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Map Design: Graphic Design Basics: Start
Map Design: Graphic Design Basics: Start
5.9
Map Design:
Graphic Design Basics
Start
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Map Design: Graphic Design Basics 2
Contents 5.9
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Map Design: Graphic Design Basics 3
10 Signs ...................................................................................................... 41
© copyright: Communication ..................................................................................................... 41
Kommission Aus- und Weiterbildung, Function ............................................................................................................... 43
Deutsche Gesellschaft für Kartographie
e.V., Germany 2000 Trademarks ........................................................................................................... 43
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Map Design: Graphic Design Basics 4
Design .................................................................................................................5.9
43
To find a shape ...................................................................................................... 44
11 Publications ........................................................................................... 45
Notepaper and visiting cards ................................................................................... 45
Contents Books ................................................................................................................... 46
Dustjacket ............................................................................................................ 47
Exercises
Magazine .............................................................................................................. 47
Index Poster .................................................................................................................. 48
Packaging ............................................................................................................. 48
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Map Design: Graphic Design Basics 5
Exit
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Map Design: Graphic Design Basics 6
Search the communication process, first of all we have state of well-being. Humans feel, they perceive
Next results
to speak about human perception. moods and instincts and know whether they are
Previous results walking or sitting or doing something.
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Map Design: Graphic Design Basics 7
Selection 5.9
What are the components of human perception
that he has to deal with?
The biggest part of all incoming stimuli is per-
ceived subconsciously and this part decisively ■ The feeling is a spontaneous all-embracing per-
Contents 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.
Exercises
consciously, just big enough to be digested sep- ■ Needs are caused by a shortage and have to be
Index arately (selection). The perception process pro- satisfied immediately.
ceeds as follows: ■ Interest is controlled by the mind and aims on a
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Map Design: Graphic Design Basics 8
Communication 5.9
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Map Design: Graphic Design Basics 9
Code 5.9
Exercises
Every symbol has a certain meaning the receiver
Index has to know.
The spoken language is a code as well: Someone 2c Different stars; each of them has its own mean-
Search ing that exceeds its pure geometric form.
Next results
may for instance understand German fairly well,
Previous results French less well and Finnish not at all.
Print
It may happen of course that two or more mean-
Exit ings exist for one symbol .
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knows its function and its signs.
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Map Design: Graphic Design Basics 10
Languages 5.9
2e: Pictorial lan-
guage: This picture
comprises more than
At the beginning of human history people under- two windows, one
stood each other through facial expressions and door, two walls, the
gestures or sounds. floor and a roof slope.
Contents
It transmits a certain
Exercises mood.
Information as discoveries, moods, desires or
Index orders could be thus communicated.
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Map Design: Graphic Design Basics 11
Search
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Previous results
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.
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Map Design: Graphic Design Basics 12
3 Design 5.9
Exercises
Index
The form
Rep blica Cruz del
Search Argentina Rayo
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The form is the composition, the result of the Avenida de
Am rica
Print
In this connection form (the whole thing) means
Exit more than the sum of the parts (Fig. 3a; c. Fig. er slowenische
Philosoph Slavoj
Zizek ist mit sei- Ibiza
2e and the rain forest symbol from the previous nen philosophischen Mix-
turen aus Hegels Logik,
Re
ti
Hitchcocks Leichen und
ro
chapter). Lacans Leerstellen ein
bekanntes enfant terrible
Tirso de Molina
Ant n Mart n
in akademischen Philoso- Atocha
phenzirkeln. Seine Auf-
tritte sind überwältigende Atocha Renfe
Rede-Performances mit Conde
The form is even maintained if single elements 3a ungewissem Ausgang. Men ndez
Pelayo
del Casal
are changed.
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Map Design: Graphic Design Basics 13
9 13
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Map Design: Graphic Design Basics 14
Print
Picture (13): A photograph or a detail.
er philosopher
The Slovenian slowenische Sla-
Exit voj
Philosoph
voi Zizek with
ZizekofistHegel’s
mixtures mit seinen
Sla-
his philosophic
logic,
philosophischen
Hitchcock’s dead bodies Mixtu-and
Background (9): The background, the surround- 8 ren ausempty
Lacan’s
Hitchcocks
Hegelsspaces
known enfant Leichen
Logik,
is a
terrible in und
aca-
Lacans Leerstellen
demic philosopher circles.ein
His 12
ing, has to be included in the design even if it is bekanntes
entrances are
in
enfant terrible
overwhelming
akademischen Philoso-
speech-performances with an
phenzirkeln.
unknown end. Seine Auftrit-
merely white. te sind überwältigende
Rede-Performances mit
ungewissem Ausgang.
9 13
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Map Design: Graphic Design Basics 15
Variations 5.9
Print
Size: To emphasize, to cause tension.
Exit
Position: The position of an object within a com-
position is of substantial importance concerning
its effect.
Design principles
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Map Design: Graphic Design Basics 16
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Map Design: Graphic Design Basics 17
Search
Next results Lines
Previous results
Fig. 4a demonstrates that vertical lines of the
Print
same length seem to differ in length if their add-
Exit ed 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
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Map Design: Graphic Design Basics 18
Exit
Areas
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Map Design: Graphic Design Basics 19
Exit
In Fig. 4i and 4j the bright areas (or letters) 4i
seem larger than the dark areas (or letters) of
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Map Design: Graphic Design Basics 20
Contents
Tonal value
Exercises
Print
It is possible to create depth with the help of
Exit 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.
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Map Design: Graphic Design Basics 21
Index
5a
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Map Design: Graphic Design Basics 22
5e
Effect
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ing if they are located at a certain spot within
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Map Design: Graphic Design Basics 23
Contents Lines have different qualities as well, depending calmness active, far passive, near
on their location (Fig. 5g and h).
Exercises
Search etc.
Next results restless, move- quiet, at the
Previous results Fig. 5i shows different black elements on white ment to the right objective
areas with a specific effect in each case. 5f
Print
Exit
5g
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5h positive negative
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Map Design: Graphic Design Basics 24
Search
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Previous results
Associative meanings
Print
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Map Design: Graphic Design Basics 25
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Map Design: Graphic Design Basics 26
Print 6b
Exit
In Fig. 6c the subdivision is realised by three dif-
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.
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Map Design: Graphic Design Basics 27
Composition 5.9
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Map Design: Graphic Design Basics 28
Exercises
In Fig. 6g pages containing text are simulated.
Index The different elements can be column titles,
headings, initials, graphics and pictures within
6h
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Map Design: Graphic Design Basics 29
7 Colour 5.9
Exercises
Index
Colour psychology
Search
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The following characteristics are associated with
Previous results certain colours:
Print
YELLOW: RED: 7a
Exit expansion vivacity BLACK:
communication power hopelessness
reason imagination darkness
death
BLUE: ORANGE:
introversion health WHITE:
absorption full of drive all possibilities Colour assignment after Wassily Kandinsky
intellect pleasure glaring bright-
ness
GREEN: VIOLET: birth
immobility illness
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7b
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Map Design: Graphic Design Basics 30
Exit
Colour dimension (CIELAB-colour
system)
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Colour saturation: 0% – 25% – 50% – 75% – 100%
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Map Design: Graphic Design Basics 31
■ Simultaneous contrast
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Map Design: Graphic Design Basics 32
Search
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Here the intensity, the strength of a colour’s
Previous results brightness is of importance, e.g. yellow has a
much bigger optical impact than violet. The or-
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der reads: yellow, orange, red, green, blue and
Exit violet.
■ Cold-warm-contrast
7h
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Map Design: Graphic Design Basics 33
Exercises
Index
Evolution of type
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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- 8a
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.
8b
Capital letters and serifs (Serifen): The letters in
Fig. 8c are derived from the Greek /Roman al-
phabet between 200 BC and 300 AD. Special at-
tention has been paid to aesthetics and propor-
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Map Design: Graphic Design Basics 34
8e 8e
Search Roman type: At the rediscovery of classical an-
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tiquity the roman type originated around 1450,
Previous results e.g. Garamond (Fig. 8e, left). The alternation
between capital and lower case letters resulted
Print
in a better readability, because now several let-
Exit ters, so-called word images, could be registered
simultaneously. 8f f
8g).
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Map Design: Graphic Design Basics 35
Contents
8h
Exercises
Geometry
Index
Around 1920 characters have been reduced to
Exit
Letter spacing
Over 2000 years ago Greeks and Romans al- The optic weight of the blank space between the
ready dealt with the aesthetics of letters letters must correspond to the inner space of the
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
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Map Design: Graphic Design Basics 36
Search 8j
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The harmonic balance of the letter spacing has
Previous results to be considered especially when using graphic 8k
or big type faces.
Print
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Map Design: Graphic Design Basics 37
9 Type composition
Grauwert: Aus einigem Abstand
betrachtet, wirkt Text auf einer Seite
als Bild, als graue Fläche; sie steht
Grauwert: Aus einigem Abstand be-
trachtet, wirkt Text auf einer Seite als 5.9
Grauwert: Aus einigem Abstand be-
Next results
When viewed from a distance a text block looks Zeilenabstand bestimmt. Aus ei-
nigem Abstand betrachtet, wirkt
Seiten sonst sehr löchrig wirkt.
schwelle gering zu halten, soll
der auf einer Seite als Bild, als Er wird durch die Schriftstärke,
Previous results to be an image, a grey area (Fig. 9), related to a graue Fläche; sie steht be-
kanntermaßen
die Laufweite, den Wort- und den
Zeilen
der Grauwert nicht zu dun
Exit 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 de-
scenders) offers satisfactory variation. The pro-
portion of the type face is decisive for its reada-
Reading process bility. Lines should be perceived as bands, so
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register single letters but whole words and 10 words). The longer the line, the bigger the
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Map Design: Graphic Design Basics 38
Contents
Exercises
Type face selection
Index
Every type imparts associations (Fig. 9b). There-
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Map Design: Graphic Design Basics 39
Index The type faces used (Fig. 9d) must look alike re-
garding style, line gauge and geometry (relation
Compositions
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Map Design: Graphic Design Basics 40
Exercises fliegen
Index fliegen
Typographic errors fliegen
9e fliegen
Search
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Unfortunately typographic errors are found fre-
Previous results quently:
Print
■ inadequate word spacing ("holes" in the text),
Exit ■ 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, 9f
■ too many type faces, elements, styles,
■ playing around with the computer (Fig. 9g)
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Map Design: Graphic Design Basics 41
10 Signs 5.9
Exercises
Index
Communication
Search
Next results
If someone says: "Give me a sign when I have to © DiskArt™ 1988
Previous results begin," he expects, that it will be shown clearly © DiskArt™ 1988
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Map Design: Graphic Design Basics 42
of christianity.
Contents
elementary sign: formed from basic geometric elementary sign
Exercises
shapes (cf. Fig. 3a)
Index
pictorial sign: graphic representation of an ob-
pictorial sign
Search ject.
Next results
Previous results imprint: graphic trademark of a company or a
imprint
product.
Print
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Map Design: Graphic Design Basics 43
Signs can have different functions: Requirements for the shapes of signs:
Contents ■ message, hint, warning (traffic sign, pictogram), ■ quick and unequivocal to recognize,
■ product, service, image (trademark), ■ concentration on the essentials,
Exercises
■ tradition, origin, relationship (coat of arms, flag), ■ easily remembered, original and unmistakable
Index ■ association, reference (symbol, cartographic sym- ■ fusion of the graphic components to a whole,
bol). ■ equivalence of graphic form and meaning of the
Search content.
Next results
Previous results Trademarks
Print
In our consumer society trademarks are not only
Exit identifiers for companies, their products or serv-
ices. They also carry certain messages regarding
lifestyle, social affiliation, sometimes even ideol-
ogies.
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Map Design: Graphic Design Basics 44
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Map Design: Graphic Design Basics 45
11 Publications 5.9
45
20 85
105
The design of a publication requires a complex
45
graphical understanding, because all elements
Contents have to match with each other concerning their
105
effect. Where paper is used the sense of touch
Exercises
has to be considered: e.g. a book must also feel
Index good.
Search
Next results
Previous results Notepaper and visiting cards
Print
A company or a person represents itself publicly
Exit by such printed products. A decisive first im-
pression is generated by them, which touches
upon the image it wants to project. Therefore, 11a
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Map Design: Graphic Design Basics 46
Books ② 5.9
③
Books are different from single pages as in
books we have to proceed from the opened up ①
will ich sagen, daß ich die ganze Zeit damit beschäftigt war, ihnen allen zu bewei- 6
sen, was ich für ein Monstrum bin und daß ich ihre Liebe nicht verdiene. Obwohl
Exit cally in the same way. 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. Al-
lerdings lohnt es sich nicht im geringsten, hier all die Einzelheiten zu erzählen. Ich
Diesmal treibe ich es nicht
hasse es, Geschichten noch mit einem Epilog zu versehen, und ich habe keine
Lust, sie noch einmal zu durchleben, geschweige denn, darüber zu schreiben. Des-
halb 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 Meine ALTE Freundin Addy Possa hat angerufen. Sie will jetzt eine Karriere als
Madrid. Wie es scheint, ist in den USA gerade Pornographie ohne jeden künstleri- Filmregisseurin starten und wollte mir eine Rolle in ihrem ersten Film anbieten.
schen Anspruch angesagt, und deshalb hat er die geniale Idee gehabt, mein Werk Gestattet mir, euch an dieser Stelle ein wenig von ihr zu erzählen.
für eine Serie zu übersetzen, in der Morgan Fairchild die Hauptrolle spielen soll. Addy wiegt wesentlich mehr als die frühe Bette Midler und Mae West zusammen,
»Warum diese häßliche Mißgeburt – und nicht ich?« fragte ich ihn. und sie glaubt auch über den gleichen unanständigen Charme der beiden zu verfü-
»Du versprühst einfach zu viel Lebenslust«, erklärte er mir. »Außerdem bist du zu gen. Die Weltgeschichte hat sehr viel über das Drama der Fettleibigkeit zu sagen.
gut. In Hollywood könnte dich keiner ertragen.« Seht euch zum Beispiel Roseanne Barr an, deren Mann drauf und dran ist, sich von
»Okay. Dann muß ich mich eben damit zufriedengeben, daß ich von meinen Au- ihr scheiden zu lassen, und das nur, weil sie innerhalb weniger Tage zwanzig Kilo
torenrechten reich werde.« zugenommen hat. Oder Christina Onassis, der es an nichts mangelt, außer an ei-
11c
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Map Design: Graphic Design Basics 47
Dustjacket 5.9
Index
Next results
Previous results Magazines (Fig. 11e) differ from books in the
possibility to design every article in a new way.
Print
But in doing so the overall concept has to be
Exit maintained. Although if you browse through a
magazine its design may appear varied (a maga-
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,
das dem Stand der Physik gegen Ende des letzten Jahrhunderts entspricht. Das Bohrsche Atommodell
Of course its stock of elements is bigger than ist uns allen ein Begriff. Doch selbst Nils Bohr hat zu seinen Lebzeiten (1885-1962) ein wesentlich kom-
plexeres Modell entwickelt als das, was uns in der Erinnerung ist.
Die theoretischen Erkenntnisse der modernen Physik erreichen uns meist
von Science-fiction-Geschichten und popul‰rwissenschaftlichen Magazi-
sehsendungen. Bei dem, der sich darauf einl‰flt, entfachen diese Theorien
nur in Form
nen und Fern-
und Fiktionen
ein reges Interesse, kreative Gedankenspiele oder gar wilde Phantastereien.
Den praktischen Ergebnissen der Quantenphysik dagegen begegnet der B¸rger nahezu jeden
ings, headlines, initials etc. Here it is essential kurze, pr‰gnante, eben ‰sthetische Lˆsung eines Problems richtiger als eine komplizierte.
Nicht zuletzt, glaube ich, erhofft man sich eine mini-
xis".
malistische Antwort auf die letzte aller Fragen,
‰hnlich der, die "42" lautete in Douglas Adams' ber¸hmtem Buch "Per Anhalter durch die Gala-
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-
mentellen Buch "Finnegans Wake" - es bedeutet bei Joyce anscheinend nichts, eine reine Wortschˆpfung,
© copyright: die die Physiker begeistert aufgriffen. Es finden sich viele Wortschˆpfungen, z.B. "Falsches Vakuum",
e.V., Germany 2000 denkt bei "Feld" an etwas anderes. Woran denken
"W¸rstcheninstabilit‰t"? Die im Folgenden
Ph‰nomene sind Gegenstand meines Buches. Sie
Sie bei "Roter Riese" oder
aufgef¸hrten physikalisch-philosophischen
seien hier nur komprimiert erw‰hnt. Zu be-
achten ist, dafl die meisten Aussagen ausschliefllich f¸r die subatomare Welt der Quantenphysik gelten.
11e
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-
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Map Design: Graphic Design Basics 48
Poster 5.9
Exit
Packaging
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Map Design: Graphic Design Basics 49
Exercises
.
..
...
..
.. ...
...
.. .......
.... .. line
..
...
.
area
Symbol types
map symbol
Map symbols can be subdivided on the basis of
their shape (Fig. 12b): halftone
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Map Design: Graphic Design Basics 50
row objects.
shape
Search
halftone: Areas which have changing tonal val- colour
Next results
Previous results ues, e.g. hill shading and aerial photograph.
12c
Print
diagram: renders statistical quantities; it may,
Exit 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):
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Map Design: Graphic Design Basics 51
similar
Search Moreover the standardization of symbols in simi-
Next results
lar map series has to be considered as well as original
Previous results the reading habits of the map user.
standardized
Print
To ensure the readability minimum sizes have to
used to through
Exit be kept; for this also the typical shapes have to
reading
be paid attention to.
12d
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Map Design: Graphic Design Basics 52
area).
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Map Design: Graphic Design Basics 53
Type 5.9
Exercises
Type is used either independently or as an ex-
Index planatory addition to a symbol; it can also be
used over areas.
12g
Search
Next results
Type should have a good readability, should be
Previous results distinguishable and be in harmony with the map
layout. It should adapt to the nature of the ob-
Print
jects that are described by it.
Exit
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Map Design: Graphic Design Basics 54
5.9
................
.....
13 Map design: Graphic structure
..
..
...
...
.
.. ....... .. ............
... ......
.
... ... ......
.
...
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..
The design of a map requires the consideration
..
......... ..
..
....... .. .........
.
...... .
...... ...
. ..
.... ....
.........
..........
...
of some aspects of the graphic structure. ....
....
..
.
...
Contents
....
.
..
..
...
.
..
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...
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....
........
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...
...
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...
...
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...
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... ........
..
...
.
...
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Index Image of nature
13a Hydrography and vegetation …
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Map Design: Graphic Design Basics 55
5.9
.... ...........................................................
.....
Purpose of the map
....
..
...
...
.
............
g
.. ....... ..e
... .......
.
...a
ßw ..
Fu
u..l.d
... ......
.
Waldauer
..
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..
Waldauer Wiesen ...
...
...... .....
aße Schwimm-
..
tr ...
. .. da
..
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mm
..
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..stadion
...
Unter-
.....
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.
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..
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neustadt ....
Apart from design experience the cartographer
.. .......
mm
..
.
A ue da
.. ..........
..
. ...... .........
.
.. ..
ben
.. ......
.... ra ......
chg
...
Hirs
.......
Orangerie
must have enough thematic expertise and pre-
e........
...
....
st r.
....
Karls- ..
K a r l s - A u e Aueteich Sieben-
.
Hessen- wiese bergen
h..k..
Contents cise knowledge about the subjects that have to ...kampf-
.
bahn K üc
hen
.c..
..
.. grab
.
.. en
..s.
...
An
.a
S.c.h..ö ....
be represented. ....
........
..n.e A
a..m.
.... Aue-
de
St e i
n w e....u
. ssich
Exercises
...
.... ...
t stadion
rK
g .... ...
.D
...
arls
.. .
....
str. ster-
...
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Hochschule M ße
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K önig ................
aue
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str. .. e....
t r..a..ß..
en
..
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.
Index .... F r a n k f u r te r
Fünff
Innen- .........
stadt
The purpose of the map is decisive. Different Auefeld
purposes call for matching contents and appro- 13d … does not nearly characterize a park
Waldauer Wiesen
traße
Unter- Arndts Schwimm-
stadion
Print neustadt Auedamm
An exact preparatory work is essential. The geo-
Hessen- Orangerie Seebühne
Exit graphic extension, the page size, the map pro- kampf-
bahn
Karlswiese
Karls-Aue Aueteich
Sieben-
bergen
r.
Sportplätze
t
kes
An
sch
Schön
e Aus
de
map content, the map elements and the method sicht Aue-
ma
rK
Stein Hochschule
weg stadion
arls
Da
au
Menzelstraße
e
of representation (legend and style sheet) have Innenstadt Fra nkfurter Straße
Auefeld
to be definitely defined as well. The thematic
message has to be precisely formulated. 13e … and for a travel guide
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Map Design: Graphic Design Basics 56
Legibility ...
................................................
5.9 .....
...................................................
.......................
....
.........
....................
.........
..................................................
.
...
...
..
.
..........
..
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...
.
..
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...
..
..
.
...
The combination of single elements most favour-
.. ...... .......
...
.
......
...
...
.....
.....
....... .....
able for perception is the one that results in a
...
..
.....
...
....
....
.....
......
..
...
..
Contents compact, stable, logical and simple overall shape
......
..
..
..
..
..........
.............
... ..
..
..
.
(terseness).
...
...
Exercises
....
..............................
...........................................................................
The influence of
Index The number of representation methods should 13f differentiation, …
be limited to a minimum so that complex sub-
.........
.......................
...................................................
.....................
...
..........................
.........
.
...
...
..
.
..
...........
Next results
...
............ ..
.
...
..
..
However, the information conveyed must not be
...
..
..
Previous results
...
.
.. ...... .......
...
.
falsified. ......
...
..... .
.
.....
......... .....
...
..
.....
...
...
....
.....
......
..
...
..
......
..
..
..
..
..........
.............
..
.... ......
Exit Concerning the legibility of the map the follow-
..
...
...
13g … density …
......................
.......................
....
.........
....................
.........
..................................................
.
...
...
..
fully (Fig. 13f).
.
..........
..
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...
.
..
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..
..
.
...
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................................
.
...
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must not be too heavy (Fig. 13g).
....
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..
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.............
... ..
..
..
.
...
...
....
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...........................................................................
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Map Design: Graphic Design Basics 57
5.9
■ ■ ■
■ ■
to be surrounded by an empty space to separate ■
■
■
Contents rangements should be recognizable (Fig. 13c).
■
■
13i
Exercises
Habits/expectations of the map reader have to
Index be considered.
Search
Next results
Previous results Assessment principles 13j
Print
Even if it seems to be obvious, the following
Exit points have to be taken into account for the map
design:
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Map Design: Graphic Design Basics 58
Contents
14 External map design
Exercises
Index A map that comprises not only the map face, but
also the title, the scale, the linear scale, the leg-
Exit Principles
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Map Design: Graphic Design Basics 59
Map title
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Map Design: Graphic Design Basics 60
Contents
Scale and linear scale
Exercises
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Map Design: Graphic Design Basics 61
Legend 5.9
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Map Design: Graphic Design Basics 62
Index
Search 15 Exercises
Next results
Previous results
Print
Perception
Exit
You are at a very loud place (disco, pub, con-
struction site, department store). Stay there for
a while and try to be aware what affects you
from outside, what you hear, see, feel, in which
intensity, for how long. Try to filter out details.
What do you perceive of yourself? How is your
mood? Does it change? Do you eventually per-
ceive silence in this deafening noise? Do desires
arise? For what?
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of it later at your leisure.
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Map Design: Graphic Design Basics 63
Communication 5.9
Area effect
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Map Design: Graphic Design Basics 64
Exercises
Print
Get several 20 x 20 cm white and 10 x 20
Exit cm black cardboards. From one of the black
?
cardboards cut out as many and as big
squares as you like. Arrange the squares in
an exciting composition and finally stick
them up. For this the whole black cardboard
should be used so that the ratio of black to
white is 1:1. Repeat this process with black
circles (and their negative forms), with black
triangles and free forms.
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Map Design: Graphic Design Basics 65
Exercises
Write the word "WALTER" in separate letters
Index (everyone must have its own frame) in Futura
(24 points, capital letters) on an auxiliary
Search line using a graphic programme. Change the
Next results
auxiliary line into curves. Now push the words
Previous results on the auxiliary line together in such a way
that the word seems to be optimal balanced.
Print
Exit
Typography
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Map Design: Graphic Design Basics 66
Exercises
Index Logo
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Map Design: Graphic Design Basics 67
Notepaper 5.9
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Map Design: Graphic Design Basics 68
Poster 5.9
Symbols
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Map Design: Graphic Design Basics 69
5.9
■ Lines: Excursion routes (direction, date), terrain
lines (slopes, edges, channels).
Exit
Map
Design a map for a newspaper. Look for an arti- Familiarize yourself with the article. Choose a
cle to explain it with a map. suitable base map, that will be scanned. Pre-
cisely define the content and the style sheet
It should complement the article meaningfully, and draw the map with your graphic pro-
comprise no unnecessary information, inform gramme.
quickly and be factual. Your legend must be con-
cise. The map will have the same size as the
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Map Design: Graphic Design Basics 70
Exercises
The first double-page that you have to design is
Index the beginning of the chapter, the second the fol-
lowing page. Integrate the following elements
.
..
...
..
.. ...
...
..
.............
..
...
■ a drawing (typical animal or typical plant)
.
■ a map of the region including a legend.
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which size might be practical and handy for
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Map Design: Graphic Design Basics 71
Exit Now define the type faces and sizes and the
necessary typographic conditions (line spac-
ing, columns, initials…).
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Map Design: Graphic Design Basics 72
index
Index composition 27 5.9
contrast 16
A
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
D
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
Contents area 21
design 12
aesthetics 25
Exercises basic forms 13
composition 27
form 12
Index size 25
graphic elements 14
subdivision 26
variations 15
associative meanings 24
Search design principles 15
Next results dustjacket 47
B
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
Previous results
books 46 E
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
Print
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Map Design: Graphic Design Basics 73
Print O
L○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
Exit
languages 10 optical illusions 17
areas 18
M
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ lines 17
tonal value 20
magazine 47
map 54
P
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
design 54
legend 61 packaging 48
scale 60 perception 6
title 59 poster 48
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Deutsche Gesellschaft für Kartographie map design 54 books 46
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assessment principles 57 dustjacket 47
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Map Design: Graphic Design Basics 74
T
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
tonal value 20
trademarks 43
type 33
capital letters and serifs 33
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design fonts 34
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