (Fig. 9c). 9b: left: wrong type face selected; right: correct choice. 9c. PURPOSE. CHARACTER. TYPE E.G.. beauty culture, fashion food articles technique Hi-tech art, photography fiction professional literature business reports transportation letters, business cards street party poster décor sixties seventies modern media. elegant-fashionable traditional neutral elegant, plain neutral-elegant classical, approved factual-neutral factual-elegant informative, quiet functional, elegant rustic, slogan-like strong, slogan-like playful, romantic factual, neutral colourful, vivid aggressive, provocative. Bodoni, Avant-Garde Different type faces Garamond, Akzidenz Gill, Bodoni Grotesque, Copperplate Janson, Bembo, Caslon Garamond, Egyptienne Futura, Bodoni, Univers Frutiger, DIN-types Copperplate, Meta Berlin grotesque, Revue Rockwell, Aachen Plaza, Avant-Garde Helvetica, Akzidenz Hobo, VAG Rounded new types. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(39) 39. Map Design: Graphic Design Basics. 5.9. Type face mixture Type faces should only be mixed if they have different functions (as e.g. continuous text, headContents Exercises Index. ings) or rather different positions within the layout (e.g. inserted headings, columns). The type faces used (Fig. 9d) must look alike regarding style, line gauge and geometry (relation. Search. of x-height to the height of the ascender), but. Next results. still differ sufficiently to prevent any impressions. Previous results. of type setting errors. To put mixed type faces. Print. right next to one another might cause problems. 9d. Exit. Compositions Type faces can be varied by: For this the correct (sensible, aesthetic) applica■. type style and size,. tion of the resources is of paramount impor-. ■. type shape (bold or italic),. tance. Pictures, lines etc. have to be purposeful-. ■. initials, headings and inserted headings,. ly employed as well. Fig. 9e shows a poem. ■. unjustified setting and justified setting.. designed by Ernst Jandl and next to it a typo-. © 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]. Home.

(40) 40. Map Design: Graphic Design Basics graphic sketch of an invitation card for an event.. fliegen. The inner rectangle stands for getting together at one place and functions as an eyecatcher si-. fliegen. multaneously. Fig. 9f shows a page layout that Contents. uses very few elements and still has originality.. fliegen. Exercises. fliegen. Index. fliegen. Typographic errors 9e. Search Next results. Unfortunately typographic errors are found fre-. Previous results. quently:. Print Exit. ■. inadequate word spacing ("holes" in the text),. ■. lines too long,. ■. wrong line spacing,. ■. inappropriate type faces,. ■. isolated lines of a paragraph at the end or at the beginning of a page (windows). ■. nasty divisions (Fig. 9g),. ■. inadequate contrast,. ■. too small blank space,. ■. too many type faces, elements, styles,. ■. playing around with the computer (Fig. 9g). 9f. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 9g c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home. fliegen fliegen. 5.9.

(41) 41. Map Design: Graphic Design Basics. 10. 5.9. Signs. A sign is a visual expression of information, of an idea, of an occasion or of a form that has been Contents. reduced to the essential.. Exercises Index. Communication Search Next results. If someone says: "Give me a sign when I have to. Previous results. begin," he expects, that it will be shown clearly. Print Exit. © DiskArt™ 1988. © DiskArt™ 1988. and unmistakably in its meaning. Signs not only consist of gestures. The signs that we are actually speaking of can be found everywhere: 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: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 10a. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(42) 42. Map Design: Graphic Design Basics. 5.9. Types of signs (Fig. 10b) symbol: refers to idealistic facts, e.g. the cross. symbol. of christianity. Contents Exercises. elementary sign: formed from basic geometric. elementary sign. shapes (cf. Fig. 3a). Index pictorial sign: graphic representation of an obSearch. ject.. pictorial sign. Next results Previous results. Print Exit. imprint: graphic trademark of a company or a imprint. product. word trademark: A sign of a company or product only made up of letters.. word trademark. logo: pictorial or verbal trademark of a company. logo. pictogram: strongly simplified pictorial symbol for an object or a situation with an internationally defined connotation.. pictogram. cartographic symbol: symbol on maps. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 10b c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home. cartographic symbol.

(43) 43. Map Design: Graphic Design Basics. Contents Exercises Index. Function. Design. Signs can have different functions:. Requirements for the shapes of signs:. ■. message, hint, warning (traffic sign, pictogram),. ■. quick and unequivocal to recognize,. ■. product, service, image (trademark),. ■. concentration on the essentials,. ■. tradition, origin, relationship (coat of arms, flag),. ■. easily remembered, original and unmistakable. ■. association, reference (symbol, cartographic sym-. ■. fusion of the graphic components to a whole,. bol).. ■. equivalence of graphic form and meaning of the content.. Search Next results Previous results. Print Exit. Trademarks In our consumer society trademarks are not only identifiers for companies, their products or services. They also carry certain messages regarding lifestyle, social affiliation, sometimes even ideologies. Therefore it is important to know that a trademark does not only inform on a factual basis but also addresses the customer emotionally, so that a desire to buy the product or getting served is produced.. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 10c c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. 5.9. Home.

(44) 44. Map Design: Graphic Design Basics. 5.9. To find a shape First of all the function of the sign must be defined before the suitable concepts and images Contents Exercises Index. are collected during a brainstorming session. basic forms. The ensuing data collection has to be ordered and examined for its suitability. Then the elements selected must be formally reduced until an effective sign has been developed that also. Search. meets aesthetic demands.. Next results Previous results. Print Exit. stlied objects. During the process of finding a shape the following paths can be treaded (Fig. 10d): ■. proceed from basic shapes (circles, rectangles, triangles) or their derivations,. ■. letters and words. simplification, abstraction and stylization of the element that forms the basis for the sign,. ■. modification of an existing sign (copyright has to be considered),. ■. choose letters and words as the basic idea.. combinations. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. 10d. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(45) 45. Map Design: Graphic Design Basics. Publications. graphical understanding, because all elements. Exercises Index. 105. 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 Next results Previous results. Print Exit. Notepaper and visiting cards A company or a person represents itself publicly by such printed products. A decisive first impression is generated by them, which touches upon the image it wants to project. Therefore, first of all some basic questions have to be put, such as: Who am I? What do I want? How do I want to look? What do I want to achieve? Company notepaper is subject to certain standards (Letter window, folding, etc.; see Fig. 11a above). But on the other hand there are almost. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie 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 D-71394 Kernen im Remstal EMail: [email protected]. Home. 11a. 45. 105. 20. The design of a publication requires a complex Contents. 5.9. 45. 11. 85.

(46) 46. Map Design: Graphic Design Basics. Books. 5.9. ②. ③. Books are different from single pages as in ①. books we have to proceed from the opened up Contents Exercises Index. spread concerning the type area and the margin proportions. Type area and page size should stand in harmony to each other. With the help of. ④. the golden section a good result can be achieved in this case as well (Fig. 11b). Unusual formats. Search. require individual solutions (Fig. 11c). 11b. Next results Previous results. Print Exit. A further peculiarity of books is their general principle of design. French title, table of contents, text blocks etc. have to be treated stylisti-. 78 will ich sagen, daß ich die ganze Zeit damit beschäftigt war, ihnen allen zu beweisen, was ich für ein Monstrum bin und daß ich ihre Liebe nicht verdiene. Obwohl ich kein Blatt vor den Mund genommen habe, hat es dann doch ein bißchen länger gedauert als erwartet, bis ich endgültig mit ihnen allen Schluß gemacht hatte. Allerdings lohnt es sich nicht im geringsten, hier all die Einzelheiten zu erzählen. Ich hasse es, Geschichten noch mit einem Epilog zu versehen, und ich habe keine Lust, sie noch einmal zu durchleben, geschweige denn, darüber zu schreiben. Deshalb bin ich stumm geblieben. Deshalb – und weil ich sehen wollte, welche neuen Wege diese verdammte Stadt wohl ohne meinen Einfluß einschlagen würde. 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 künstlerischen 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 Autorenrechten reich werde.«. cally in the same way.. 11c. © 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]. Home. 6 Diesmal treibe ich es nicht. Meine ALTE Freundin Addy Possa hat angerufen. Sie will jetzt eine Karriere als Filmregisseurin starten und wollte mir eine Rolle in ihrem ersten Film anbieten. Gestattet mir, euch an dieser Stelle ein wenig von ihr zu erzählen. Addy wiegt wesentlich mehr als die frühe Bette Midler und Mae West zusammen, und sie glaubt auch über den gleichen unanständigen Charme der beiden zu verfügen. Die Weltgeschichte hat sehr viel über das Drama der Fettleibigkeit zu sagen. Seht euch zum Beispiel Roseanne Barr an, deren Mann drauf und dran ist, sich von ihr scheiden zu lassen, und das nur, weil sie innerhalb weniger Tage zwanzig Kilo zugenommen hat. Oder Christina Onassis, der es an nichts mangelt, außer an ei-.

(47) 47. Map Design: Graphic Design Basics. 5.9. Dustjacket The dustjacket or cover (Fig. 11d) more likely functions as an advertising medium. It is subject Contents Exercises. to the same design principles as the poster. It should harmonize with the inner design.. Index. Search. Magazine. 11d. Next results Previous results. Print Exit. Magazines (Fig. 11e) differ from books in the possibility to design every article in a new way. But in doing so the overall concept has to be maintained. Although if you browse through a magazine its design may appear varied (a magazine on exclusive fashion gives another impression than one on jeans fashion) - the overall image will remain upright and uniform. Of course its stock of elements is bigger than that of a book; additional elements are pictures, graphics, illustrations, lines, headings, subheadings, headlines, initials etc. Here it is essential. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. as well that all these elements have to be coordinated page after page. 11e. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home. 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, das dem Stand der Physik gegen Ende des letzten Jahrhunderts entspricht. Das Bohrsche Atommodell ist uns allen ein Begriff. Doch selbst Nils Bohr hat zu seinen Lebzeiten (1885-1962) ein wesentlich komplexeres Modell entwickelt als das, was uns in der Erinnerung ist. Die theoretischen Erkenntnisse der modernen Physik erreichen uns meist nur in Form von Science-fiction-Geschichten und popul‰rwissenschaftlichen Magazinen und Fernsehsendungen. 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 Unendlich 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 minimalistische Antwort auf die letzte aller Fragen, ‰hnlich der, die "42" lautete in Douglas Adams' ber¸hmtem Buch "Per Anhalter durch die Galaxis". Aber die Wissenschaftler sind in ihrer Gesch‰ftigkeit und Zielstrebigkeit durchaus erfinderisch und humorvoll: Der Name des (bislang) kleinsten Elementarteilchens, Quark, entstammt James Joyce' experimentellen Buch "Finnegans Wake" - es bedeutet bei Joyce anscheinend nichts, eine reine Wortschˆpfung, die die Physiker begeistert aufgriffen. Es finden sich viele Wortschˆpfungen, z.B. "Falsches Vakuum", "Wurmloch" oder "Big Bang - Urknall". Wie jedoch soll man den Urknall wirklich verstehen? Wie die Raumzeitkr¸mmung? Wie die Imagin‰re Zeit? Wie eine Siebendimensionale Kugel? Wie haben wir uns das alles vorzustellen? Hier wird es interessant, wie ich finde. Aus einer logisch abgeleiteten 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 beschreiben, hatten ein Gef¸hl daf¸r; als dann das Wort "Krebs" auftauchte, waren alle erleichtert, 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 beachten 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-.

(48) 48. Map Design: Graphic Design Basics. 5.9. Poster Posters sell ideas, products or events (Fig. 11f). They should be composed clearly and unequivoContents Exercises Index. cally, because passers-by will often have just a short look at them. But they can also be complex and profound if they are conceptually designed in such way. Mostly posters are a combination between pictorial and text elements. The pic-. Search. tures often stand in the foreground; if the type is. Next results. emphasized it may also become a picture. Be-. Previous results. cause of the big size of posters the elements. Print. 11f. may strongly vary in dimensions.. Exit. Packaging Packages (Fig. 11g) were meant originally only to protect a product; nowadays they have an important advertising function. They should evoke positive notions or emotions. The buyer subconsciously transfers the optical presentation of the product to its quality characteristics. © 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]. In the package the third dimension plays an important role as a new graphic design factor, but it will not be further dealt with in this context. Home. 11g.

(49) 49. Map Design: Graphic Design Basics. 12. 5.9. Map symbols. A map is an information system; a complex combination of different symbols. Contents Exercises Index. Symbol system. Search. Every map symbol contains information that is. Next results. coded. It conveys a message about itself, e.g. "I. Previous results. am a church", as well as about its relation to the Sansibar. the center of a village called… that is located on the river … in the landscape … etc." (Fig. 12a). 1707. point. .. Exit. other map symbols: "I am a church and stand in. .. ... .... .. ... ... Print. 12a. .. ....... .. ..... . ... ... line. area. Symbol types map symbol. Map symbols can be subdivided on the basis of. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. their shape (Fig. 12b):. halftone. point: Represents the exact location of a single. diagram. object or (if they are accumulated) an amount of objects. type 12b. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. Home.

(50) 50. Map Design: Graphic Design Basics. 5.9. line: Boundaries of regional objects or (if the size. scale does not permit this) median lines of narrow objects.. shape. Contents Exercises. area: Characterizes regional objects as well as. texture. value classes, e.g. contour zones. tonal value. Index. map symbol: Abstracted (pictorial) symbol that is used depending on the scale.. orientation. Next results. halftone: Areas which have changing tonal val-. colour. Previous results. ues, e.g. hill shading and aerial photograph.. Search. Print Exit. 12c. diagram: renders statistical quantities; it may, similar to a symbol, refer to a point location or to. Variations. an area. To make differentiated statements, symbols are type: Explains the map or its symbols.. varied graphically (Fig. 12c):. © copyright: Kommission Aus- und Weiterbildung, Deutsche Gesellschaft für Kartographie e.V., Germany 2000. size: suitable to emphasize (quantity).. ■. shape: associative differentiation (quality).. ■. texture: most quantitative differentiation.. ■. tonal value: quantitative differentiation as well.. ■. orientation: spatial and temporal orientation.. ■. colour: versatile use for associative, qualitative (hue) and quantitative (saturation) differentiation.. c/o Reinhard Urbanke Erlenweg 3/1 D-71394 Kernen im Remstal EMail: [email protected]. ■. Home.

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