Public TransportSchematic Mapping A case study in information designby Stace Turner

MA Design (Graphic Design)Sheffi eld Hallam University 2007-2010

Public TransportSchematic Mapping A case study in information designby Stace Turner

MA Design (Graphic Design)Sheffield Hallam University 2007-2010

Contents

Page 7 An introduction to information design The Information Age Information design in terms of graphic design Schematic Maps

Page 13 How public transport schematic maps have developed Modern history - Beck New York Subway Wars Where it does not quite work

Page 23 Cultural Iconography and Personal Geography What does a map mean? How we travel and what we think Perceptions Making sense of our surroundings In depth Different approaches for different maps Schematization

Page 31 What makes a good schematic spider map? What is a spider maps function? Good Vs Bad Design practice

Page 39 The technological progression of design Introduction Industrialisation and digitisation Mass production and automation

Page 43 SYPTE and the Digital Mapping Project Introduction to SYPTE Introduction to the Digital Mapping Project Products developed for the Digital Mapping Project

Page 53 The SMN product Introduction How the spider map was approached External Research Internal Research Development

Page 59 Design and visual communication considerations of the SMN Introduction Poster size and orientation, placement and positioning Amount of data and services Timing points Iconography Sorting the data table by service number or destination Design specifi cations Product, table and map

Page 69 Spider map speci cation, design issues and solutions Introduction You are here blocks Stroke weights and route lines Stops Service number lozenge Terminus points Icons Font Text Corners and angles Crossovers Colour

Page 79 Spider map speci cation drawings Introduction and drawings

Page 99 Conclusion Introduction Visual clutter and noise Quality, effi ciency and sustainability Social responsibility The signifi cance of the design project Why automate? Cartography

Page 111 Interviews Ken Garland Tony Pearce Paul Crowley Eddie Jabbour Harriet Miller

Page 123 Bibliography

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iAn introduction to Information DesignThe Information AgeAs the fi rst decade of the 21st century passes we are entirely within the swing of the Information Age, also known as the Digital Age. Vast amounts of digital information form and inform important aspects of our lives from banking and travelling to social interaction and online shopping, we are more informed and led more by the power of information than ever before and the way we deal with it, manipulate it, understand it and take it for granted will increase as the century progresses. The Information Age is itself demanding we approach design in different ways as we are faced with issues that often require a level of design and development rather than just design production. The term Information Design is itself still an emerging descriptor and continues to snowball as an explanation. When it originated during 1970s it was frequently used to describe a branch of graphic design which involved the creation of explanatory and instructional illustration as well as a statistical graphs also known as infographics. This has since broadened widely to encompass emerging disciplines such as visualization; the visual representation of large quantities of data and Information Architecture which is the conceptualisation and design of information structures. It has also subsumed more niche disciplines such as Form Design, where specialists create and simplify forms for government organistaions, colleges andutility companies. What set it on course to be a fi eld in its own right within Graphic Design is the technical aspect it tends to take. Diagrams have been used as explanatory tools for a great deal of time but the Information Age makes a technical approach to problem solving more of a possibility than in previous generations. For example it is more common today to factor in Interaction Design when considering a design project. Interaction Design focuses on the relationship and behaviours between human and system, system and human, so looking at this is quite often a facet of Information Design that requires consideration and research/testing to achieve the best end results for a potential user. It is of course a blanket term, covering a range of considerations and like all design disciplines it is both simple or complicated to explain, simply it is merely the design of information an offshoot of graphic design, a specialism borne out of the necessity to illustrate complexity in a digestible format, it is the need to quantify. 7

Information design in terms of graphic designKim Baer points out in the Information Design Workbook that information

design projects require careful thought, collaboration, planning, and a

process that goes beyond the intuitive, gut-level, and sometimes solitary

approach that many designers have been trained to use (Baer, K. 2008,

Information Design Workbook, first edn, Rockport) Paralleling this theme

Paul Mijksenaars essay Maps as public graphics from the book Visual

information for everyday use (Zwaga, H., Boersema, T. & Hoonhout, H.

1998, Visual Information for Everyday Use, CRC) states many designers are

unable or unwilling to distinguish between personal creative expression

and objective rules too many designers presume that innovative

creativity is more important than practical use. These sentiments suggest

that Information Design is not for the faint hearted designer and in fact

many design projects of this nature require a team approach due to the

developmental aspect and variety of considerations involved.

Although most Graphic Design projects also cover more than a single

sub-discipline it is the very essence of Information Design that multiple

fields are involved and as an emerging term Information design is quite

hard to define in its own right due to the diversity of uses. It could be

argued that most Graphic Design is Information Design as the basis

of graphics is the art of visual communication, however Information

Design goes further than this by not only encompassing the art of visual

communication but the interpretation, understanding and display of

technical data and information and often the management and manipulation

thereof. Having to avoid elucidation and in some respects creative flair the

hardest part of information design to a designer is exercising restraint

of course creativity and especially aesthetics still play an enormous part

however it errs towards a type of engineering whereby the approach is

far more considered and scientific due to the processes, requirements and

underlying data.

Increasingly designers have to be diverse in their practice and become

involved in such aspects such as user acceptability testing (UAT) and

user-centred design which are more philosophical aspects to the design

process rather than just illustrative execution. Ken Garland in an interview

with the author in 2008 said beware the confines of specialism when

questioned about Harry Becks tube map, Garland was warning that it is

all very well to be an expert in a particular field but it is not good practice

to become cornered by total speciality as this can only lead to a truncated

viewpoint and ability to practice.

Examples of data driven information design projects are shown here

on the right.

Schematic mapping is a specific aspect within Information Design

Schematic mapsSchematic (or spider) mapping is a specific aspect within Information

Design, the most common use being the public facing representation of

public transport networks which are common worldwide. In brief the

creation of these maps involves the interpretation of bus/train/tram/light

rail data into a graphically formatted product often with supplementary

data charts, iconography and contact information. Traditionally this

kind of work is produced by a manual illustrative process and although

automatic production applications exist they generally output in a format

that is unsuitable for public consumption and are used more for planning

purposes. South Yorkshire Passenger Transport Executive (SYPTE) have

been working with Swedish mapping company T-Kartor on a digital mapping

project to develop a computerised system that semi-automates the

production of schematic maps which results in a graphically stylised end

product which is ready for immediate print.

The following text gives an overview of how schematic maps have evolved,

some of the historical issues encountered, good and bad design practice,

how and why they work and a detailed case study of the Spider Map

Network (SMN) product developed by STPTE and T-Kartor.

In m

odern terms the sc

hema

tic

map

or s

pide

r ma

p em

erge

d pu

blically in the earl

y 19

30s

wit

h th

e cr

eati

on o

f Ha

rry

Beck

s instantly recog

nisa

ble

Lond

on T

ube

map

How public transport schematicshave developed

Modern history - BeckSimplifi ed maps have existed for thousands of years and these early

schemas often denoted the allocation and type of land, its use and extent. A

great example of this are the carved abstracted versions of the Greenland

coastlines (below centre), crafted out of wood by native Greenlanders as

a generalised reference for use when fi shing, within the UK the Flyingdales

Stones discovered near Whitby (below left) are widely considered to be

an early type of map and date back as far as 4000 years, designs of a similar

age can be found in Italy at the famous Bedolina carvings (below right).

In modern terms the schematic map or spider map emerged publically in

the early 1930s with the creation of Harry Backs instantly recognisable

London Underground map. Beck, a draughtsman by trade, he employed

techniques normally used in planning and drawing electrical diagrams to

rationalise the complex and busy underground rail system. Not only did

he use simplicity and rationality to solve a complex problem he set the

benchmark for the vast majority of transport network maps that have been

created hence.

His groundbreaking design was immensely and immediately popular with

the public who could now plan their journeys effi ciently and understand

the relationship of the rail routes and how they interchanged without the

distraction of a geographically explicit layout Beck sensibly retained the

river Thames as the singular geographic reference point, due to its vastness

in relationship with the city this was an understandable inclusion.

Ken Garland, Becks biographer and even Beck himself referred to the

creation as a diagram rather than a map. Despite this, over a short space

of time the method created by Beck to illustrate transport networks

became an industry standard and I would argue he had actually created

a cartographic style. The design industry seem undecided about this,

dismissive even and this is where schematic map design has always sat...

Carved stone at Flyingdales, Greenland carvings, Bedolina carvings

13

between graphic design and cartography, its a mix of graphic necessity and

geographic abstraction and that is where the uncertainty lies, schematic

maps are a paradox and perhaps this is why Beck and Garland prefer to use

the term diagram.

The paradox lies within the very essence of its purpose, the purpose is

that of navigation, yet stripped of unnecessary geographic detail and often

abstracted to accommodate readability the schematic map becomes

something unique within cartography. The preconceptions about traditional

maps and what a map should do, should be and should look like cloud the

opinion that schematisation is not cartography.

Becks style of depicting Londons public transport network soon became

an established method of map production for other cities around the

world. Once you have seen a schematic map it is hard to imagine displaying

such information in an alternative format because it is so clear.

The style has not been existed without controversy though. Beck

himself had a continually acrimonious relationship with London

Transport that reached a height of threatened legal action due to a

breakdown in communication which was seemingly the result of poor

internal communication at London Transport which was exacerbated by

management interference.

The image on the facing page shows a detail of a 2009 Transport for

London tube map, compared the the original above it has developed and

expanded over time but the infl uence of Becks creation still has a very

strong, underlying presence.

Harry Beck and his original London underground schematic map

44

4

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1

1River Thames

River Thames

A

B

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1 2 3 4 5 6 7 8 9

1 2 3 4 5 76 8 9

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B

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F

A

Transport for London 03.09

Key to lines - check before you travel

Central

Bakerloo

Circle Cannon Street open until 2100 Mondays to Fridays.Open Saturdays 0730 to 1930. Closed Sundays.Blackfriars Underground station is closed until late 2011

District

Jubilee

Hammersmith& City

No service Whitechapel - Barking early morning or late eveningMondays to Saturdays or all day Sundays.

Metropolitan For Chesham change at Chalfont & Latimer on most trains.

No special arrangements.

No special arrangements.

Victoria

Northern

DLR

OvergroundEast LondonWaterloo & City Mondays - Fridays 0615 - 2148. Saturdays 0800 - 1830. Closed Sundays and public holidays.

Piccadilly

There is step free interchange between Canary Wharf Underground and DLR stations and Heron Quays DLR station at street level.

No special arrangements.

No special arrangements.

No service Uxbridge - Rayners Lane in the early mornings. Heathrow Terminal 4 station openMondays to Saturdays until 2345 only. Sundays until 2315. Trains via Terminal 4 may stop there for upto 8 minutes before continuing to Terminals 1, 2, 3. Turnham Green is served by Piccadilly line trains early mornings and late evenings.Avoid the crowds at Covent Garden station by taking a short walk there from nearby Holborn(9 minutes), Leicester Square (6 minutes) or Charing Cross (11 minutes walk). Hounslow West is step-free for wheelchair users only.

Cannon Street open until 2100 Mondays to Fridays. Open Saturdays 0730 to 1930. Closed Sundays. Earls Court - Kensington (Olympia) 0700 to 2345 Mondays to Saturdays, 0800 to 2345 Sundays. Turnham Green is also served by Piccadilly line trains early mornings and late evenings.Blackfriars Underground station is closed until late 2011

Key to symbols Explanation of zones

Connections with riverboat services

Location of Airport

Interchange with National Rail services to airport

Replacement bus service

Connection with Tramlink

Interchange stations

1

3

45

6

2

7

8

9

Station in both zones

Station in both zones

Station in both zones

Step-free access from theplatform to the street

Connections with National Rail

Station in Zone 9

Station in Zone 6

Station in Zone 5

Station in Zone 3Station in Zone 2

Station in Zone 1

Station in Zone 4

Station in Zone 8

Station in Zone 7

Improvement works may affect your journey, particularly at weekends.Check before you travel; look for publicity at stations, visit tfl.gov.uk/check or call 020 7222 1234

The service between Woodford - Hainault operates until approximately 2400. There is major escalator work atBank and Monument stations. Please see information below.

The East London line is closed. Use replacement buses or alternative Tube, bus and DLR routes via zone 2.

Except during weekday peak hours, all trains to/from Morden run via Bank - for the Charing Crossbranch, change at Kennington. For journeys to and from Mill Hill East at off-peak times,change at Finchley Central.On Sundays between 1300 and 1700, Camden Town is open for interchange and exit only.There is major escalator work at Bank and Monument stations. Please see information below.

Major escalator work is taking place at Bank and Monument stations. Avoid interchange between lines or use nearby alternative stations wherever possible. Please check before you travel.

HarringayGreen Lanes

ELW

ELW

ELC

ELC

KingGeorge V

381/N381

East London line is closed for major line extension work to become part of the London Overground network

Bermondsey

SouthwarkWaterloo East

Moor Park

NorthwoodNorthwoodHills

Eastcote North Harrow

Maida Vale

Queens ParkKensal Green

Neasden

Dollis Hill

Willesden GreenKilburn

West Hampstead

Swiss CottageSt. Johns Wood

Finchley Road

Amersham

Ruislip Manor

Chorleywood

Rickmansworth

Watford

Croxley

Harrow-on-the-Hill

PrestonRoad

Hillingdon Ruislip

Rayners LaneWest Harrow Northwick

ParkWembley

Park

Ealing Common

EalingBroadway

GreatPortland

StreetBakerStreet

Moorgate

Aldgate

EustonSquare

ActonTown

WestActon

EastActon

StamfordBrook

RavenscourtPark

Hammersmith

WestKensington

West Brompton

Parsons Green

Putney Bridge

Wimbledon Park

Southfields

East Putney

Wimbledon

VictoriaSouthKensington

GloucesterRoad

Embankment

Blackfriars

MansionHouse

Temple

CannonStreet

Bank

Monument

BaronsCourt

Fenchurch Street

TowerHill

AldgateEast

Stepney Green

Mile End

BowRoadBow Church

Bromley-by-Bow

Plaistow

UptonPark

East Ham

Becontree

DagenhamHeathway

Elm Park

Upney

DagenhamEast

Hornchurch

UpminsterBridge

Upminster

High StreetKensington

NottingHill Gate

Bayswater

Kensal Rise Brondesbury CaledonianRoad &

Barnsbury

EdgwareRoad

St. JamessPark

SloaneSquare

Westminster

Barking

Latimer Road

WestbournePark

Ladbroke Grove

Finchley Road& Frognal

Royal Oak

Goldhawk Road

Wood Lane

West Ruislip

Greenford

RuislipGardens

SouthRuislip

Northolt

HangerLane

Perivale

WhiteCity

NorthActon

KilburnHigh Road

SouthHampstead

Paddington

Paddington

ChanceryLane

BethnalGreen

BondStreet

OxfordCircus

TottenhamCourt Road

St. PaulsMarbleArch

Queensway

LancasterGate

SouthTottenham

LeytonMidland Road

WalthamstowQueens Road

Stratford

WansteadPark

Leyton

Leytonstone

Snaresbrook

SouthWoodford

Epping

Theydon Bois

DebdenLoughton

Buckhurst Hill

Redbridge

ChigwellRodingValley

Fairlop

Barkingside

Newbury Park

Wanstead GantsHill

Knightsbridge

Hyde ParkCorner

Green Park

PiccadillyCircus

LeicesterSquare

RussellSquare

Caledonian Road

HackneyWick

HollowayRoad

CrouchHill

Arsenal

Manor House

Turnpike LaneWood Green

Bounds Green

Arnos Grove

Southgate

Cockfosters

Uxbridge Ickenham

Waterloo

Colliers Wood

MordenSouth Wimbledon

Tooting Bec

Clapham South

Balham

Clapham Common

Tooting Broadway

Stockwell

Oval

Kennington

Borough

Old Street

Angel

GoodgeStreet

Euston

MorningtonCrescent

Camden Town

Chalk Farm

Regents Park

Belsize Park

HampsteadHampstead

Heath

Canonbury

GospelOak

HackneyCentral

DalstonKingsland

Homerton

KentishTown West

CamdenRoad

Colindale

Edgware

BurntOak

Totteridge & Whetstone

Woodside Park

West Finchley

East Finchley

High Barnet

Highgate

Archway

Tufnell Park UpperHolloway

KentishTown

CanadaWater

Canary Wharf

Canary Wharf

Elverson Road

Deptford Bridge

Kenton

Stanmore

Canons Park

Queensbury

Watford High Street

Kingsbury

South KentonNorth Wembley

Wembley CentralStonebridge Park

HarlesdenWillesden Junction

Kilburn ParkWarwick Avenue

EdgwareRoad

BrondesburyPark

Marylebone

LambethNorth

Elephant & Castle

CharingCross

BlackhorseRoadSeven Sisters

WalthamstowCentral

TottenhamHale

FinsburyPark

Highbury & Islington

Pimlico

Brixton

Wapping

New CrossVauxhall

Limehouse

Westferry

Devons Road

PuddingMill Lane

WestIndia Quay

Cutty Sarkfor Maritime Greenwich

Greenwich

Lewisham

Blackwall

EastIndia

West Ham

Warren Street

All Saints

Heron QuaysSouth Quay

MudchuteIsland Gardens

Shadwell

Gunnersbury

Richmond

Kew Gardens

Poplar

LondonBridge

100m

100m

Euston 200m

for St. Pancras International

150m

Charing Cross 100m

LiverpoolStreet

200m

200m

South Harrow

Sudbury Hill

North Ealing

Park Royal

Alperton

Sudbury Town

Holborn

London CityAirport

WestSilvertown

PontoonDock

Royal Victoria

Custom Housefor ExCeL

Prince Regent

Royal Albert

Beckton Park

CyprusGallionsReach

Beckton

Canning Town

Brent Cross

Hendon Central

Sudbury Hill Harrow(no weekend service) 150m

Watford Junction is outside Transport for London zonalarea. Special fares apply.

CrossharbourFulham Broadway

Langdon Park

ChiswickPark

LeytonstoneHigh Road

South Ealing

Osterley

NorthfieldsBoston Manor

HounslowEast

Hounslow Central

HounslowWest

Terminals1, 2, 3

HattonCross

Woodgrange Park

Harrow &Wealdstone

Hatch EndHeadstone Lane

Carpenders Park

Bushey

Watford Junction

ShepherdsBush Market

Chalfont &Latimer

Chesham

Mill Hill EastFinchley Central

Farringdon

Barbican

Kings CrossSt. Pancras

Woodford

Clapham NorthClapham High Street 100m

Shoreditch

Covent GardenLeicester Square 340m

EarlsCourt

Hainault

Grange Hill

TurnhamGreen

Whitechapel

TowerGateway

( no weekendservice)

Clapham Junction

Kensington(Olympia)

ActonCentral

SouthActon

( no weekendservice)

( no Sunday service)

Rotherhithe

Surrey Quays

New CrossGate

150m

Pinner

Terminal 4

100m

250m100m

HollandPark

Oakwood

ShepherdsBush

Terminal 5HeathrowAirport

Thameslink 200m from

WoolwichArsenal

Golders Green

Imperial Wharf

NorthGreenwichfor The O2

Underground stationclosed March 2009

until late 2011

Limited serviceCheck publicity for

information

Opening late 2009

57 888891 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 9

51 2 3 4 5 6 7 8 9

51 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 91 2 3 4 5 6 7 8 9

Watford

Totteridge & WhetstoneTotteridge & Whetstone

High BarnetHigh Barnet

Watford High Street

Watford Junction is outside Transport for London zonalarea. Special fares apply.

Watford JunctionChalfont &LatimerChesham9Chesham9

Totteridge & WhetstoneTotteridge & WhetstoneTotteridge & WhetstoneTotteridge & Whetstone

A modern day London underground map

New York Subway WarsControversy of a far more public nature befell the New York Subway map

during the 1970s that still resonates to this day. In 1972 Massimo Vignellis

Beckesque version of the New York transport system (above) was starting

to appear at stations in the city and immediately caused a stir for all the

wrong reasons.

Vignellis map is a brilliantly colourful rendition of the transport network,

it is faithfully drawn within a grid system using only 45 and 90 angles, the

background land and waterways have the same angular styling - graphically

it is a fantastic piece of information design that easily helps you plan a

journey from A to B. This is also its downfall, Alex Mindlin explained on the

New York Times website on September 3rd 2006 that the map defi antly

ignored the citys geography (Mindlin, A. 2006, , Win, Lose, Draw: The Great

Subway Map Wars. Available: http://www.nytimes.com) by rationalising

elements New Yorkers were used to using as geographic reference points

on previous maps, essentially it was too radical a departure to palate for

most seasoned users. Vignelli defi antly points out in the same article that

you want to go from Point A to Point B period. The only thing you are

interested in is the spaghetti. The map is perhaps an interesting testament

to the potential of user testing and market research within the design

process, it seems the local transit authority did little of this hence the

Vignelli iteration lasted for only 7 years. Too often, products of this kind are

not produced with the end user in mind but with perceived anticipation of

A detail of Massimo Vignellis 1972 New York Subway map

what the end user will require. Of course not everyone will want the same

from a product and likewise not all will use it in the same way but asking

and experiencing how the public may use such designs gives a good insight

into the level of consideration and compromise required.

John Tauranacs 1979 map replaced Massimo Vignellis piece and more

faithfully adhered to geographical principles, even more so than pre 1972

editions and was the fi rst since the 1930s to reproduce the grid of streets

New York is designed around. Features, points of interest and street names

were also included to assist the user with journey planning and the scale

helped users interpret distance and time. Further development of the

map over the years has meant the addition of more and more information

making it less readable at a glance as well as less schematic, the current

map by Michael Hertz Associates is faithful to geographic accuracy and is

the largest network in the world to do so.

A marriage of Tauranacs and Vignellis separate vision on the matter would

be an ideal solution as the map moves further towards illegibility and Eddie

Jabbours Kick Map (right) goes a long way to address this delicate balance.

Although not the offi cial NYC subway map it is nevertheless used as a

navigation tool by a section of the public, especially Apple iPhone users.

The map is available on the device and works especially well because of the

gridded, blocky design of the layout that is well suited to viewing on small

screens.

The Kick Map was created to encourage more customers onto New Yorks

underground system, to approach it with confi dence and

Eddie Jabbour

without uncertainty (Jabbour, E. 2008, , About the Kick Map. Available:

http://www.kickmap.com/about.html), the Kick Map website describes

the subterranean transportation network in the city as having a unique

complexity and this is why the map requires a somewhat unique approach.

With 26 route lines and 468 individual stations, mapping the system is not

only a vast feat but also a delicate juggling act. As the public outcry in the

70s demonstrated the design of the map and information is paramount

to the user as it needs to reflect two separate tiers of information

simultaneously the subway and the street.

This is where information design becomes an entity in its own right.

Massimo Vignelli unflinchingly designed his map as a piece of graphic design

but doing so alienated the users. His map is not a disaster in terms of

aesthetics, on the contrary it is still a far nicer looking map that the one

currently in use by the local transit authority and is easier to understand

at a glance but it simply does not go far enough in providing information.

The slavish attention to geometry (Ovenden, M. 2005, Metro Maps of the

World, Second edn, Capital Transport) is a good method in principle when

encountering a tangled mess of a network but in the case of New York,

the infrastructure though far from perfect complimented the hybridised

cartographic style of topological accuracy overlaid with schematic route

lines. Beck originally created his tube map to make better sense of the

sprawling mess that is Londons tube system, Londoners themselves tend

to mentally navigate the city in terms of the tube map rather than the

Geographers A to Z map as it is simpler.

Time will tell if the Kick Map is a success with the public, it could

comfortably replace the Hertz version as the layout is certainly less

cluttered and the balance between styles is visually agreeable. The Hertz

map though has been is use (with a few updates) from 1979 and is as

iconic to New Yorkers as Becks tube map is with Londons population.

Kick Design themselves refer to it as a hybrid concept and it succeeds in

making the best use of special awareness by subtly pulling the topographic

map into a less literal shape which in turn means the placement of the

route lines on top of the map does not result in what can be a messy

jumble as with the Hertz map but also does not result in an exercise in

mathematics like Vignellis.

A comparisson of the existing New York City map, Vignellis schematic and

the Kick Map can bee seen on the right.

VignelliHertz Jabbour

Various other NYC transit posters, signs, artifacts and artistic representations

Where it does not quite workIt isnt possible to invent a system that purely interprets data and

information into info-graphics that can be used for all types of schematic

network mapping as there is an element of uniqueness to each scenario.

New York has a very specific layout as a city that London certainly does not

and likewise smaller networks can be approached in a far more graphic-

centric way whereby the focus on geographic accuracy is less important,

the smaller the network the more diagrammatic the map. Larger networks

need specific consideration as they are by definition more complicated

and will feature interchanges, greater number of services, have multi-modal

requirements and will link several geographic areas together.

The most common public use of schematics is to illustrate public

transport networks, systems and routes. Design wise these differ greatly

in complexity and standard of execution. The 2005 version of the Mexico

City map is a good example of a schematic map that is trying to retain

its geographic origins too literally. It successfully shows routes in bright,

contrasting colours that are labelled effectively but beyond this it lacks

greatly in readability and basic graphic design execution. The main failing is

the rigid adherence to the underlying geography which isnt represented

whatsoever on the final map this would work if the map was fully

schematic but as it is not the result looks disjointed as it does not

reference any real life points. The text also lets the map down due to the

same retention of the underlying but invisible geography the space available

to sensibly position the text is limited, resulting in the station labels

appearing at a variety of angles, often within a few millimetres of each other

and the route lines.

The font is a clean and easy to read typeface but has been used only

in uppercase that makes it all less legible that it could be as all station

names at glance have the same rectangular shape and lack any individuality.

Interestingly Becks earlier tube maps also labelled all stations in upper case,

later designs used upper case for interchange and terminus stations and

title case for other stops, Beck had adopted this labelling system in his 1961

proposed version of the map that was never used by London Transport.

With accessibility now being a great consideration in the field of design,

most maps today are labelled in title case. In traditional cartography this

also enables text to be bent round roads more effectively.

A confusing detail in the Mexico City map is the interchange icon and

there are worse examples on other maps such as the existing Seoul and

old St. Petersburg maps. Where multiple lines interchange there is a circle

that is split into what should be equal portions of the amount of lines

so where two lines interchange, for example Red and Yellow the circle

has been split 50% by 50% into red and yellow. Where there are four

routes interchanging the respective colours are also split equally into 25%

pieces but there is unnecessary complication when 3 lines interchange as

instead of a 33.3% split the colours are divided 25% by 37.5% by 37.5%

and this inconsistency is exacerbated further when Line B interchanges

with another line. Line B is denoted by the two colours green and grey,

confusingly Line 8 is also green which adds to the potential to further

misinterpret the map. When Line B interchanges with another line the

interchange icon is then denoted by a split in colour of 50% by 25% by 25%,

the two 25 percentages being the green and grey of Line B, the remaining

50% the other line displayed.

On occasion, as in the Mexico City case the designers of schematic maps try

to individualise their creations too much in an effort to make a statement of

individuality. The theory that by having uniqueness, the graphic will set itself

apart from its contemporaries, however this can also be detrimental to the

design and also the purpose of the map.

Mexico City schematic map

Schematic spider maps have become embedded into our visual culture

Cultural Iconography and Personal Geography

What does a map mean?In many cases these maps not only represent the best way to navigate the

city or the easiest way to make sense of local geography they represent

the identity of the city itself and have become icons in their own right.

Becks design for the tube has become an icon of London as it is such

a recognisable graphic. This familiarity and hence trust and cognition is

perhaps why the public reacted so strongly to any radical departure of a

well established ideal as they did in New York with the Vignelli Map.

By replacing the old map with a different design the transit authority were

removing the confi dence their customers had in the original piece and

the confi dence they had in the transport system. This is where the true

power of design comes into play because changing the map also changed

the publics spatial experience and undermined their perception of place.

The transit authority went wrong by changing something unnecessarily,

there was nothing fundamentally fl awed with Vignellis map - it was just so

different as to cause shock amongst users who perhaps took the existing

map for granted.

Schematic spider maps have become embedded into our visual culture and

operate on many levels. From a semiotic point of view a map of this sort

signifi es the fact that there is a transport network present and therefore

this place is important enough to necessitate having one, so is probably a

city or similar large area. Historically schematic maps are associated with

subway or rapid transit systems usually present in urban areas. So the

mental link is made between the diagram and its context within the physical

city space.

There is also a link between the maps and an areas visual identity. Usually

the maps are part of a suite of literature, signage, posters and other

complimentary items that are single parts of a city brand. By existing

within their context, these elements are informing their users that not

only are they tools to help plan and make journeys but they are a smaller

part of a whole. What is meant by this is that having a series of graphically

designed information products with common elements within individual

entities helps to create an environment of familiarity, in branding terms this

is known as the repetition effect and it is used to establish a knowledge of

existence and thus a framework of designed information.

The map also represents human geography in terms of movement. Well

served parts of a city are likely to be those more populated or with

23

greater density of commercial activity, this can be achieved by reviewing the

amount of services and their operating frequencies. In this respect there

are a series of invisible maps within the whole design which can be split

in a number of ways. If a traveller lives in the suburb called A and only

travels to his/her office in B - that journey back and forth throughout the

week becomes its very own micro-map otherwise known as a personal

geography. In theory, this particular user could abandon the rest of the

map, just to rely on the remaining services that are pertinent to

the individual

How we travel and what we thinkOther users who rely solely on public transport will have far more varied

travel patterns and will use the map on an ad hoc basis, whereas less

frequent users would have erratic movement patterns in comparison.

Further inside human geography there is mental geography which is an

individuals internal perception of their location, surroundings and travel

patterns. The perception of London by tube travellers is quite often warped

not just because of the abstraction of the schematic map but because they

are travelling underground with only station stops as a visual reference.

Some tube stations are very close together and would not warrant a tube

journey as a short walk would suffice but travellers (many not familiar with

Londons winding streets) have to contend with several tiers of placement

within their own mental geography.

Take, for example a visitor to London who stands in a tube station foyer

about to take a journey, this user will encounter various tiers of perceptual

and abstracted geography. Primarily this tube user will have a perceived

geographic perception (Tier 1) based on what they already know that

they are in London, England - which is part of the UK in Europe - a

continent on planet earth etc. Beyond this they will have a perception of

their local surroundings if not slightly further afield this is their actual/

immediate perception (Tier 2) essentially it is what they can see and what

they know as fact.

As far as travel is concerned the user has to rely and therefore trust in

what is presented to them. They review a tube map in order to plan their

journey, the tube map being an abstraction does its job of simply reflecting

a complex network of tunnels, stations and interchanges. This gives the user

an abstract perception (Tier 3) of the city. The map is correct in informing

of the relationship between stations by tube train but has no geographic

or journey time referencing so it alludes to the fact all stations can only be

visited by rail rather than on foot. In the Final tier the user will experience

a cross between the other tiers whilst in transit. They will still be aware of

their location on a greater geographic scale minus detail as in Tier 1,

they will be experiencing Tier 2 and are simultaneously travelling

underground and in the dark, the mental geography of their journey will

be based on the interpretation of the schematic tube map and the line

of route maps in the train carriage, the user will experience an almost a

completely mental journey and visually a limited one, with just an abstract

map and station stops for reference which in fact makes the process easier.

In actuality the rails do not follow straight lines with 45 and 90 turns as

displayed on the map which is also not shown in a consistent scale. The

combined perceptions of the previous tiers create the Actual Abstract, a

cross between what is know, what is unknown and what is perceived.

Perceptions TIER NAME DESCRIPTION

1 Perceived Geo. What a user knows as fact in large scale but not in detail

2 Actual/Immediate What a user knows as fact by what they can see

3 Abstract perception What a user understands by reviewing a schematic map

Final Actual abstract What a user thinks based on Tier 1, 2 and 3

Making sense of our surroundingsSchematic spider network maps are successful for a variety of reasons,

primarily because they make sense of a complicated situation. Human

beings create maps to understand their environment and to make choices

when planning a journey. The fundamental difference between a schematic

spider map and a pure geographic map is detail, which of course is not

to be confused with clarity. Spider maps contain less visual detail than

topographical maps and stripping out the unnecessary clutter that is

superfluous to a schematic map gives the designer the ability to create

a more graphically stylised map which is why these types of maps are

created by or commissioned to design agencies, as they will probably have a

better grasp of styling and execution.

Depending on the situation differing levels of detail and information are

required but the essential component/s of the maps are the route lines

(including stops) and how they interact with one another. The user must

be able to understand the map as a whole and in detail. Understanding the

map as a whole whether consciously or not is a great aid to the user in

terms of orientation, the argument that these diagrams are actually maps

is reinforced by the elementary fact they are orientated as a traditional

map would be, with North being up and South being down etc. In general,

the areas shown on the spider maps still bear geographic relationships

with each other and the directions North, South, West and East and this

cognition on behalf of the user is the starting point to understanding and

using the map.

Beyond the map as a singular entity there can be many components that

make up the ensemble piece and these have varying degrees of relationship

with one another. Furthermore they will most likely have relationships

outside of the map with for example an accompanying data table or legend.

Take for instance the text on a spider map, ideally it would not be present

on any plane but the horizontal for legibility purposes, it is necessary the

font used is an important consideration and is used to name stops in title

case and not upper case as discussed.

In depthThe illustration shown here is of a Component Relationship Model, this

model contains all the elements present on a spider map product (map,

data table and branding elements in the form of a poster) for South

Yorkshire Passenger Transport Executive (SYPTE) and shows how they

relate and interact with one another. It helps not only to understand the

construction of an information tool by disseminating it into its component

parts but also it highlights the importance of each component by the

amount of times it relates to another.

William Owens essay Beyond the Horizon from the book Mapping Graphic

Navigational Systems (Fawcett-Tang, R. & Owen, W. 2008, Mapping graphic

navigational systems, Rotovision) details cartography as having an arsenal

of iconographic, geometric, linguistic and formal conventions he elaborates

by describing the six sign systems present within maps and these are:

Icons, Text, Matapattern, Choropleth, Network, Point

Icons and Text are used to describe attributes and detail, Metapatterns

are elements that appear multiple times within maps and will define the

relationships of area (eg fields), Choropleth (AKA the matrix) denotes

borders and boundaries, Network defines movement structure such as

transport or telecommunication and Point shows the positioning of specific

items such as a church or an interchange.

Identifying these systems is paramount in establishing a consistent approach

to the design of spatial graphics, understanding maps on this level helps

designers and cartographers take a coherent and structured approach to

their work. It also strengthens the opinion that schematic spider diagrams

are indeed maps too as they follow the same underlying themes.

Lines Rout

es Colours Modes Angles Text Terminus Off map pointers (OMP) Stops Intersections P

oints of Interest (PO

I) Times Frequencies D

estination Table Service Table Header Footer Mode Identification Scaleba

r Walki

ng Cir

cle O

rienta

tion

Urb

an/S

ubur

ban

Are

as

Key

P

lans

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ard/

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mes

D

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ap

Different approaches for different mapsA good map will work because it has been well designed and executed,

because it follows rules and conventions and even because its creator has

been prepared to be fl exible in compromising exact detail for legibility. This

of course depends on the use of the map, military maps require fi nite and

exact detail whereas mapping social geography will entail interpretation and

an amount of graphics work. The network element of a map exists to tell a

story of movement, there are in most cases underlying infrastructures such

as a drainage system of pipes, some rail lines or a roads but there are also

the non-static entities that rely on the infrastructure water in the pipes,

trams on the rail, coaches on the road. It is the sense-making of these

non-static entities that really encompasses the essence of a schematic

spider map.

Bus maps in particular are oddities to this concept as although they travel

on a static infrastructure their movement is not purely defi ned by the

constraints of the structure itself. Schematization of a bus network is

approached in one of three ways:

1. topological schematization

2. partial schematization

3. total schematization

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ThryberghDoncaster Road

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WalesSchool Road

Kiveton ParkStation Road

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MexboroughRail Station

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23.23A42.179.197199.370

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380

344342

322

380.380.381.381.383

11.44.371

310.312.371

11.309

terminating:

173.192.394also calling:307.308.375390

108.192.199.307308 .360 .390 391.392.393.394.TP

67.307.308.358.383.384

62.62A.303304.305.306

terminating:

377.X57also calling:390

23.23A42.42A

171194

X57370

195196

142

7.42A.178

199

309.374

310

310

312

312

177

177

393.TP

199.360108.192

199.307

307 .308360 .375

390.391392.393

108.192.199

392.393

375.391.392

394.TP

393.TP

206304

99101

104105

109X2

108

344

380381

380381

380381

380381

346

346

239341

239341

23.23A.42 197.370

145

AS

AS

AS

ASAS

AS

X69

177

196195

44

X69

X57.X

69

X69

X69

X69

X69

168.16

9.197

371195 196

67.108

108.192

44

4444

393

393

393

TP

375

375

108

6164

61

6162

62

62A

62A

64

389

389

389

389

389

389 389

389

389

60

60

60

60

60

603

3

3

3

3

3

6164

199TP

67

606164

to Whaley Bridge, then3 to Kettleshulme

60.64 to Macclesfield61.199 to Buxton3 to Kettleshulme

145 .X57

178

368

turn here

308 .360

375.383.384

67.358

195.196.368369.AS.X69

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