5. Anybody Have a Map?
Rachel Bay Jones, Jennifer Laura Thompson
...Maybe this year, we decide
We're not giving up before we've tried
This year, we make a new start
Another stellar conversation for the scrapbook Another
stumble as I'm reaching for the right thing to say
I'm kinda coming up empty Can't find my way to you
Does anybody have a map?
Anybody maybe happen to know how the hell to do this?
I don't know if you can tell
But this is me just pretending to know
So where's the map?
I need a clue
'Cause the scary truth is
I'm flying blind
And I'm making this up as I go
6. Anybody Have a Map?
Rachel Bay Jones, Jennifer Laura Thompson
...Maybe this year, we decide
We're not giving up before we've tried
This year, we make a new start
Another stellar conversation for the scrapbook Another
stumble as I'm reaching for the right thing to say
I'm kinda coming up empty Can't find my way to you
Does anybody have a map?
Anybody maybe happen to know how the hell to do this?
I don't know if you can tell
But this is me just pretending to know
So where's the map?
I need a clue
'Cause the scary truth is
I'm flying blind
And I'm making this up as I go
7. Anybody Have a Map?
Rachel Bay Jones, Jennifer Laura Thompson
...Maybe this year, we decide
We're not giving up before we've tried
This year, we make a new start
Another stellar conversation for the scrapbook Another
stumble as I'm reaching for the right thing to say
I'm kinda coming up empty Can't find my way to you
Does anybody have a map?
Anybody maybe happen to know how the hell to do this?
I don't know if you can tell
But this is me just pretending to know
So where's the map?
I need a clue
'Cause the scary truth is
I'm flying blind
And I'm making this up as I go
10. …anyone can make a map. This is a good development and yet also demands
caution as it is easy now for anyone to make a bad map due to ignorance of
cartographic design, science, and geographic data representation principles. (p. 18)
11. …anyone can make a map. This is a good development and yet also demands
caution as it is easy now for anyone to make a bad map due to ignorance of
cartographic design, science, and geographic data representation principles. (p. 18)
12. …anyone can make a map. This is a good development and yet also demands
caution as it is easy now for anyone to make a bad map due to ignorance of
cartographic design, science, and geographic data representation principles. (p. 18)
14. “…number of maps created today can be rather overwhelming, but their communicative
quality is not always convincing…just because one can more easily map today, this
does not necessarily mean one should.” (p. 10).
15. “…number of maps created today can be rather overwhelming, but their communicative
quality is not always convincing…just because one can more easily map today, this
does not necessarily mean one should.” (p. 10).
21. "Map design plays a
fundamental role in
cartography”
(Gartner and Huang 2016, 72).
22. “Cartography happens at
the design stage. Design
is the creative heart and
soul of our field”
(Muehrcke 1996, 123).
39. Critical cartography
“…no ‘right way’ to produce
maps, but their makers need to
be sensitive to the politics and
context of their making and
use” (Kitchin, Perkins Dodge 2009,11).
42. Post-representational
“[Maps] emerge in context and through a mix of
creative, reflexive, playful tactile, and habitual
practices, affected by the knowledge, experience and
skill of the individual to perform mappings and apply
them in the world…
43. Post-representational
“[Maps] emerge in context and through a mix of
creative, reflexive, playful tactile, and habitual
practices, affected by the knowledge, experience and
skill of the individual to perform mappings and apply
them in the world…Conceiving of maps in this way
reveals that they are never fully formed but emerge in
process.” (Kitchin, Perkins, Dodge 2007, 21)
45. Map Design Evaluation for Mobile Display "How to effectively represent spatial information on handheld mobile devices is a key question, given the increasing use of personal digital
assistants (PDAs) and cell phones concurrent with the development of location-based services " (Dillemuth 2005). Map design aspects, route complexity, or social background? Factors
influencing user satisfaction with indoor navigation maps “In collaboration between geoinformation science and sociology, we develop and investigate cartographic methods for effective route
guidance in indoor environments " (Lorenz et al 2013). “In this paper the common sense basis of map design and production is related to the integration of these two distinct but
complementary ways of processing information...This balanced approach to cartographic education is less frustrating and potentially more effective for students than much contemporary
coursework with its strong rational-analytical emphasis”(Muhrcke 1982). "Cartographic communication models provide a framework for mapping decisions. The models help the cartographer
formulate ideas on map content, symbol choice, design and message. They also stress the importance of effectively transmitting the map message based on knowledge of the map recipient's
characteristics” (Andrews 1988). “Scientists visualize data for a range of purposes, from exploring unfamiliar data sets to communicating insights revealed by visual analyses. As the supply
of numerical environmental data has increased, so has the need for effective visual methods, especially for exploratory data analysis. Map animation is particularly attractive to earth system
scientists who typically study large spatio-temporal data sets. In addition to the "visual variables" of static maps, animated maps are composed of three basic design elements or "dynamic
variables"–scene duration, rate of change between scenes, and scene order (DiBiase et al 1992). Spacing and alignment rules for effective legend design (Li and Qin 2014)."Cartographers
have developed design principles in manual cartography for origin-destination flow maps to reduce overlaps and increase readability. These design principles are identified and documented
using a quantitative content analysis of 97 geographic origin-destination flow maps without branching or merging flows. The effectiveness of selected design principles is verified in a user
study with 215 participants.” (Jenny et al 2016). "The purpose of this study is to describe and analyze the cartographic representation and functionality of urban-scale solar energy maps in
the United States. Using competitive analysis, we assess twelve interactive online maps to understand their: (1) design, (2) usage of visual variables and interaction operators, and (3) content,
purpose, and goals. Across these three types of assessment, we find both a wide variety as well as some consistent themes. Our results also show that some maps followed cartographic
conventions (Brewer 2016; Slocum et al. 2009) while others did not. Through our analysis we develop a set of best practices that can be used to improve the effectiveness and widen the
functionality of online solar energy maps. In particular, we make recommendations on how to develop future online, interactive renewable energy maps in a way that keeps the end user in mind
while communicating relevant information to a broader range of stakeholders involved in urban energy sustainability (homeowners, utility operators, city officials, and urban planners)" (Fish and
Calvert 2016). "Aesthetics plays a key role in cartographic design and is especially significant to the representation of place, whether by the state, the community, the crowd, or the artist.
While state topographic mapping today demonstrates a rich diversity of national styles, its evolution (particularly since the Enlightenment) has led to the establishment of a particular aesthetic
tradition, which has recently been challenged by counter-mapping initiatives and through map art. This paper explores the function of aesthetics in the cartographic representation of place. It
offers an analysis of the aesthetic value of topographic maps and suggests how an appropriate wielding of the aesthetic language of cartography can communicate a sense of place more
effectively" (Kent 2012). “The explosion of map use in the past few decades as part of everyday activities, accelerated through the digital production and dissemination of maps and the
availability of low-cost, location-aware devices, has made the job of cartographers and map display designers more challenging. Yet, how do these recent changes affect effective map
design?” (Griffin et al 2017). "Although constraints are necessary, we argue that the advent of digital technology, particularly in mobile mapping, warrants re-examination of the parameters
of these distortions. Here we introduce the concept of ‘the bounds of distortion’ as a device for considering the conceptual boundaries of map design, and as a foundation for further work to
investigate how these bounds may be redefined to better support map users with more effective graphical information. " (Godfrey and Mackaness 2017). “In order to produce the most
effective maps, it is important to understand how they read the maps and what can complicate their use. From the analysis of fixations and reading strategies, we determine (1) whether the
different categories of stakeholders involved in the evacuation have specific characteristics in their map reading and (2) what components of evacuation maps can obstruct the map reading"
(Palka, Serrhini and Andrieu 2018). Title Designing Effective Legends and Layouts with a Focus on Nigerian Topographic Maps (Kkinyemi, Kibora, Aborishade 2013). "These maps are
produced within a demanding set of conditions which often influences the effectiveness of their designs. A general model of map design factors is introduced here and used as a basis for
discussing specific constraints on journalistic maps" (Gilmartin 1985). Title Design Factors Influencing Map Effectiveness (Mersy 1990). "Responses to maps can be utilitarian, aesthetic
or both, and have been the subject of research for almost forty years. These scientific studies, which advance with psychological thinking, have made only limited contributions to the
understanding of practically effective design methods. Research into the whole cognitive process continues but focused enquiries into how readers react to map images during the early
stages of viewing may provide more immediately-applicable guidelines for the developers of graphic design-support programs for desktop mapping. The production of consistently legible and
effective images may be a short-term goal but a fuller appreciation of map design must include consideration of aesthetics” (Wood 1993). “This new concept for map design can lead to new
interaction possibilities and provide insights into how maps can be used more effectively.” (Mocnick and Fairbairn, 2017)
46. Map Design Evaluation for Mobile Display "How to effectively represent spatial information on handheld mobile devices is a key question, given the increasing use of personal digital
assistants (PDAs) and cell phones concurrent with the development of location-based services " (Dillemuth 2005). Map design aspects, route complexity, or social background? Factors
influencing user satisfaction with indoor navigation maps “In collaboration between geoinformation science and sociology, we develop and investigate cartographic methods for effective route
guidance in indoor environments " (Lorenz et al 2013). “In this paper the common sense basis of map design and production is related to the integration of these two distinct but
complementary ways of processing information...This balanced approach to cartographic education is less frustrating and potentially more effective for students than much contemporary
coursework with its strong rational-analytical emphasis”(Muhrcke 1982). "Cartographic communication models provide a framework for mapping decisions. The models help the cartographer
formulate ideas on map content, symbol choice, design and message. They also stress the importance of effectively transmitting the map message based on knowledge of the map recipient's
characteristics” (Andrews 1988). “Scientists visualize data for a range of purposes, from exploring unfamiliar data sets to communicating insights revealed by visual analyses. As the supply
of numerical environmental data has increased, so has the need for effective visual methods, especially for exploratory data analysis. Map animation is particularly attractive to earth system
scientists who typically study large spatio-temporal data sets. In addition to the "visual variables" of static maps, animated maps are composed of three basic design elements or "dynamic
variables"–scene duration, rate of change between scenes, and scene order (DiBiase et al 1992). Spacing and alignment rules for effective legend design (Li and Qin 2014)."Cartographers
have developed design principles in manual cartography for origin-destination flow maps to reduce overlaps and increase readability. These design principles are identified and documented
using a quantitative content analysis of 97 geographic origin-destination flow maps without branching or merging flows. The effectiveness of selected design principles is verified in a user
study with 215 participants.” (Jenny et al 2016). "The purpose of this study is to describe and analyze the cartographic representation and functionality of urban-scale solar energy maps in
the United States. Using competitive analysis, we assess twelve interactive online maps to understand their: (1) design, (2) usage of visual variables and interaction operators, and (3) content,
purpose, and goals. Across these three types of assessment, we find both a wide variety as well as some consistent themes. Our results also show that some maps followed cartographic
conventions (Brewer 2016; Slocum et al. 2009) while others did not. Through our analysis we develop a set of best practices that can be used to improve the effectiveness and widen the
functionality of online solar energy maps. In particular, we make recommendations on how to develop future online, interactive renewable energy maps in a way that keeps the end user in mind
while communicating relevant information to a broader range of stakeholders involved in urban energy sustainability (homeowners, utility operators, city officials, and urban planners)" (Fish and
Calvert 2016). "Aesthetics plays a key role in cartographic design and is especially significant to the representation of place, whether by the state, the community, the crowd, or the artist.
While state topographic mapping today demonstrates a rich diversity of national styles, its evolution (particularly since the Enlightenment) has led to the establishment of a particular aesthetic
tradition, which has recently been challenged by counter-mapping initiatives and through map art. This paper explores the function of aesthetics in the cartographic representation of place. It
offers an analysis of the aesthetic value of topographic maps and suggests how an appropriate wielding of the aesthetic language of cartography can communicate a sense of place more
effectively" (Kent 2012). “The explosion of map use in the past few decades as part of everyday activities, accelerated through the digital production and dissemination of maps and the
availability of low-cost, location-aware devices, has made the job of cartographers and map display designers more challenging. Yet, how do these recent changes affect effective map
design?” (Griffin et al 2017). "Although constraints are necessary, we argue that the advent of digital technology, particularly in mobile mapping, warrants re-examination of the parameters
of these distortions. Here we introduce the concept of ‘the bounds of distortion’ as a device for considering the conceptual boundaries of map design, and as a foundation for further work to
investigate how these bounds may be redefined to better support map users with more effective graphical information. " (Godfrey and Mackaness 2017). “In order to produce the most
effective maps, it is important to understand how they read the maps and what can complicate their use. From the analysis of fixations and reading strategies, we determine (1) whether the
different categories of stakeholders involved in the evacuation have specific characteristics in their map reading and (2) what components of evacuation maps can obstruct the map reading"
(Palka, Serrhini and Andrieu 2018). Title Designing Effective Legends and Layouts with a Focus on Nigerian Topographic Maps (Kkinyemi, Kibora, Aborishade 2013). "These maps are
produced within a demanding set of conditions which often influences the effectiveness of their designs. A general model of map design factors is introduced here and used as a basis for
discussing specific constraints on journalistic maps" (Gilmartin 1985). Title Design Factors Influencing Map Effectiveness (Mersy 1990). "Responses to maps can be utilitarian, aesthetic
or both, and have been the subject of research for almost forty years. These scientific studies, which advance with psychological thinking, have made only limited contributions to the
understanding of practically effective design methods. Research into the whole cognitive process continues but focused enquiries into how readers react to map images during the early
stages of viewing may provide more immediately-applicable guidelines for the developers of graphic design-support programs for desktop mapping. The production of consistently legible and
effective images may be a short-term goal but a fuller appreciation of map design must include consideration of aesthetics” (Wood 1993). “This new concept for map design can lead to new
interaction possibilities and provide insights into how maps can be used more effectively.” (Mocnick and Fairbairn, 2017)
47. Map Design Evaluation for Mobile Display "How to effectively represent spatial information on handheld mobile devices is a key question, given the increasing use of personal digital
assistants (PDAs) and cell phones concurrent with the development of location-based services " (Dillemuth 2005). Map design aspects, route complexity, or social background? Factors
influencing user satisfaction with indoor navigation maps “In collaboration between geoinformation science and sociology, we develop and investigate cartographic methods for effective route
guidance in indoor environments " (Lorenz et al 2013). “In this paper the common sense basis of map design and production is related to the integration of these two distinct but
complementary ways of processing information...This balanced approach to cartographic education is less frustrating and potentially more effective for students than much contemporary
coursework with its strong rational-analytical emphasis”(Muhrcke 1982). "Cartographic communication models provide a framework for mapping decisions. The models help the cartographer
formulate ideas on map content, symbol choice, design and message. They also stress the importance of effectively transmitting the map message based on knowledge of the map recipient's
characteristics” (Andrews 1988). “Scientists visualize data for a range of purposes, from exploring unfamiliar data sets to communicating insights revealed by visual analyses. As the supply
of numerical environmental data has increased, so has the need for effective visual methods, especially for exploratory data analysis. Map animation is particularly attractive to earth system
scientists who typically study large spatio-temporal data sets. In addition to the "visual variables" of static maps, animated maps are composed of three basic design elements or "dynamic
variables"–scene duration, rate of change between scenes, and scene order (DiBiase et al 1992). Spacing and alignment rules for effective legend design (Li and Qin 2014)."Cartographers
have developed design principles in manual cartography for origin-destination flow maps to reduce overlaps and increase readability. These design principles are identified and documented
using a quantitative content analysis of 97 geographic origin-destination flow maps without branching or merging flows. The effectiveness of selected design principles is verified in a user
study with 215 participants.” (Jenny et al 2016). "The purpose of this study is to describe and analyze the cartographic representation and functionality of urban-scale solar energy maps in
the United States. Using competitive analysis, we assess twelve interactive online maps to understand their: (1) design, (2) usage of visual variables and interaction operators, and (3) content,
purpose, and goals. Across these three types of assessment, we find both a wide variety as well as some consistent themes. Our results also show that some maps followed cartographic
conventions (Brewer 2016; Slocum et al. 2009) while others did not. Through our analysis we develop a set of best practices that can be used to improve the effectiveness and widen the
functionality of online solar energy maps. In particular, we make recommendations on how to develop future online, interactive renewable energy maps in a way that keeps the end user in mind
while communicating relevant information to a broader range of stakeholders involved in urban energy sustainability (homeowners, utility operators, city officials, and urban planners)" (Fish and
Calvert 2016). "Aesthetics plays a key role in cartographic design and is especially significant to the representation of place, whether by the state, the community, the crowd, or the artist.
While state topographic mapping today demonstrates a rich diversity of national styles, its evolution (particularly since the Enlightenment) has led to the establishment of a particular aesthetic
tradition, which has recently been challenged by counter-mapping initiatives and through map art. This paper explores the function of aesthetics in the cartographic representation of place. It
offers an analysis of the aesthetic value of topographic maps and suggests how an appropriate wielding of the aesthetic language of cartography can communicate a sense of place more
effectively" (Kent 2012). “The explosion of map use in the past few decades as part of everyday activities, accelerated through the digital production and dissemination of maps and the
availability of low-cost, location-aware devices, has made the job of cartographers and map display designers more challenging. Yet, how do these recent changes affect effective map
design?” (Griffin et al 2017). "Although constraints are necessary, we argue that the advent of digital technology, particularly in mobile mapping, warrants re-examination of the parameters
of these distortions. Here we introduce the concept of ‘the bounds of distortion’ as a device for considering the conceptual boundaries of map design, and as a foundation for further work to
investigate how these bounds may be redefined to better support map users with more effective graphical information. " (Godfrey and Mackaness 2017). “In order to produce the most
effective maps, it is important to understand how they read the maps and what can complicate their use. From the analysis of fixations and reading strategies, we determine (1) whether the
different categories of stakeholders involved in the evacuation have specific characteristics in their map reading and (2) what components of evacuation maps can obstruct the map reading"
(Palka, Serrhini and Andrieu 2018). Title Designing Effective Legends and Layouts with a Focus on Nigerian Topographic Maps (Kkinyemi, Kibora, Aborishade 2013). "These maps are
produced within a demanding set of conditions which often influences the effectiveness of their designs. A general model of map design factors is introduced here and used as a basis for
discussing specific constraints on journalistic maps" (Gilmartin 1985). Title Design Factors Influencing Map Effectiveness (Mersy 1990). "Responses to maps can be utilitarian, aesthetic
or both, and have been the subject of research for almost forty years. These scientific studies, which advance with psychological thinking, have made only limited contributions to the
understanding of practically effective design methods. Research into the whole cognitive process continues but focused enquiries into how readers react to map images during the early
stages of viewing may provide more immediately-applicable guidelines for the developers of graphic design-support programs for desktop mapping. The production of consistently legible and
effective images may be a short-term goal but a fuller appreciation of map design must include consideration of aesthetics” (Wood 1993). “This new concept for map design can lead to new
interaction possibilities and provide insights into how maps can be used more effectively.” (Mocnick and Fairbairn, 2017)
62. International Journal of Cartograph
Cartographica
The Cartographic Journal :The World of Mapping
Cartography and Geographic Information Science(CaGIS)
Cartographic Perspectives (CP)
Hinweis der Redaktion
Edit comment: right justify the name and institution. Looks weird right now. So have the name, institution, and aag info all lined up and equally spaced.
DB: complete
EditDB: complete
Edit notes: make sure “anybody have a” is precisely aligned.
DB: Complete
Why are the names of the left in blue?
DB: Blue removed
Why are the names of the left in blue?
DB: Blue removed
Why are the names of the left in blue?
DB: Blue removed
Love this. Thank you
DB: Thanks!
Do the same with this as with slides about “just because someone can doesn’t mean they should”
DB: Complete
Do the same with this as with slides about “just because someone can doesn’t mean they should”
DB: Complete
AB; Remove pages, just cover
Do the same with this as with slides about “just because someone can doesn’t mean they should”
DB: Complete
Do the same with this as with slides about “just because someone can doesn’t mean they should”
DB: Complete
Don’t need full citation if have the cover– just the page number
DB: Looks good. I adjusted the image of the slide previous to be the pure white page, then kept this and the subsequent slide image dark to direct the eye.
Love!
DB: Thanks
Emphasize the word design in both book covers.
1 slide with just the 3 atlas covers
1 slide with just the 3 atlas covers
Page of text “in favor of beautiful maps”
put that quote in text box similar to the first slides.
Table of contents from all 3 volumes
Then show a few examples
Table of contents from all 3 volumes
Table of contents from all 3 volumes
Table of contents from all 3 volumes
Don’t want animated, want them all shown at one screen at one time. Basically make a collage
DB: How does this look?
Perhaps you can take better pictures? A book cover where there is no glare and a pic of the page that isn’t‘ distorted with the kind of bend we see in the beginning of the sentences???
DB: Complete
Screenshots in the dropbox folder
DB: How does this look?
Screenshots in the dropbox folder
DB: How does this look?
Love this. Thank you
DB: Thanks!
Add white background to van of walt logo
Put twitter logo next to that
Put email logo next to that
DB: Complete
Add white background to van of walt logo
Put twitter logo next to that
Put email logo next to that
DB: Complete