00:01My name is Makram Murad-al-shaikh and I will be presenting this workshop for you on cartography.

00:12Can you change that to the presentation until they [unintelligible].

00:18[inaudible]

00:21The one that the ...

00:22[inaudible]

00:25No, not this one. This one, yeah, this one, yeah.

00:32I studied engineering way back when I was studying my bachelor's degree, and I kind of liked maps all the time...

00:42...so when time came and I was still in Baghdad teaching in the higher education system...

00:49...I decided to change course.

00:51So, I went to the University in Wisconsin and did my master's degree in cartography and science in Wisconsin...

01:01...and I studied under all these big names of cartography, like Morrison and Robinson, if you have...

01:09...heard of the Robinson projection.

01:11I met the guy and I invited him for dinner, Iraqi dinner, at home.

01:16My wife was with me, this is why I could invite people.

01:20And then they asked me what do I want to do in lieu of a thesis, if you want to do non-thesis options...

01:30...and I said, well, I want to do it in remote sensing, so I did that.

01:34And while I was there in 1982, I was two years old, and this is when they...there was a course called...

01:42...Problems in Cartography, and they would change the topic each year.

01:46And this year, that year was in GIS.

01:49And I thought, well, let's take it, because I have to take it anyway.

01:53So, I took that course and I thought, that is what I want to do, maybe in the future.

01:58Unfortunately, I was forced to go back to Iraq to enjoy two more wars.

02:06The end of the war of Iran and the Gulf War, and after that I left the country and in 1992...

02:13...I came to the United States and in 1993 I was employed by Esri.

02:19Not ESRI, Esri.

02:21Now I have to get used to it. And I've been teaching since then, all different courses.

02:27I don't teach only cartography, but I wrote the cartography course, the original cartography course.

02:33And I also teach GIS cartography courses in local colleges and universities since 1996.

02:42Let me...Jorge, would you like to speak, something, just a few words.

02:48He has been an instructor too.

02:51Just in case something happens to me, at least you know that he has credentials, too.

02:59Okay. I don't have a microphone.

03:03They're going to...Yeah, just shout!

03:05I don't need a microphone.

03:08Only the cartographer needs a microphone. I'm a geographer. [inaudible] ....I'm just here helping Makram...

03:19and we work together and we love maps, and I hope we can have a good time through this presentation and [inaudible]...

03:31...for many years following the path of teaching GIS and making maps...

03:39...and trying to make the best maps that we can use to communicate, and useful maps with GIS, not...

03:47...beautiful maps for your walls...at...home and use it as...oh, look at this!

03:56I've spent thousands of dollars to build this beautiful map.

04:01We want to use maps in the field and anywhere.

04:05You'll see. We have been principled to tell you...Okay.

04:09Thank you, Jorge. This is another guy with an accent, like me.

04:13I studied under the American Jesuits from New England in Baghdad, nine years with them, high school and university.

04:19Anyway, so this is what we're going to tell you today.

04:23Since we have two screens and I can only point to one, anyone can tell me if they can see the red dot if I don't shake it.

04:36And so sometimes I will be entertaining you, and sometimes I will be entertaining you guys.

04:43So this is what I'm going to tell you about, we will define cartography for you and thank you for...

04:48...coming all of you, for this session.

04:51Cutting yourself from software and coming to learn about cartography which has nothing to do with the software.

04:57Well, yes it does.

04:58I will point to some things that are related to the software and since I hope there will be no meetings in this room...

05:07...I can extend it as I please, and if you like to stay.

05:11There's nothing else to do after that, I guess.

05:14So, I will define cartography, talk about the communication channel, and why maps fail.

05:22And talk about the objectives and limitations that are affecting the design, and talk about cartographic design issues...

05:31...and how you would abuse GIS cartography.

05:36Not to abuse, I mean.

05:38So, what is cartography?

05:40Different resources would define it differently.

05:44In the International Cartographic Association, they would define it as the art, science, and technology of making maps.

05:55And notice the word "art" is not in red, which means it's okay to have beautiful maps but it is not the main objective...

06:03...of why you should create a map, because you can always be an artist and do whatever you want but whether...

06:09...the art will be useful or not, it's a different issue, and that's what I am trying to preach in this entire workshop here.

06:21Some would define it as making maps and some of them would define it as presentation, but my main...

06:27...word here is "use."

06:29It is about use. It is not about you creating the map, it is how the 10,000 people who are going to read your map...

06:38...whether they are going to make use of that map or not, and this is what you should be always having in mind...

06:44...when you're creating any map.

06:47So I am here to sitting somewhere on my desk.

06:52I am a cartographer, I am a map specialist, I am a GIS specialist, I am not that fat!

07:04I could be a CAD specialist, and I would be compiling data from different sources in reality.

07:11It could be images from space, it could be images from, or photos from low altitude, high altitude...

07:20...photography, could be from maps that I have collected, and I could also have lived in the place.

07:26And sit down here, and based on the objective of why am I creating the map, I would recognize...

07:35...that objective and recognize all that data, and select from it what is relevant to my objective...

07:46...and then classify, simplify my selection, and then finally put some symbols on it, or representing it...

07:56...on a piece of paper or maybe on the screen, and give it to my users who are sitting or standing there...

08:03...with a map and reading, analyzing, and interpreting what I have placed.

08:09So , this is similar to when I give you directions to my house.

08:13I will say, okay, you exit on this highway, you exit on exit 16, turn right on this street...

08:23...turn left after the second traffic light, turn left and turn right and so on, until I get you to the place.

08:33However, I selectively did not tell you, after each one of these rights and lefts, what do you see on the right...

08:40...and what do you see on the left?

08:42I selectively did not.

08:44I did not tell you that there's a red building on the corner where you're going to turn right on.

08:51So this is the same thing we're doing with our maps; we're actually looking at all that data that we have collected...

08:57...and we only select what we think it is relevant to the objective of the map, and then put it on that piece of paper.

09:05And these people are going to look at my two-dimensional symbols, and they would extrude a vertical height...

09:17...or elevation of these buildings or these, whatever symbols, a tree that I put for them.

09:22And it depends on their conception of reality whether they are going to...they would put their...

09:30...own windows and doors on these buildings, and also they will change it maybe to not only a rectangular one...

09:38...but how the architect would like it to be with all these crooked inside, in and out of the edges of the buildings.

09:47So they can do whatever they want.

09:48It's not under my control anymore.

09:51I gave them the map, that's it.

09:53And they are going to create a mental image of that reality.

09:59Same thing as we are trying to create the mental image of the reality as I am trying to describe to you...

10:06...where...how to come to my place.

10:10So whatever I give you, or I give that map reader in my map, is going to affect how this person is...

10:22...going to reconstruct that image of reality in their minds...

10:26...and how useful would that map would be to them.

10:31So what is cartographic design?

10:33It is a complex task.

10:35On your screen display, you have three light guns.

10:40One for the green, one for the blue, and one for the red.

10:44Each one has 256 different shades.

10:46If you multiply this by simple math, this is like 16.7 million colors that you have to choose from.

10:57That's a lot to choose.

10:58It's like you're finishing high school in the United States and you don't know what to do.

11:03You're going to school.

11:04You want to go to study.

11:06You've got millions of different disciplines that you can go to and apply to.

11:11It's very confusing.

11:13Same thing as with maps.

11:15There's so many symbols that you can create.

11:18Each line can be a full line, can be a dashed line, can be a dotted line, can be a dash and a dot, a dash and a circle...

11:25...and a dash and a plus.

11:27Millions of combinations and you have to choose from what to choose from.

11:30So, it's a complex task.

11:33It's a highly creative mental activity.

11:35You have a specialization. You're a geologist, you're a geomorphologist, you're a hydrologist, you're a city planner.

11:43You're an environmentalist and you have your own discipline.

11:45You have all the specialty that you need to work in.

11:50And then you have collected all this data, and then you came to my presentation here, and you've learned all that...

11:57...thing, and you're going to collect all this kind of information and put it in your map.

12:03So, it is a complex type of a task, and it is highly creative.

12:08You're thinking about how you place things in the map and what to put and how to color it, and so on.

12:14You're using concepts of communication.

12:17You're communicating with your graphics.

12:19You're actually thinking in visual terms.

12:22You're trying to create some hierarchy in your symbology, like larger symbols for more important type of information...

12:29...quantitatively, and less important would be a smaller size, and so on.

12:35And all this, all these four things, are pointing towards creating a useful map.

12:42You want the end person who is going to use it, is going to make use of it.

12:48What are, then, cartographic objectives?

12:52There are two types - one is called the map objectives, and the other one is design objectives.

12:57The map objectives, why am I creating the map in the first place?

13:01I have to ask myself, well, I could be highlighting some spatial relationships; I could be illustrating some analysis...

13:09...results that I have worked for two weeks on and now I am trying to present it; I want to convey some information...

13:17...and, finally, I want to have some easier comprehension of this complex type of events that are happening around us...

13:25...and I am presenting it with this piece of paper or this display.

13:30Now, how do you do that, is what the design objectives are.

13:34So I am going to take what I have, what I want to create and assign some meaningful symbology to whatever...

13:45...I want to create, and basically I am trying to fulfill these map objectives and ensure some truthful...

13:54...depiction of reality. A meandering rivers should be meandering no matter what scale of map you're using...

14:02...if it's a large scale or small scale, so it continues to be meandering.

14:05So it's a truthful representation of reality.

14:09And you want to fulfill some communication objective.

14:13Communication objective is actually, what are you trying to create?

14:18Which type of maps?

14:20And one of them would be a general map, and a second one would be a thematic map.

14:24A general map meaning that you have no bias toward any discipline, like topographic map is being created...

14:33...for many different disciplines.

14:35You do not want to be biased to any discipline, and therefore your symbology will have a variety of information...

14:42...but your symbology will be of equal importance.

14:46And therefore, your symbology should be subtle, which means no dark colors, no large objects...

14:54...so that you do not attract attention to something that you do not want to attract attention to...

15:00...because basically you're not biased.

15:04But, in thematic maps, you are actually focusing your design on specific things.

15:13Like, for instance, you want to create, in terms of qualitative thematic maps, you want to create a soil map...

15:21...so you are biased towards the soil society or discipline.

15:26And it is qualitative because, what you are trying to do is to just identify which soils they are.

15:34You are not saying that this soil is more important than the others.

15:38So, basically, all your soils are equally important, and therefore your symbology should also reflect that.

15:45You should not use dark or light in that kind of map.

15:50All of them should be of subtle type of symbology.

15:54In terms of quantitative, yes, I want to make some large and some small, because I am depicting quantity.

16:02So there are some places where there are more population and there are more places that are less population...

16:08...and therefore my large or small symbol would indicate that.

16:13The size would be the type of quality or property that you want to establish in this map.

16:23You can turn a soil map from qualitative to quantitative by saying, okay, I want to accentuate this map...

16:32...by some color, indicating that this soil is more fertile for corn production.

16:39In this case you are being biased now toward the other soil types that are nonproductive for the corn...

16:48...and so you want to make it darker or maybe you want to show it in a different color.

16:56Like, for instance, red, which comes to your eyes in a higher visual level than green or than blue...

17:04...because of the wavelength, and how our eyes and retina would react to the longer wavelength first...

17:12...which is red, and the shorter wavelength next.

17:18So, next thing you want to think about, which projection should I use?

17:24Well, I am licensed to say that there is no projection on earth that is correct.

17:30And for those of you who have been attending the previous session, you already discovered that.

17:35There are some distortions, and these distortions can be either in shape or area or distance or direction.

17:45You cannot maintain all these four properties in one map.

17:51You can maintain it on the earth's surface, and you can do nothing about it, because this is how it is.

17:57But when you turn it into a two-dimensional piece of paper, this is when projection is going to be used...

18:04...and this is when you have to do away with at least one or even two or even three of these properties, and just keep one.

18:14For instance, you maintain only, you preserve only area.

18:19This is what is called an equal area projection.

18:22This is what you should be using maybe in a population density map, where you want to compare data...

18:29...based on density; in this case, it has to be an equal area projection.

18:37And there are three different types of projections, by geometry, it's cylindrical, conical and azimuthal.

18:46These are the developing surface that you would be actually using to project all the earth's surface - the different objects...

18:58...on the earth's surface into the inside and to the underside of these different developing shapes...

19:03...and then you would cut it open and then you flatten it, then this is what is called a projection.

19:11This is basically a very simple way of explaining projections, but it is more involved because...

19:19...it has a lot of mathematics.

19:21In the good old days when I was studying cartography, I had to sit down and calculate by a calculator - yeah, there...

19:33...was some calculators in my age. At that time, I was studying.

19:37So I had to calculate every coordinate and then grow it myself.

19:43Now you have a push of a button to pick up a projection.

19:47You are more lucky than I was when I was studying projections.

19:54Now, how much detail should I include in my map?

19:58Well, it depends on what scale are you using.

20:02If you are creating a large-scale map for the city where you want to have every tree should be taken care of...

20:12...in the map, this is a very large-scale map.

20:15Normally the engineers would love that.

20:22And it is important because they are going to run the pipes, and they want to know not only the location of the trees...

20:30...but what type of roots.

20:33Do they grow downward, or they spread horizontally, and you want to be away from the roots when they...

20:40...grow horizontally, so that you lay the pipe and you don't have a lot of maintenance to do on your pipes...

20:46...so you need a large-scale map.

20:48But if you're trying to develop, you're a city developer, and you'd like to see how the city is expanding in the year...

20:59...maybe, 2020 and 2030, then you don't care about the individual trees anymore.

21:07You are now looking at a smaller-scale map where you are going to get rid of a lot of details...

21:14...and this is what generalization is all about, and then you are going to look at the general picture of the larger extent.

21:22This is why you go from a large scale to a small scale, because you're not interested in local details...

21:29...you're more interested in larger extent.

21:32So, you would be using generalization, and these are the different types of generalizations...

21:38...or things that you could do, so you could omit.

21:44Omitting, meaning there are these four different larger rectangles and there are some small ones.

21:53You keep the larger rectangles and you get rid of the smaller ones.

21:57Of course, engineers and surveyors will hate you for that, but this is life.

22:02You are looking at a smaller scale.

22:04So you're not interested in that detail; this is okay.

22:07Don't give your map at a small scale to the engineer or to the surveyor, basically.

22:13So, in terms of the river systems, also all these different smaller tributaries...

22:21...can be just deleted.

22:24You can aggregate, so you have several different locations of points, and instead of representing them as points...

22:32...say, they are trees, instead of showing them as point features, you can create a polygon aggregating...

22:39...them into a zone of trees, which is called a forest.

22:44And then you would specify in your database a polygon instead of a point.

22:51You can also collapse.

22:53You are looking...this generalization is happening into two types of...most of the generalization is happening...

23:02...when you are going from large scale to small scale, but also you can do it at the same scale...

23:08...but for another purpose, you do not want too much detail and you can get rid of things.

23:13But, most of the things are happening at a small scale.

23:15So at a small scale, a thin river, which is presented as a polygon here, can be collapsed into a line, which you can.

23:27You don't need the polygons, you will go into a line.

23:30At the larger scale, you have digitized all your streets as polygons.

23:37But what if you wanted to do network analysis?

23:41You cannot do network analysis with polygons.

23:44You have to collapse them into lines, centerlines, and then do the analysis on the lines, instead.

23:50And so we have simplified it.

23:52There's a lot of vertices here in the lines, and also there are many different pieces of information for the buildings.

24:00I can generalize it, I simplify it with lesser, maybe lesser meandering here - still meandering...

24:05But if you're not, then this is image flattening that you...

24:07...but lesser meandering than what it was.

24:09And also in terms of the buildings.

24:11I can also displace - displace, that means I can move a feature away from its position.

24:19Don't tell your surveyors you did that.

24:23You can do that because you are trying to create an easier-to-read map.

24:30There are two lines that are very close, and you want to show them as they are separate.

24:36As you go to a smaller scale, these two lines are going to really combine and become one.

24:42So what you have, you have the cartographic license to spread them apart.

24:50Now here's the deal.

24:51Instead of telling the surveyors I did that, you tell them, I'm going to use cartographic representation and then...

25:00...I'm going to graphically move these apart, but the geometry range is the same.

25:06This way, everybody's happy.

25:08But you have to learn cartographic representation.

25:11This is why you need to go to a cartography course.

25:14Or maybe ask downstairs tomorrow about cartographic representation.

25:19You could typify.

25:21So I've got these two, four, six buildings in here.

25:24I typify it with three buildings.

25:27I want to show there are buildings, but I don't want to show every single building.

25:30I am going to a small scale. This will be too crowded, so I just typify it with three.

25:34I should also refine.

25:36So instead of having this particular jagged line, which happens to be somebody who has done very crooked...

25:45...or maybe very fast digitizing, I could refine it by maybe curving those lines a little bit.

25:53But what I'm doing actually, I'm deceiving the map reader.

25:56Anytime you make changes like these, please don't tell them Makram told me this.

26:00You have three different types of clay soils at the larger scale.

26:03Tell them, with a small line underneath, that I have moved things away from location for clarity.

26:13Be frank so that people will actually always believe you, that you're not cheating.

26:19You can tell them that you have also added some vertices to these to make it nicer, look nicer.

26:25So tell them this. Not too tiny, like the advertising in the credit cards.

26:33They show too-tiny text.

26:36Legible enough to read, but not too overwhelming on the map.

26:42Classifying.

26:47At the smaller scale, you just want to tell them that this is clay.

26:50You don't care about montmorillonite or illite or calamite for those guys and the geologists...

26:59...that are sitting here in the audience.

27:01You just tell them, I want this area to be named as plate...

27:05...and that's enough for me at the smaller scale.

27:07I'm not interested in details.

27:09An exaggeration.

27:10This is when you are increasing the thickness of the line beyond what the scale allows you to.

27:16So I want a 10-meter-wide road at a scale of 1 to a million would be .01 millimeter.

27:28There's no such pen in the industry that can grow .01.

27:32The smallest is the .1, which is equivalent to the triple-zero [unintelligible] pens.

27:39And that's the smallest it can go.

27:40Well, the microfilming industry can go to .08.

27:46But you still, this is .01.

27:48But .01 is a very thin line.

27:50But you want to make sure that it looks, people would find it.

27:55Remember, it's all about the user, it's all about the map reader.

27:58You want to make it a little bit thicker, so you exaggerate the thickness of the line so they can see it when...and...

28:07...they can discover it when they are reading the map.

28:10But, when you do so, please have that statement at the bottom, telling them that you exaggerated the thickness...

28:17...of the line for clarity purposes.

28:21What symbol should I use?

28:22Okay, I am now at the point I'm trying to decide on a qualitative map against a quantitative map.

28:28Which one?

28:29Well, a qualitative map, that means I can change differences in color, I can change differences in shape...

28:37...I can change differences in...or use differences in texture or pattern.

28:43This I can use.

28:45I cannot use size, or graytone value - how dark or light it is, that's graytone value.

28:55This is for quantitative symbology to use.

29:00What colors should I use?

29:02Okay, so I'm thinking of red.

29:04How many are thinking of the same red?

29:07And remember I can change my mind.

29:11We cannot communicate red just by telling you I am thinking of red.

29:17I could be...there is at least four different reds in here.

29:21So, I need to give you more details.

29:24This is why we came up with these dimensions, like hue, and value, and saturation, so I have to give you...

29:31...which color hue it is, so I'm telling you it's red or green.

29:36And let's stick with green so my other examples are green.

29:42And the second dimension I have to tell you is value, which means how dark or light is that green.

29:50And then, saturation is how bright or dim is that green.

29:57And so this is three different important dimensions that I have to give you.

30:03This is the hue, saturation, and value, one of many different types of color models that ArcGIS and ArcMap can support.

30:13We have the RGB, which is the red, green, and blue, and then we have the cyan, magenta, and yellow.

30:22The red, green, and blue is for your screens.

30:26Any map you create for your screens, you can use the RGB, because is our default in ArcMap.

30:31See, I told you, I'm going to talk a little bit about software.

30:34And the cyan, magenta, and yellow, you think about it when you are going to send the map to a printer.

30:40So you change your settings inside ArcMap to go into cyan, magenta, and yellow, and design your map accordingly...

30:48...because this is easier to translate when it goes to print on your printer.

30:53And hue, saturation, and values is another one and there's other different types like the CIE color model, and so on.

31:03Colors have connotations.

31:08Colors have conventions.

31:09Connotations like, for instance, red for higher temperatures.

31:15Blue for lower temperatures.

31:17Conventions. Some are, there are some...like the geological society.

31:26Internationally, they have sat down and decided what colors they would use for their different types of...

31:36...rocks. So metamorphic, and all that.

31:41And there are some color preferences.

31:43I prefer green; how many of you sitting in the audience like green?

31:49See? Not all of you like green.

31:51So you should not force your green color onto somebody else.

31:58This is why you need to do some research on your society on what colors they would prefer...

32:05...so that you can sit down and view use for your type of organizations or your type of state or sometimes...

32:16...in different countries - like, for instance, I know about Iraq.

32:19In northern part of Iraq, they just like bright colors.

32:23So, if you choose not to create maps with bright colors, this is offensive to them, maybe.

32:31So, it's especially true for you guys in the United States who take some contracts for working for other countries

32:39...you need to study what type of color they'd like in those other countries, so that you can design accordingly.

32:48Excuse me.

32:53And also for maps that you create on your screen, you use some colors, they will not go and be printed the same way...

33:04...as you think they would, because you have 16.7 million colors that are going to translate to...

33:10...something like 256 different colors on your printer.

33:15This is why we always tell you to print the - what is it called again? - that MXD that we have in the software?

33:26I always forget it.

33:34I will remember; it will come.

33:37So there is this MXD file that has, it is a color model in which you can print it on every printer that you have calibrate.mxd.

33:48Search that under the program files, ArcGIS, search for calibrate.mxd.

33:56And then send it to print to your printer that you are going to use to create your maps with...

34:03...then select the colors that are from that chart so that you can make sure that whatever you select...

34:13...on your screen actually be printed, the same color that you want.

34:21Now this is for you guys.

34:24A lot of GIS people do not know that the human eye cannot decipher, cannot, notice the word "not"...

34:35...cannot decipher more than 12 colors on one map.

34:44I will repeat it. They cannot decipher more than 12 colors on one map.

34:50If you put more than 12, it's going to be a nice-looking map.

34:56But not...starts with a "u"...not useful.

35:02Which means they cannot decipher the colors.

35:04Like, for instance, if you look at these colors, this one in here, this one in here, to me on my screen at least...

35:10...over there because this, just by way, went to the projector, and so the optics did their play on it, dissipated...

35:20...some of the light, and also my screen here did some defractions on it.

35:24So they're not the same colors as on my screen anyway.

35:27This is just to remind you of the printers, also. They do the same thing.

35:32So, these two colors are the same.

35:36These two colors to me are the same.

35:39These three, they are very close.

35:42These are, when you try to create a map and let the software decide for you, to ArcMap, to the computer...

35:52...this is at 253 of red and 254.

35:59It knows it's different, but to my eye, it's not.

36:03So you need to think about the user.

36:06Also, in terms of the maximum shades of the same color, the human eye cannot decipher more than...

36:15...seven or, maximum, eight.

36:17In fact, in our teaching now at Esri in the courses, we say six to seven, even.

36:25And these should be distinct shades from the 0 to 255 continuum of the shades of the same color.

36:34You have to pick one from here, one from here, one from here, one from here.

36:37So it has to be distinct.

36:40This is when you are trying to use quantitative type of mapping, when you're classifying your data.

36:48The default is 5, by the way, in ArcMap.

36:52But you can go to 100, if you want.

36:55You can choose 100.

36:56But, whether that's going to be a useful map or not, is not going to be useful.

37:01Now you have to think sometimes about the color impaired.

37:04I tried my best to bring this to the same colors that I think it was from research.

37:11This is how people with deficiency in red would see.

37:16The colors that normal eyes would see.

37:19So there's no red. The deficiency in green, they would see like this.

37:23Those who are blue defective would see this.

37:27And those who are blue defective, by the way, are very rare.

37:32And by the way, the women actually have better, they are better than men in terms of color deficiency.

37:44There are some 5 to 8 percent of the male population who are color deficient.

37:50And the women, is only .5. This is because of the XX and XY chromosomes, if you learned your biology...

37:57...way back in high school.

37:59So you need to avoid for these people when you're asked, try to avoid pure green or pure red.

38:06Instead use for them shapes, different shapes and different textures.

38:10And also what you could do is you can use changes in brightness instead.

38:16Brightness, contrast instead of changing or adding more colors.

38:24Now, this is what you should not use.

38:30It is called optical illusions.

38:35Any time you use a checker box like this where you use symbol component of black is alternating...

38:42...with an equal size of white, it will vibrate.

38:47And the way to discover that is just move your head slightly this way or that way and I won’t tell you’re doing that.

38:58Just move like this and you’ll see it vibrating.

39:01Do it the same way with this one.

39:05Also there’s something else that happens.

39:07The human eye was created in such a way that we actually see illusions like these.

39:15So, these are five rectangles that have been shaded progressively.

39:24Each rectangle was uniformly shaded in the same color, but the next one has a darker shade of red.

39:36There was no outline added, but when I put it together, it looks as if this area here is darker than this area here...

39:45...as it meets the darker red on the right-hand side.

39:51Can’t do anything about it; this is how our eyes are created.

39:54So, that’s optical illusion.

39:56There is another example.

39:57These two rectangles are the same.

40:03I was pointing at these rectangles; this one and here, for you guys.

40:07These are uniformly shaded.

40:10But as I have placed this shade, behind it was a gradual shade of gray, the left part looked lighter than the right part.

40:27What does that tell you?

40:31You are going to place symbols, right, that are of the same color, and they are falling on different shades of gray...

40:41...or shades of blue.

40:43So basically what I’m telling you here is that it will not look the same.

40:49Now, if you are fortunate in your design, that you used one color and one circle like...

40:57...for instance, a red circle that you’re placing on that background, on that variable background...

41:04...and there’s one red circle in your legend, then you have no problem.

41:09But if you have two reds that you have chosen, one is a little bit darker than the other one, and you’re placing it...

41:16...on different background of shades, and remember what you do in map reading; you are looking at a symbol...

41:24...in the map body, taking your eyes to the side, to the legend, and then you are trying to find an association...

41:35...while you are remembering what you saw.

41:38And that distance is related to time and we are growing old.

41:46And if we cannot find the association fast, we have to go back and read again.

41:55These trips back and forth, the longer it takes and the more number of trips you make, you will not use that map again.

42:05So your map, if this has these qualities, you are going to have wasted your time because the map reader...

42:14...is not going to use your map.

42:17And there are these last maps too, in which when you are using slanted lines or vertical lines, these lead the eye to...

42:28...as you are reading and you see a line, or a bunch of lines, your eyes tend to go in that direction.

42:34This is how these guys in movies try to trick people to look at where they like you to look...

42:41...so that you won't see the effects that they have done.

42:45And they do it fast sometimes in these movies that, what do they call them?

42:52The adventure movies and all these like fast movies like the one from space and all that.

43:00So there are a lot of things that they do small and they enlarge it on the screen and they trick you into looking here...

43:07...rather than there, so they don't see the cables or they don't see the Starbucks on a film that was done in the...

43:15...whatever, the 200 A.D. year, or something.

43:19Things like that.

43:25When do I use patterns?

43:27You use it only for areas because when you use patterns in TIN symbology like a dot with a pattern in it...

43:35...or a line with a pattern, you cannot tell the difference.

43:40So only use it in areas.

43:42And this is only for qualitative symbology.

43:45And also consider the effects of production, especially when you right-click on your data frame...

43:52...or you right-click on the legend and convert to graphics.

43:58Once you convert to graphics, that item is not going to be linked to the data frame any more.

44:06So as you reduce it in size and enlarge it, it's not going to be the same...

44:14...excuse me. Don't drink coffee when you're teaching...

44:21...especially this colored water outside.

44:24So...Turkish coffee is better.

44:27So the problem is that when you convert to graphics, what happens is that the item that you have converted...

44:38...to graphics will lose the link to the data frame.

44:42So as you reduce it or enlarge it, it will not have any effect on the other one.

44:48So the data frame will not change.

44:50If you change the data frame, the legend is not anymore connected, and so it remains the same.

44:55So if you have converted to graphics, then what happens you use patterns, the patterns...

45:01...will not look the same, especially if one is reduced or enlarged, so they will not be the same.

45:07And this is what you want to, you want to have your legend very similar to your map body so that people...

45:15...will be benefiting from reading the legend.

45:21How legible are my symbols?

45:23Well, it depends on the size of symbols and how far are you from the map.

45:33So this is what happens.

45:35When you put your map in the Map Gallery, there are people there who are going to judge it...

45:41...especially if you say I want it to be in this category and I want to win an award?

45:46Well, next year you are going to win an award because you are here.

45:50So, what we need to do is, if the map is going to be placed on a wall, it means that I'm going to read it...

46:01...something like three to five feet away, or maybe a meter or so away.

46:05I need to design my symbols and my text to be legible at that distance.

46:13If it's being hand held, it's okay. Most of the time you can read it.

46:19But if it is placed it on a wall, you have to design it as such.

46:24Your smallest text and smallest symbol must be legible at the distance that was designed for it...

46:32...which is, in the Map Gallery, it should be at least three to four feet away, or five feet away, or maybe one meter...

46:38...to those who are metric, one meter to one meter and a half away.

46:42So, the United States should has gone metric [in] 1984.

46:51So, in the elements of cartography and part of my presentation which you are going to get by the way on the DVD...

46:59...after the conference, there will be a bunch of references.

47:04One of them is the Elements of Cartography.

47:06In one of these places in the book, there is a graph in which you can enter with how far is the distance of viewing...

47:16...and you'll end up how many point sizes your minimum size of points that you...

47:23...of the symbols, the smallest symbol that you could be using in your map.

47:27That's a very useful one.

47:30I have just given you an example.

47:32And notice that not all people have perfect vision.

47:35Remember that we test our eyes only at 20/20, and maybe every other year.

47:43So if you're looking at a map after one and a half years after you tested your eyes and got glasses, it might not work.

47:52Especially if you are after 30 years, like me. I'm 31.

47:56Oh, I’m sorry, I'm 30.

47:59Are there any specifications?

48:01Well, yes, there are.

48:02In the International Cartographic Association, there are three perceptions, thresholds, there are three thresholds.

48:10One of them is called the perception threshold, which is the legibility of the smallest detail.

48:17So the smallest detail will be if lines should not be less than .1 millimeter.

48:23For those of who are not, they don't know what millimeters are, you have to divide by 25.4 to get it in inches.

48:31...and then you have to multiply by 16, all that thing that is not easy to use.

48:39And then the points, the points should be, if it is a full point, meaning that it is all colored in, if it's a square...

48:51...it should be .5 millimeter - the minimum, .4 millimeter if it's round.

48:56If it's hollow, it should be minimum .5 millimeters, for both the square and the circle.

49:04The threshold of separation, this is the distinction between adjacent details, so I have two lines.

49:11How far they should be at that scale.

49:15It should be more than .2 millimeters.

49:20And the differentiation, they didn't put any numbers in there, they said the smallest difference...

49:27...between nearly same-size symbols.

49:31So, if you're going in graduated circles in which the circles are graduated based on the, how much is the population...

49:43...so in this case, if we have 100,000 people and 100,400, this will be a very small difference...

49:53...so your circles will be very close in size.

49:56So in this case you have the cartographic license to increase one of these circles to be a little bit larger...

50:04...so it can actually be identified.

50:14Creating visual contrast and hierarchy.

50:17Visual contract is actually why we can see, because there is contrast.

50:26So there's, in terms of differentiation, if I did not do any contrast in my symbology, like the example in here...

50:36...I just drew these two, and I know that I'm drawing for my maps land and some sea, but I did not identify them.

50:45However, I could gray the land, or I could gray the sea.

50:52In this case I have increased the contrast between the land and the water.

51:01I could also create some relative importance by adding some signs, in this case, symbology...

51:09...with larger circles and smaller circles, or lines with thinner and thicker lines.

51:15Or, I might be using variation in color value, how dark or light it is, so I am increasing the contrast between my symbology.

51:33So how do I represent names on maps?

51:37Well, I can use some qualitative symbology in my name placement.

51:46So change colors, I can change styles, I can change form, the form meaning upper/lower case...

51:53...or upper case only, or upper/lower case with a slant.

51:58My advice is never use upper case only.

52:01If I give you a book to read which is all upper case, unless you are a United States policeman or lawyer...

52:11...you will take 1.25 to 1.5 times to read it.

52:17Because we have imprints in our minds of upper/lower-case words, we don't read letters anymore, we read words.

52:26Actually, our kids, they learn how to read words more than letters, and it is easier for us - we don't, when we read...

52:33...we don't read the "T-H-E" as, oh, that's a T, an H, an E; oh, that's "the." No, we know that's...

52:40...a "the" in here, so it is easier for us.

52:45Also, reading a book is different than reading a map, because reading a book is sequential.

52:55Sometimes a word comes into a paragraph and we don't know what it is.

52:59How many know what serendipity is?

53:02It should be 10 percent only.

53:04Always doesn't fail.

53:07Serendipity, by the way, it's also about the Indians. This is a good thing about the British.

53:16The British took a guide named Serendip with them as a guide, and this guide discovered something...

53:23...that the British were not looking for.

53:25That's what serendipity is, by the way.

53:27So now you've learned one more word for your Scrabble game, if you will.

53:33So if you are reading this word in a paragraph and you didn't know what it is and you still understood...

53:39...what the paragraph is all about, you're in the airplane, it's okay; you went and you continued reading.

53:45In a map, you are looking for that word that you want to know where to go to.

53:52Like for instance I was given directions to go to La Jolla, to exit on La Jolla Village Drive.

53:59That was my first month in California.

54:06So I was driving and went there, invited to a friend's house.

54:11And I went around, around, around.

54:13I couldn't find La Jolla Village Drive because the guy gave me the directions on the phone.

54:19And so I stepped out of the car and called him and I said, "Where are you?

54:26I have just exited a La Jolla Village Drive."

54:30Yeah, yeah, yeah! Same thing.

54:32No, it is not the same thing!

54:33I am reading the thing, and you are telling me La Jolla.

54:36It's two different things.

54:38So you don't, you're going to a foreign country in which you do not know the spelling of and the pronunciation of these names.

54:46A lot of our troops went to Iraq, for instance, and they were given a map that has "Dijla" on it, or "Tigris" on it.

54:56Well, if you ask the locals, Where is the Tigris River, they won't tell you where it is because they don't know...

55:02...they're sitting next to it.

55:04They know what Dijla is, but not Tigris.

55:06This is why the United States went in 1980s, they started using local names like Beijing instead of Peking...

55:14...and Mumbai instead of Bombay, and so on.

55:19So, these are important if you do not know Spanish.

55:26Yes, so this was important to tell you because I have seen a lot of maps that are all upper case...

55:34...thinking that this is an important place.

55:37Well guess what, I cannot read.

55:41It's like Jack Dangermond when he said in the Plenary Session, I'm not going even to...

55:47...attempt to read that city in Iceland where they had the eruption.

55:53Remember? I wouldn't attempt to.

55:57So, quantitative. I can also use place-names in quantitative type of situations where I could use...

56:05...like for instance, San Diego, larger and Redlands is smaller, because San Diego is larger than Redlands.

56:15And in terms of form I can use different types of form, upper case, lower case, or...

56:23...change the different form of the text to make quantitative type, like for instance, I would use upper case only...

56:33...which I don't like but it happens in a lot of specifications now that they use upper case only...

56:39...and then use lower case or upper/lower case combination.

56:42That's the second thing that you could use.

56:45By the way, when you see this arrow, it means use this first, then this, then that, then that.

56:52Color value, differences in color value, you can use it also for quantitative types, but it is the weaker...

57:01...the third weaker, compared to the one on the left.

57:05And then color, differences in color, like for instance, based on the electromagnetic wavelength...

57:14...which is the red first, then green, then blue.

57:17You can use that one, but this is the weakest choice for quantitative differences.

57:25There are some legibility issues, like the text color versus background color.

57:31So I am drawing a dark line, a dark...

57:53Can you hear me?

57:55It worked.

58:00I did electrical engineering, one course in Home Depot.

58:13So, I'm drawing a dark blue line on a black background.

58:22No matter how long I draw it to make it more distinct, it will not be distinct.

58:30So that was an "I."

58:33So any test that we are placing is going to be placed on several background colors.

58:36...several different color backgrounds.

58:39You see, one color text for all the names that you're going to place, but they're going to be placed on...

58:49You have to think about which color to use that will have enough contrast with these backgrounds. Very important.

58:57And I talked about upper case/lower case, and no fancy...I love Old English style.

59:02In fact, I learned 60 different lettering styles way back when I was one year old, in the '60s, and the one that I loved most...

59:13...is the Old English, and I did all my Christmas cards with it, but I will never use it in my maps...

59:19...because not everyone knows how to read Old English, and of course I do all these intricate kinds of calligraphy.

59:28But, don't use it in my maps.

59:32Here is my family.

59:35Jack and Laura are my friends.

59:39Jackville and Lauraville.

59:40This is my name, and this is my daughter's name, my son's name, my sister's name.

59:48There are only three Shirleys in Baghdad, by the way.

59:51One of them was my sister and Shirley Temple was in the United States.

59:55So readability issues. In the United States, this is what they use, normally.

1:00:02Your first choice of placing the name relative to a point is in the upper right position.

1:00:09If there is no space, then you go to the lower right.

1:00:16If there's no space there, see how crowded it is, then you use the upper left.

1:00:22If there is no space then you go to the lower left.

1:00:26And then, if all fails, then you go above, then below.

1:00:31Never put the name on the same line, because it can add an "o" to the beginning or the end of...

1:00:39...and it can mean different meanings in other languages.

1:00:46Placing names along lines.

1:00:48Notice the Mississippi here is placed at an ambiguous location, because I don't know if the...

1:00:55...Mississippi is going to flow this way or that way. I don't know.

1:00:59So in that case I would move the Mississippi at the intersection so that I would not have any ambiguity.

1:01:08There is an article which has 25 pages in the American Cartographer about place-names.

1:01:19Don't be frightened about 25 pages, they're all graphics, about where to place, where not to place.

1:01:26This is done by Professor Imhof, who is a Swiss cartographer. They are best cartographers in the world.

1:01:35And so he has done all these do's and don't's, and you can read it, and it is part of my presentation...

1:01:44...as well in the, listed at the end of my presentation.

1:01:54Now, in terms of contours, the software, what it does, it will pick up the midpoint of the contour line...

1:02:04...and then place the text in that direction, how it was digitized.

1:02:09Whether it was digitized that way or that way, it will place it.

1:02:12So you will get something like this.

1:02:15What you should be using, actually, is a virtual line that will be perpendicular to a bunch of lines...

1:02:23...and this is where you place your labels for the contours.

1:02:29In Maplex...how many of you have Maplex?

1:02:32How many of you have ArcInfo and don't know they have Maplex? You have it. By default you have it.

1:02:39If you haven't used it, it has 140 different rules that you can set.

1:02:44It will at least give you a solution for maybe 60 percent of your headaches of labeling.

1:02:52And then you turn everything into annotation later on, and then you fix the remainder that you want to fix...

1:02:59...to make it a very legible map, a useful map.

1:03:04I am holding a map and I am reading an English map, or map in the English language, not necessarily English. Could be American.

1:03:16So, the way I place my text for easy reading, I need to look at all the text that are, especially vertical.

1:03:25The ones that are horizontal should always be read easily horizontally.

1:03:28But the ones that are on the left should be read from bottom up.

1:03:34Anything on the right should be from top to bottom.

1:03:38Anyone who speaks Arabic here?

1:03:41You should change the direction, okay?

1:03:46And the description is not backwards.

1:03:50Backwards is a relative term.

1:03:52So, what map elements do I use?

1:03:56Oops, bad statement. I did not put "use" at the end.

1:04:06It's not my fault. It's actually the fault of giving us a new template in which everything is scrambled.

1:04:12You think that you can move things, it doesn't work.

1:04:15You can fix it; yes, thank you.

1:04:19While he is fixing it, these are the different types of elements that you can put.

1:04:25I'm not saying that every map should have it.

1:04:30Notice, if you are creating a map that is population density, and what did I say population density earlier...

1:04:40...what kind of projection you would use?

1:04:43Equal area.

1:04:45Now, is the equal area projection, does it have the scale correct everywhere on the map?

1:04:55I am assuming it's a small-scale map, so it's a larger extent.

1:05:01And the answer starts with "n." No, it's not the same everywhere.

1:05:06So, basically if you are creating a map that is of this type, which is an equal area projection...

1:05:15...which is a population density map, there's no need to put a scale bar in it...

1:05:20...because it is not correct everywhere.

1:05:23There's no need to put it.

1:05:25Do you have to put north arrow on every map?

1:05:31No, but if you are going to get fired, then I would place a small one, gray, not black, which means...

1:05:41...that you don't put a high contrast on it, and put it discreetly because how many times...

1:05:46...you would use the north arrow on a map?

1:05:49Starts with an "o." Once.

1:05:52Once you orientate yourself, you don't use it anymore, so it's a secondary thing.

1:05:57The main thing is your map body.

1:06:00This is where you should be attracting attention to.

1:06:03This leads us to visual balance.

1:06:07They gave thousands of people maps and they looked at their eyes, where they fall the first 10 seconds.

1:06:16And guess what? It falls on a place which is about 5 percent above the geometric center of the map...

1:06:26...the 5 percent of the height of the map, and the geometric center is the intersection of the corners.

1:06:34If you draw lines at the intersection of the corners, you get the geometric center.

1:06:39They discover that they would look at a point which is 5 percent above it.

1:06:44What does this tell you?

1:06:51Put the main map here! Exactly! Unless you are in Florida...

1:06:57...where the panhandle pushes to the right, pushes the mainland to the right, but what can we do?

1:07:05They can split that portion and give it to somebody else.

1:07:11So, what visual balance means is that I have to place my map body there and then there are some...

1:07:18...other graphic elements that are going to the place, which we call them cartographic elements...

1:07:21...or map elements or map objects...whatever the case. What's in a name.

1:07:26So, we are going to place all these items and we are going to move them around and each one of these items...

1:07:35...will have a visual weight.

1:07:37This visual weight depends on the size of the item; the value, which is how dark or light it is; and the brilliance...

1:07:45...how bright it is; and how close it is to the edge.

1:07:49Of course, all map readers in the English language would start from the top right, and then - or...

1:07:55...top left, sorry - and then they move their eyes this way.

1:08:00So, by default, they would do the same in map reading and whatever you put in the right-hand side will have more weight.

1:08:11They will get attracted very fast because we will get into your map with your eyes on the upper left within a...

1:08:18...fraction of seconds, and then you'd concentrate here, and then anything that attracts you here...

1:08:25...you will immediately move your eye to that location.

1:08:29So, you should not put visually heavy objects here.

1:08:34No dark things, no large things on the right-hand side, especially in the lower right.

1:08:42And what about gaps?

1:08:45People are just afraid of a gap in a map.

1:08:46So, what they do, they throw in a north arrow, throw in a scale bar, throw in a ship...

1:08:54...and enlarge those because there's the gap!

1:08:57Well guess what? You don't need to be afraid of the gap.

1:09:02But keep the gaps at the top of the map rather than at the bottom.

1:09:04With this in mind there's a test for you.

1:09:06You think you don't have tests in this?

1:09:09It's not leisure anymore.

1:09:11This is not a complete map; this is my disclosure.

1:09:16And, you are not allowed to add anything to it, and no one of these maps are correct, or is correct.

1:09:25So, which one is the most visually balanced, based on what I just said a few minutes ago?

1:09:34Please be brave!

1:09:382-C.

1:09:40How 2-C? You didn't listen well, you ate too much at dinner, at lunchtime.

1:09:47I said, no gaps at the bottom.

1:09:501-B, 1-B. What did you eat?

1:09:59[inaudible audience response]

1:10:02This actually rotates to the left.

1:10:05This rotates to the right.

1:10:07This rotates to the right, to the left.

1:10:10This one here is more close to the visual center which is why you guys said, but you forgot about the other part.

1:10:22So this one here is further away from the visual center, but remember I said no one of them is right.

1:10:31But I also said you should not put gaps at the bottom.

1:10:34So this one would be the one that you should have chosen.

1:10:37Now this is another map, more complicated.

1:10:41The one on the left is my teenage boy's room, and this is my room.

1:10:48This one on the left is my artistic part of me, and the one on the right is my engineering, dull part of me.

1:10:58Which one is more visually balanced, based on what I've told you?

1:11:03Notice the main map is at the visual center.

1:11:08You should choose...How many choose B? Be brave.

1:11:13Yes, yes, good, excellent.

1:11:17You're A?

1:11:21You're fired.

1:11:28Okay, now don't think yourself as an American when you're looking at this map, or British for all that matter.

1:11:37Which one is more visually balanced, whether it is A or B?

1:11:45How many would say B?

1:11:47I just told you, don't think like an American, because you always think that the scale, the legend...

1:11:55...should be on the right-hand side.

1:11:57This is why you chose B.

1:11:58You forgot about that this thing here is very far away from the visual center, compared to this one which is very close...

1:12:06...and you forgot the gap in here which is lost between the visuals that are in here.

1:12:13This is why on the left-hand side is more visually balanced, but we are used to the legend on the right...

1:12:22...which can be fixed, right?

1:12:24All you need to do is push this to the right, pick this spot here, and put it up there, done.

1:12:32So, this is how you should be thinking about balancing your different objects and you try...

1:12:37...to attract attention to the main map body.

1:12:41This is why we are talking about this visual balance.

1:12:44Now, there are several factors that control our design.

1:12:48In two minutes my presentation should have finished, but I am entertaining you as much as I want...

1:12:57...because I told the Map Gallery I am coming back at 5:00.

1:13:01So I have half an hour for you guys.

1:13:03[audience question] I was fired, right?

1:13:04Yes, you were.

1:13:09So for those of you who are going to leave, there are some evaluation sheets that the administration here...

1:13:16...wants you to fill it up for us so that we know whether we're going to have this next year or not. Same jokes.

1:13:25This is, by the way, my 18th year of presenting this.

1:13:28Can you imagine?

1:13:30An 18th year, I have people here who are enjoying this. Thank you very much.

1:13:36So, what factor's controlling my design?

1:13:40Well, there are several that would.

1:13:42One of them is the objective.

1:13:44Map form - is it portrait? Is it landscape?

1:13:51Is it folded?

1:13:52Am I going...is it going to be centerfolded?

1:13:57And all these different things - is it going to be round, or square, or rectangle, or whatever the case may be?

1:14:03So this would actually control how I would design.

1:14:07Second one, my audience.

1:14:09If I am going to design a map for the highly technical committee in which they want to know...

1:14:17...whether...they want to know whether to place the landfill on a montmorillonite clay...

1:14:37...with a slope of less than 15 percent or with a certain type of zoning and a certain type of land use and away...

1:14:46...from local streets within half a mile distance, then what kind of design would I be creating for them?

1:14:59I should be placing all these different...The polygon that I will be selecting would have to fit all those...

1:15:10...and I have to show in that map for the highly technical committee that it is actually fulfilled.

1:15:19However, if I am passing this to the general public to vote on where to place the landfill, what does the...

1:15:26...general public need from, in the map?

1:15:30How far are they away?

1:15:33So basically the polygon and probably the street centerlines of the main ones only.

1:15:39So my map for them would be much simpler than for the highly technical committee.

1:15:44Reality and authenticity. Well, I told you about the meandering river, the crooked coastline of Norway...

1:15:52...should remain crooked when you actually create the map for them.

1:15:58Generalization and skill. They are both working together to create...they control the quantity...

1:16:04...of information that you can place in the map.

1:16:07Also the technical limits which will dictate the quality of your map.

1:16:14Remember I talked about the 16.7 million colors and 256 that you have on the printer, so you're limited.

1:16:23And conditions of hues.

1:16:26Is it going to be in a dark place or in the light?

1:16:29Like, for instance when you're picking up your car from the car rental, you will be generously given a map.

1:16:37This map is useless.

1:16:39Most of the time it's useless, because you're driving at 9 p.m., it's dark, and they gave you this tiny text and...

1:16:48...with very little contrast between the text and the background, and they're expecting us to dash...

1:16:53...at 65 miles an hour and read it.

1:16:56I normally sit down there and for 10 minutes and I'm sure Jorge does that the same, but he's fired anyway.

1:17:03So...and redraw it so that I can make use of it.

1:17:08North is not true everywhere on a map; depends on the projection.

1:17:15So this is Mollweide projection.

1:17:16Notice this is only correct at the line that goes through Greenwich, that's it.

1:17:24Elsewhere, it's curved.

1:17:26In the United States we use the conical projection so much, so the north arrow...

1:17:31...is not correct anywhere in the map anytime you use conical projection.

1:17:36And this is where I was teaching in Florida one time.

1:17:39Anyone from Florida? They're nice people.

1:17:43They gave me this map to look at and I said, oh, are these doghouses?

1:17:47And they said, no, no, no, this is a map that we give to our policemen to divide themselves on the different beats...

1:17:58...where, like different neighborhoods.

1:18:00And I said, no, not according to scale. Oh my God.

1:18:06And then I realized, and this wasn't their fault, it was a bug in the ArcView 2 software that we had.

1:18:12We go from beta view to layout view, then you decide, oh, I want to make changes, so we go to data view.

1:18:20It uses the projection. I don't know why, but they fixed it, anyway.

1:18:24So, but they didn't realize that this was happening, and so from then on, I gave my students...

1:18:33...I teach at university...the meanest scale, 5,137,603, and I would like them to manually draw a scale bar...

1:18:45...with easy-to-use divisions, and then I would tell them to, when you're done, go to your computers and create the map...

1:18:56...of the United States and just bring it in and bring your...go to layout view and insert your scale bar...

1:19:05...and make a scale bar with the same divisions and the same intervals, and check yours against it.

1:19:13This is how you check the software that we are creating is correct.

1:19:18You have to do the same thing, by the way.

1:19:20Don't believe in the software all the time.

1:19:23And, is it easy to use?

1:19:25Well, how do you read these scale bars?

1:19:33Well, I am in the outside in the open.

1:19:40I have my shoestring.

1:19:42I can take it and measure a distance on that map and then take it, and I'm not going to embarrass anyone in the crowd...

1:19:49...here as why there's something on the left-hand side from the zero in the other direction.

1:19:55So, I would go from the zero and try to read here.

1:19:59Then I say okay, this is 700; this one, 1,400. That's not easy to, I have to use a calculator...

1:20:02No, no, no, nothing to do with metric here.

1:20:05...but I have this on the left so what I do is I move that here and that's what this is for.

1:20:12This is 700 and this is what I need to pick up from this subdivision in there.

1:20:18Well, guess what? How many of you can find out in the field, without a calculator, and if you're not my age...

1:20:32...30 years old, how to divide 7 by 5?

1:20:41Right? My kids will definitely go to their cell phones and try to do that.

1:20:48So this is not an easy-to-use scale bar.

1:20:51What you should have done is what, anyone? Volunteer.

1:20:56By now you should know me.

1:20:58It's an easy-to-use...

1:21:04It so happens, it's in meters, but it doesn't matter.

1:21:10Have seven subdivisions on the left.

1:21:12Or better, make your main divisions up to five.

1:21:19So, you go to 500, 1,000 instead of 7,000, 700, 1,400.

1:21:25If you don't know how to do it, go downstairs and somebody will show you how.

1:21:29And if they, if you don't see anybody, come to the map...

1:21:39...wireless.

1:21:41So, come to the Map Critique Station and I'll show you.

1:21:45The other thing is, I am now creating this kind of a map, which is a classification map.

1:21:53I'm classifying my data into five categories.

1:21:55Each category is a range of data.

1:22:00The minute I do that, what am I doing?

1:22:03Starts with "g" and has a "z" at the end somewhere.

1:22:09It has an "n," an "r." Generalization. I am doing generalization.

1:22:14And if I'm doing a generalization, what are these decimal places doing in my generalization?

1:22:20No need, really, there is no need for generalization in this case.

1:22:26But, because the software does it, you keep it.

1:22:30You should not keep it.

1:22:32And there is a way, and if they don't show you downstairs, come and I'll show you.

1:22:37And maps for screen displays.

1:22:40This is where, this is my saddest slide because anything that I teach in the software that you need to do...

1:22:49...which is advanced drawing options, using multiple layer symbols, using picture symbols, using...

1:22:55...dashed lines and patterns, dot density, halos, and complex statements, SQL statements for text.

1:23:02All this that I like to do, I have to avoid because of performance, because you are putting your map and people...

1:23:11...who want to look at your map, they need to look at it fast, and they cannot do it because they have to wait...

1:23:18...for all these things to calculate and grow.

1:23:21Well, guess what?

1:23:23I finally discovered that you could do something else.

1:23:27Not really finally; it was two years ago.

1:23:30That you could do what is called image flattening.

1:23:37What is image flattening?

1:23:38Meaning that all these things that have been placed on the screen with all these things, what you could do is...

1:23:45...you could save that to an image instead.

1:23:50And when you save it to an image, all the things that you have, that has been calculated...

1:23:56...is now captured in a raster format and now we have got one image.

1:24:00Unless you are trying to serve layers; that's a different issue.

1:24:09...could use, and therefore you can have, now we have one layer to serve instead of several different things...

1:24:15...happening and wait forever to display.

1:24:19Finally, think of your user when you are creating your map.

1:24:23And this is available for you, the presentation's available for you, and this is the different references I have placed for you...

1:24:36...and if people would like to stay, we could critique a map together.

1:24:41I'm here! Anyone would like to stay.

1:24:46There is a bad map that we created.

1:24:49I'll give you 30 seconds to look at it, and then you can tell me what's wrong with it.

1:25:02I'll help you.

1:25:04When you looked at the map, what attracted you most?

1:25:08[inaudible audience response]

1:25:09Maine. Maine, right?

1:25:14And what is the theme of the map?

1:25:18It's about the Gulf of St. Lawrence, right?

1:25:23But you look at Maine first.

1:25:27Isn't that sad?

1:25:29That's one of the things that, one of the problems.

1:25:33And you mentioned, the province names are in upper case.

1:25:38And what else?

1:25:41The expressway, what about it?

1:25:43[inaudible audience response]

1:25:45It's too thick, and it's in red, and it attracts you most.

1:25:50And was that the Gulf of St. Lawrence?

1:25:53No? What else?

1:25:58Two scale bars.

1:26:00I am not against two scale bars, but look at the scale bars, what about them?

1:26:10What is it?

1:26:11[inaudible audience response]

1:26:15These are different units, yes.

1:26:16So, people, because remember these are Canadians, they need metric, and we are the United States, we need the miles.

1:26:24So...

1:26:29Look at my hands.

1:26:32Align the zeroes so you can compare things.

1:26:36Okay, now what else?

1:26:40North arrow, what about it?

1:26:43[inaudible audience response]

1:26:45It's the second thing after, yeah, that's right, the second thing that can attract you.

1:26:49First of all, it has a border.

1:26:53Here's a clue for you that I didn't talk about, because this is what we teach in the longer course.

1:27:03Do not put hurdles, graphic hurdles, in the eye of the reader who's trying to get somewhere to read.

1:27:09Any border you put on any secondary element is a hurdle.

1:27:14So, your legend should not have a hurdle.

1:27:17It should not have a hurdle: that means no border for the legend.

1:27:20Should not have the word "legend" in it!

1:27:24I mean, the word "legend" is only for engineers and surveyors.

1:27:29I happen to be an engineer, I know that.

1:27:32So, you don't need the word "legend."

1:27:36And you do not need the words "map of."

1:27:40It's already a map, we know that.

1:27:42Why do we need a "map of" by the top?

1:27:46What about the logo?

1:27:49[inaudible audience response]

1:27:51Logo. No, they changed it. You're fired. They changed it, even.

1:28:04For one thing, if I want to draw that logo I would draw it, first of all, starts with the letter "s." Smaller.

1:28:12Second, has to do with... well, outside the map would be where outside the map?

1:28:20I wouldn't put it at the top because it's not that important.

1:28:23[inaudible audience response]

1:28:25No Esri people here, so it's okay.

1:28:29It should be somewhere discreet, unless you are advertising yourself.

1:28:33Some of you guys would be advertising yourself in here, because you want some business or something...

1:28:38...you would enlarge the logo.

1:28:39That's fine. It's business type.

1:28:42But there's no need to make it large.

1:28:45And third is, even if you want to keep it there, at least the background should be the same background as the land, not two...

1:28:57I don't need to look at two colors there because it's attracting too much attention there. So...

1:29:08And also the land does not have a wet coast, so there should be a line that is dark blue for the coastline.

1:29:20There's no coastline, just land and sea.

1:29:25The coastline is inundated, remember.

1:29:28You should symbolize it as such, so you should have a dark blue coastline.

1:29:34So this is an example of one of the attempts to fix the problem.

1:29:39I still don't like what I see up here, but this is one of the attempts.

1:29:47This is a second attempt in which we focus on...notice in the previous one, we did not focus on the...

1:29:55...Gulf of St. Lawrence; there's a lot of things, there's a lot of land involved.

1:30:00Here, I focused on, I enlarged it, and notice this is now my center.

1:30:08So these are different techniques of...and notice, no border.

1:30:15You still can read it. So...

1:30:16And no red!

1:30:22Unfortunately we cannot delete it, because it's theirs, unless they give it to the Canadians. Then we...

1:30:29...don't have a problem, but that's a political issue, we don't discuss that.

1:30:33But it has to be there because it's theirs, and it is subdued; it's not like as it used to be.

1:30:42So, here it's in green, they would think that the United States is greener than ...

1:30:50...but you can look at the difference.

1:30:55Well, thank you so much for your attention and for staying for a longer period of time.