1. PERCEPTION & MAP DESIGN Ntshate Athenkosi 216032865 Gregory Crichton 216141222

2. INTRODUCTION Maps are representations of reality as described through the map maker for map user Each party has a different perspective Maps display the map maker’s objective Narrowed down from an initial idea Multiple, often conflicting, objectives are needed To portray the objective clearly, maps must be legible Modern amps are shaped by traditions used as guidelines Maps that stray from these guidelines are often of poor quality

3. INTRODUCTION The initial planning of the map involves taking reality, creating an image from the map makers perspective, moulding this image through methods and generalisation to form a map that allows the user to create an image from reading and analysing the map (Robinson et al,1955 and ESRI,2016) This explains where the different perceptions of reality from the two parties come into play. The relationship between map making and map use

4. INTRODUCTION http://gis.depaul.edu/shwang/teaching/geog258/lec2.htm

5. INTRODUCTION Perceptions Map Maker Objectives of a map Scale Large Small generalisation Map User Legibility Distinction Design Rules of graphic representation Elements of a map Map Projections Understanding data Final product Legible Generalised Repeatable Method evident Clear explanation of symbols Boden (2009) Robinson et al (1955) and ESRI (2016)

6. OUTCOMES To understand the thought process to creating a map Understand the scientific method and artistic creativity behind map design Walk through the traditions and conventions of a good quality map Understand the difference between maker and user perceptions

7. MAP MAKER The design process begins with an idea (ESRI, 2015) An idea of what area needs to be mapped, and what data must be represented Through objectives the data is narrowed down so that the map can display the map makers idea This is down through generalisation, projection and symbolising data. Robinson et al (1955) identifies 3 stages

8. STAGE 1 This can be seen as the “what section” What will be mapped What data will be needed What information is available What will be needed What Scale will be used This step is the planning phase. Determining the objectives for the map. Key factors of this step is creative freedom and imaginative brain storming

9. STAGE 2 This can be the first part of the “how” of map design How will the data be captured How will the data be represented How will the symbols be determined Point Line Area This phase of design is centred around creating a graphic plan to represent the data, how to portray the area while following the set objectives Most of the work is done in this stage

10. STAGE 3 This can be seen as the second part of the “how” stage How the different layers and categories of data will be set aside from one another How will the symbols be defined Size Shape Pattern Hue Value Elements of the map This is the finalising stage. Sorting out the final details and display of the map

11. PERCEPTIONS OF MAPS Perception plays a major role for interpretation or extracting information from remote sensing data and from thematic maps. Is a partly mental, partly physical process in which maps are conceived and created (a verb),The word design can also be a noun. A map can have a particular design, but design in this sense is only the end result of the design process, while each of the various models may differ in their level of complexity, they all seem to rely on the same basic parts: the real world phenomenon, the cartographer’s conception of the phenomenon, the design and symbolization of a map based on the cartographer’s conception, and the reader’s perception and interpretation of the resulting map.

12. STEPS TO COGNITIVE DESIGN  Cartographic design can be seen a process combining aesthetics with data to represent reality 1.Conceptualization of the map 2.Visualization of the map 3.Construction of the map 4.A partly mental, partly physical process

13. 1.CONCEPTUALIZATION OF THE MAP Robinson (1955) describes two schools of thought that have emerged with the Behaviorist view Focuses more on determining which mapping techniques are most effective, and the reason why they are effective. Cognitive View focuses on why certain techniques which are effective by applying knowledge structures to the ways that people perceive maps.

14. PRE-CONCEPTION Map design starts with an idea on how to graphically represent reality This initial idea, before any research is carried out, will be based on the map maker’s preconception of the area in question. Moving to a new city and not realising how large/small it is Jenks (1973) uses a map to represent a preconceived map of the roads of North Carolina with relation to nearby settlements Preconceptions use the knowledge as well as the creativity of the map maker to produce a rough draft

15. Road Perception by George Jenks (1973)

16. Cognitive map-design research has the goal of understanding human cognition in order to improve the design and use of maps. The term aesthetics derives from the Greek word, which means perception (Punia,2008). The focus of cartography has been centred on visualisation. Creating a visual image that depicts reality. Punia (2008;585) describes cartography as a metal process that is facilitated by maps

17. IMPACT ON VISUALIZATION aesthetics for making Functionality Expression In cartography, the final product is a map. Similar to completed paintings and structures Where as design and aesthetics go together in various processes and the intent of the product, but differ in method and general applicability. Take an example of the design of a thematic map. Attract attention only to the details that are significant in the subsequent images

18. USE OF PERCEPTUAL PROPERTIES IN VISUALIZATION

20. CONCLUSION Maps use graphic representation and creativity to create general representations of reality, attempting to align the map maker’s image with the map user’s through clearly defined objectives. The symbols on a map allow for users to create an image of the area in questions, therefore proven traditions and guidelines must be followed in order for an accurate image to be drawn.

21. REFERENCES Arnheim, R. 1954. Art and visual perception: A psychology of the creative eye. Berkeley, California: University of California Press. Borden, D., Togurson, J. and Hodler, T. 2009. Cartography: Thematic Map Design, Sixth Edition, 207-222.Boston MA:WCB-McGraw Hill. Robinson, H., Joel. L., Morrison, C. Muehrcke, A., Kimerling,J. and Guptill, S. 1995. Elements of Cartography,Fifth Edition, 324-330. New York City, NY: John Wiley & Sons,Inc. Jenks, G. 1967. The data model concept in statistical mapping. International Yearbook of cartography. Vol.7 no. 1. pp. 186-190 Punia, M. 2008. Cartographic Visualisation and Landscape Modeling. The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences. Vol. 37 no. 4. pp. 585-590