Public Transport Schematic Mapping by StaceTurner

Public Transport Schematic Mapping A case study in information design by 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 mapâ&#x20AC;&#x2122;s 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 specifications – Product, table and map

Page 69

Spider map speciﬁcation, 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 speciﬁcation drawings Introduction and drawings

Page 99

Conclusion Introduction Visual clutter and noise Quality, efficiency and sustainability Social responsibility The significance 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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An introduction to Information Design

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 â&#x20AC;&#x2DC;Information Designâ&#x20AC;&#x2122; 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 and utility companies. What set it on course to be a field 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 â&#x20AC;&#x201C; 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.

The Information Age As the first 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.

Information design in terms of graphic design Kim 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 Mijksenaar’s 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 Beck’s 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 maps Schematic (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.

Schematic mapping is a specific aspect within Information Design

In modern terms the schematic map or spider map emerged publically in the early 1930â&#x20AC;&#x2122;s with the creation of Harry Beckâ&#x20AC;&#x2122;s instantly recognisable London Tube map

How public transport schematics have developed Modern history - Beck Simplified 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 fishing, 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).

His groundbreaking design was immensely and immediately popular with the public who could now plan their journeys efficiently 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 it’s vastness in relationship with the city this was an understandable inclusion. Ken Garland, Beck’s 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

In modern terms the schematic map or spider map emerged publically in the early 1930’s with the creation of Harry Back’s 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.

between graphic design and cartography, it’s 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. Beck’s style of depicting London’s 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 influence of Beck’s creation still has a very strong, underlying presence.

Harry Beck and his original London underground schematic map

Amersham

Croxley

Chorleywood Rickmansworth

West Ruislip

Carpenders Park

Ickenham Rayners Lane

Ruislip Gardens

Headstone Lane Harrow & Wealdstone

Pinner

South Ruislip Northolt

South Harrow

Sudbury Hill

Sudbury Hill Harrow (no weekend service) 150m

Greenford (

Sudbury Town

no Sunday service)

Hanger Lane Park Royal

South Acton

Wood Lane

Brondesbury Park

Shepherd’s Bush

Goldhawk Road Hammersmith

High Street Kensington

Kew Gardens

Putney Bridge

Station in Zone 9

Step-free access from the platform to the street

Station in Zone 8

Connections with National Rail

Station in Zone 7 Station in both zones

Connections with riverboat services

Station in Zone 5

Connection with Tramlink

Location of Airport

Station in Zone 4 Station in both zones Station in Zone 3

Interchange with National Rail services to airport

Transport for London 03.09

Station in Zone 6

Station in Zone 2 Station in both zones Station in Zone 1

Kentish Town

Mornington Crescent

King’s Cross St. Pancras

for St. Pancras International

Euston

Euston Square

Warren Street Regent’s Park

Farringdon

Euston 200m

Russell Square Goodge Street

Oxford Circus

Green Park

St.

Blackfriars

Temple

Westminster

Embankment

Charing Cross 100m

Waterloo

Southwark

Pimlico

Opening late 2009

Waterloo East

Vauxhall

Kennington

Elephant & Castle 100m

Clapham Junction

Key to li

Oval

Wimbledon

Clapham North

Bakerloo

Stockwell

Central

Clapham High Street 100m

Clapham South

Tooting Bec

Colliers Wood

Morden

Boro

Lambeth North

East Putney

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

Cann Stre

Underground station closed March 2009 until late 2011

Imperial Wharf

Charing Cross

St. James’s Park

Victoria

Covent Garden Leicester Mansion Square House

Piccadilly Circus

Barbic

Chancery Lane

Holborn

Tottenham Court Road

Sloane Square

Cale

Camden Road

Leicester Square 340m

South Kensington

Earl’s Court

Wimbledon Park

Interchange stations

Tufnell

Camden Town

Great Portland Street

Baker Street

Hyde Park Corner

Southfields

Explanation of zones

Archwa

Gospel Oak

Kentish Town West

River Thames

Richmond

Heathrow Airport

Replacement bus service

Highgat

Belsize Park

Finchley Road Swiss Cottage St. John’s Wood

Gloucester Road

Fulham Broadway Parsons Green

Finchle

Chalk Farm

Knightsbridge

West Brompton Gunnersbury

West Fi

Mill Hill East

Thameslink 200m from

Kensington (Olympia)

Turnham Stamford Ravenscourt West Green Brook Park Kensington

Woodsi

Hampstead Heath

Queensway Marble Arch

Barons Court

Totterid

West Hampstead

Notting Lancaster Bond Gate Street Hill Gate

Holland Park

Shepherd’s Bush Market

Hatton Cross

Key to symbols

Finchley Road & Frognal

Kilburn

Terminal 4

Terminal 5

Hampstead

Willesden Green

Ealing Common

South Ealing Northfields Boston Manor Chiswick Hounslow Park East Osterley Hounslow Hounslow West Central

Golders Green

Dollis Hill

0 10

Acton Central

Acton Town

Terminals 1, 2, 3

North Acton

West Acton

654

Brent Cross

Neasden

East White Acton City

North Ealing Ealing Broadway

Kingsbury

Maida Vale Kilburn Park Edgware Warwick Avenue Paddington Road Royal Oak Westbourne Park Edgware Marylebone Paddington Road Ladbroke Grove Bayswater Latimer Road

Perivale

High Ba

East Fin

Hendon Central

Kensal Rise Brondesbury Kensal Green Kilburn South Queen’s Park High Road Hampstead

Alperton

Queensbury

Wembley Park

Colindale

Canons Park Preston Road

Northwick Park South Kenton North Wembley Wembley Central Stonebridge Park Harlesden Willesden Junction

West Harrow

Burnt Oak

Stanmore Kenton

North Harrow Harrowon-the-Hill

Eastcote

Edgware

Hatch End

Northwood Hills

Ruislip Manor Uxbridge

Bushey

Moor Park

Northwood Ruislip

Hillingdon

Watford High Street

5 4

Watford Junction is outside Transport for London zonal area. Special fares apply.

Watford Junction

A modern day London underground Watford map

7 8

10 0m

Chalfont & Latimer

Chesham

Brixton Clapham Common

Balham

Tooting Broadway

South Wimbledon

100m

Circle District

East London

Hammersmith & City Jubilee Metropolitan

A detail of Massimo Vignelli’s 1972 New York Subway map

New York Subway Wars Controversy of a far more public nature befell the New York Subway map during the 1970’s that still resonates to this day. In 1972 Massimo Vignelli’s 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. Vignelli’s map is a brilliantly colourful rendition of the transport network, it is faithfully drawn within a grid system using only 45º and 90º 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 defiantly ignored the city’s 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 defiantly 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

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 Tauranac’s 1979 map replaced Massimo Vignelli’s piece and more faithfully adhered to geographical principles, even more so than pre 1972 editions and was the first 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 Tauranac’s and Vignelli’s 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 official 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 York’s underground system, to approach it with confidence 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 70’s 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 London’s 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 Beck’s tube map is with London’s 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 Vignelli’s. A comparisson of the existing New York City map,Vignelli’s schematic and the Kick Map can bee seen on the right.

Hertz

Vignelli

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

Jabbour

Where it does not quite work It isn’t 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 graphiccentric 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 isn’t 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 Beck’s 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

Mexico City schematic map

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.

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. Beck’s 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.

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 signifies 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

By replacing the old map with a different design the transit authority were removing the confidence their customers had in the original piece and the confidence they had in the transport system. This is where the true power of design comes into play because changing the map also changed the public’s spatial experience and undermined their perception of place. The transit authority went wrong by changing something unnecessarily, there was nothing fundamentally flawed with Vignelli’s map - it was just so different as to cause shock amongst users who perhaps took the existing map for granted.

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 think Other 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 individual’s 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 London’s 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 45º and 90º 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

Perceived Geo.

What a user knows as fact in large scale but not in detail

Actual/Immediate

What a user knows as fact by what they can see

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 surroundings Schematic 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 depth The 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 it’s component parts but also it highlights the importance of each component by the amount of times it relates to another. William Owen’s 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.

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Different approaches for different maps A 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 flexible in compromising exact detail for legibility. This of course depends on the use of the map, military maps require finite 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 defined by the constraints of the structure itself. Schematization of a bus network is approached in one of three ways:

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ROA

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17 66 77 78 40

57 58

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You are here

X78 Rail

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306Purple

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LANE

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ST R E E T

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Nunnery Square

DON ST

T KS

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Hague

S TA

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Arena Don Valley Stadium Attercliffe Woodbourne Road

ARDWICK Bar

GREE

197.

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ROAD

IVE

Malin Bridge Park & Ride Blue

West Street

ST NE

Sugden Sports Centre

KSO

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University of Sheffield West End Hospitals

I VE

L LY

footbridge

EET

JAC

Hillsborough Langsett Road

A6 65 Hillsborough Interchange

306 L AY

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188

University of

199 360 TP

BR O

EL L

MILL

62 62A 67 358

BROW

NW E S

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STR

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Tinsley Meadowhall South Carbrook

Valley Centertainment

ANCOATS

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303

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HARTI N AS H

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Higher 1 Mile Chisworth

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1/2

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STREET

E B D EN

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Manchester Middle Wood Metropolitan University Middlewood

ST E

B U X TNational ON Computing

AT HA

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Hillsborough Middlewood Road

Alighting stop only

S M 'H U L L S T

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36 0.T

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P IC

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R EE

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1/4

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RID

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394 TP

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0 57

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SAC

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STREET

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B AY

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University of Manchester

STR

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ST ROA

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Manchester

T WO

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303 E

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Manchester Metropolitan University

EN Owlerton Penistone RoadO R T

RN BU 40 AUFulwood BarncliffeGMPTE Road ST

ST RE

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STR

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303 394

Y OR

394

303A L N C A375 394

ROAD

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DRIV

G OR NG

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er Medloc

303 394

R EE

Palace Hotel

G LO S

ST Alighting stop only

Manchester Crown Court

RD .

Post Office

Alighting stop only

ET LINS H O L RE H AM

394

EX Marple Bridge

304

394

Etherow Country Park

Police Museum

306 GR

S W Worrall OR Haggstones Road TH ST

Wisewood

Bus station

CH U R C H

WH I

Riv

EN L . A RD .

RI NES

Hawk A Z IL GreenB R

360

EV H

EET

IT W

304 ST

Road H S TR Bus service runsHallowmoor inL Edirection of arrow IG

EW C O N S TA B L E

Bus terminus

CO TE

9. 24 20. 3.88.8 82.8

HE NR Y

Ecclesfield Monteney Road

Library

P S TA L L

R T D.

COM

O CRO F

GREENBA N K

ROA

T O RK

CLHTO UR NC

STR

D RO A T ST

OFT

CoteTE Green

304.306 375. 383J O R A M 384.394

DRIVE

RIGHT

GOL

Danyers College

305

ARKW

KP OR

U LD

306

E OW TR BR P E S

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. RD

Mechanics Institute

A RO

303 M 375 305 Central 375 Coach Station 394 Ridge

Beacom Wood

304

C A D306 ILL Y

Portland Hotel

Hotel 304.305.306

TER

. RD

ST. REW

Gardens Hotel

6.76 2.18 75.7 1.18

Thorpe Hesley Chapelfield Place

Charlesworth Art 17 gallery or museum Woodseats Stately home

Fox Hill daytime Fox Hill Bus services Rwith O 80a Monday to Saturday 8. Fox Hill Road 84 77.7least frequency of X.at Fox Hill Crescent 4.X one bus an hour 4. 0.18 M .72.7bus AOther 18 services

Theatre

144

264

Door to Door Public Transport (D to D) operating Grenoside in this area - see reverseNorfolk of map Hillfor details

Grenoside S TR Halifax RoadE E T

Leisure centre

202 239 341 394

202 239 341

Place of interest

ST Greater county R E Manchester © 100022610 GMPTE boundary

R 304.306 375. 383T E Q 384.394 RE ST

ION TAT SBritannia 62.62A.303

MARPLE

HA ERL WAT

RICR

ERN

P IC

ST OC

POR T

13 FA Loxley R A ST E V Rodney HillD AY EN Reservoir SQ S O TD EB UA N

304 383

67 375.3 .358 83.3 84

304

HI LT ON

383 384

Bevan Way

details in this publication, GMPTE cannot be held

responsible for any inconvenience arising from Level crossing alterations or omissions.

S TR

Local Link

R EID ET E

Landmark building

Metrolink line and stop Burncross Whilst every care has been taken to ensure the accuracy of

Market Place

Hospital

Mapping based on aerial photography. Information regarding bus routes contained on this map is provided by the bus operators and could be subject to change at short notice. At time of going to print the information shown includes all changes up to 25 January 2009.

STREET

OAD

D A EA 384 LE

N O R B UR

Alighting stop only

305

VE DRI

Greengate Lane

Tourist Information Centre

total schematization

Motorway and junction

Chapeltown Chapeltown Railway station or Metrolink stop with car parking capacity of 25+ ER M R K T A ST.

Chapeltown Hospital with Accident & Emergency facility 77 Lound Side

09-0063-90211

Oughtibridge Langsett Road North

304

CADBrabyns D ILPark LY

Marple Locks

305

Portland Tower

LO W

Chapeltown Rail Station

Hodgefold

ND BRIDGE IX

N TO NG

Piccadilly Hotel

AN D

Piccadilly Gardens

SLV I L L E

STO CK

MARKET STREET

District boundary

metres

National railway line and station TH

ROAD C AST

Local Interchange for public transport connections

202.239.341

O T TRAM RO AD

Broadbottom

200

High Green Cottham Road

U LD

A LL

yards

200

100

Foster Way

ero Eth

River

KEY TO MAP SYMBOLS Broadbottom

Wood

100

E RE

Etherow

I NN

T ER

341

H IT Deepcar TL Carr RoadE

GLH

E UD

High Greenserved by bus Motorway

TAMS ET S

ST DR

SCHOO L

IL LY

H AT

River

M N

GO AR

ST 304.306.383 GLE MAN 384 .394

Road

Deepcar Manchester Road ST Compstall

304 383 B 384 TI

P IC

Craft Village

K CA RPE NT

River G o yt

ST CL

341

PLATT O A D LA NE

RE ST

T C L IV E S

R EE

ST T

ST JO

PICC

Princess Hotel

3Great 700 Road served Scale by bus1/: bus stop

LANE

EET

G GH

EDGE

ST R

R RI

341

LANE

AS ST

WoodE E T

380

Cherry Tree BA CK

Ley Hey Park

305 ET

S TR

PLA C

H IL

384

T TS

Deepcar Lee Avenue

NORTHERN QUARTER

B OIN W DE

D GA

LA NE OO

D GA

303

S TR

Windlehurst Cornerhouse

H UG RO

TH RN

T EE

Piccadilly Gardens

Chinatown Rose Hill

O RLB

Chinese Arts Centre 304

ROAD

MA AT

.109

HAM

Manchester Metropolitan University

HIG

ISH

305

G RE

ROA

S TA

.108

.104

NE W

RR DU

Rail

O L DA PPT

305

RL TU T H E OTT E

TION

E N E W WA K E F I E L D S T R ST

Piccadilly Plaza

HAR

ET VI L

R EE

RE ST RE

Room

8 .11 13 88 ST 2.1 .1 D .11 .1665 A HE .81 164 R O .80 63. D YC .77 6.1 .64 15 51 1. A. .13 E .17 24 AL 17 23.1 D 1 H

381

WATER

Mosley Street

TH OR I T W Green

M PS

NETH

Piccadilly Gardens

W ES

Palace Theatre

01 99.1

ST ROAD

BRI DGE

380 381

Market Street

CUBE

ROA

Elsecar Rail Station

T ST UN

58 CA 383 CHU CN R C HDeepcar Knowle Avenue STRE ET PS COM CS CB Redbrow

(Centre for the Understanding of the Built Environment)

199

ST E ST

T R S

BUXTON

CV T

Primark

OX I

Stocksbridge NZ TU Manchester Road/Victoria Street R

Market

R T B

E DG

LO W

R ST BA CK

AV.

G HI

ST RE

Portico Library & Gallery

R. L D

LAN

REE

R AWMMO

Werneth Low Country Park

UD S H NN

LAN

ST EA

Ibis

ENI

Novotel

IAN

Poynton

Athenaeum

P R SE IN CE S

Premier Travel Inn

Oxford Road Station

LANE

ROA

L M A R P LE HA

DOO

56 105.2 LE

Job Centre

S TR

Poynton Lake

Cana l

I EH

D O A Stands

R EE IN

E RN

Shudehill Interchange

341

OA D

ST CK

360 394 TP

Debenhams

304

BR OW

Y DI

ST RE

City Art

375 383 384 67 358

RD GR

Brook

Manchester Buddhist Centre

RT S T O C K P OGallery

LAN E

Norbury

N ED

199

380.381 383.384

387

201

Hattersley

Godley Green

Wombwell Rail Station MOTT

304

CIS Tower

Gee Cross

ET S T R E57

PL Backbower NA

AM TR OT M

H WE

S O LE Y

W SQ LS S T. M I C H A EBarnsley

R NL

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L O U CE

341 R O A D 342 344 ERNETH

206 304 346

T HO

WEST

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341 342 344

WER

R O U N D C ROFT

PA R K

ROAD

304

Hyde Hospital

D. RStation Rail OLD

JOE

ROAD

STR

RSPO

HIGHFIELD

WA T E R

STREET

304 346

LANE

OTTE

380 380 381 381 389

S TO C K P O

Rochdale Canal

OO L

WAY

ST PETERS SQUARE

MILL

OCK

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H ILL

DGE

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Post Peak Fo rest Office

Shudehill

WELL

LANE

TO R K IN GTON

RACK

ROW LB

BAR

MAY ES

344

ET R E 206

A to L W Stocksbridge LO Manchester Road/Underbank Lane

LANE

L OS

St. Peter's Square

ST RE

ANC E R Y

R Hotel OA D

LILLY ST.

MIROA LL ER

C O M P S TA L L

375Midland

IN RD KBU RN .

TheI D EPrintworks ROAD

ROMILEY OL K

T ST

O RT

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Tesco Romiley Forum

NO RF

KEN

S T R EET

Central Library 364 and Theatre

L AN E

108 390 391 392 393

Fiveways

Town Hall

Crowne Plaza

STR

Cinema

HILLS

ROAD

MA RK

NEW

R O AD

LANE

lock Med

AR S D E N

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RSD

Manchester Arndale

Park

C E SA SS SB

L L OYD

K S T O CHouse

206 346

OR SH

346

STR

DEAN

BRI

ROA

ASPI

MUNS TER

NU New206Century PORT

380 LD FO 380 PIN Stocksbridge 381 Moorland drive 381 389

Chadkirk S T R EET

BA R B I R O L L I S Q UA R E R FE

BU footbridge

W H I T 192 WORT

CP Country

ALBERT S Q UA R E

PETER

TR O A D

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206 346

HA Tameside N CollegeO V E R

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LANE L AN

Bridgewater Hall

GRE

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375

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Torkington Park

NE E E N N IS T R P ED

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308

307 308

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307

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1. topological schematization 2. partial schematization 3. totalB schematization C D

48 47 Herdings Raeburn Road

Purple Herdings

The first approach uses a geographic base map where graphical information is overlaid to illustrate the route of the buses with a single coloured route line and a series of route numbers – this is the least effective way of mapping bus networks as it can be difficult to understand and from a graphic design viewpoint is the least aesthetic. The second method is achieved by layering different coloured route lines side by side and on top of a geographic base map – this is effective to a point but becomes cluttered when multiple services share arterial routes, it is also confining design wise due to the adherence to the scale of the underlying map. The third way is the total schematization method whereby routes are laid out to a rough geography but the real onus is on the ability of the user to understand, quickly and easily the nature of what they are viewing. Schematization To some degree the total schematization method encompasses a ‘leap of faith’ for the user as it is the furthest step away from reality in terms of transport network mapping but this is where spider maps have an advantage. Their abandonment of literality and embracement of considered abstraction makes them unique in the realm of spatial information design. Bill Bryson writes in his book A Short History of Nearly Everything ‘on a diagram of the solar system to scale, with Earth reduced to about the diameter of a pea, Jupiter would be over 300 metres away and Pluto would be two and a half kilometres distant’ (Bryson, B. 2003, A Short History of Nearly Everything, BCA), this scaling analogy sums up the whole concept of a schematic map. It is rare a geographic map will be entirely literal due to its scale and even the most detailed maps only capture a snapshot and are therefore representations in time. So to draw a literal schematic map of our solar system is folly as to have it at such as scale to be readable in one glance would render it unreadable due to the microscopic size planet Earth would have to be. The stepping away from reality in terms of detailed design is what renders the schematic map readable. Its purpose is to convey a fairly simple message or series of messages rather than being an omnipotent product, which in some ways geographic maps are. Although simplicity and quality equals readability and legibility when it comes to schematic spider maps, the design considerations and execution can drastically affect the visual impact of the piece.

maps

contain

messages

What makes a good schematic spider map?

On the surface a transport map will just inform you of your travel options but it also serves a wider purpose of social mobility, ‘mobility culture considers not only transit but also health, education, housing, waste and social needs..’ (Mau, B. 2004. , Massive Change, Phaidon), for some residents of a city who have no choice but to use public transport a transport map will represent to them what their feasible options are for visiting a hospital or shopping centre. It can also highlight shortcomings in the broader sense of the network itself. Schematic maps as graphical information designs are created to either show journey options from a centralised node or a network as a whole with no particular centralised focus. In detail there are deeper considerations such as how to display interchange points, terminus points, points of interest, what font and weight to use, the use of appropriate colour palette, the angles to be used, how lines cross each other, how the map will fit into and how it will relate to corresponding data within an information product. Good Vs Bad There are hundreds in not thousands of public transport network maps available showing nation rail networks or more detailed urban areas featuring light rail and/or bus and of these some are obviously better than others and some are more complex than their counterparts. To compare two maps from different locations would perhaps be unfair due to their unique situations, as discussed the New York map already has well designed and received official and unofficial versions and failures of existing maps such as Mexico City have already been explained. So, what makes a good schematic spider network map? Firstly let’s discount techniques that are used as probable design features that appear at the expense of legibility as these can be unique to a particular map.

What is a spider map’s function? The main function of a spider map is that of a planning tool which is why graphic communication is so crucial in order to attain the best outcome for the end user. This fits into the realm of social responsibility in design, the creators of these maps are (especially at the point of use) making something than can and will influence behaviour and movement. In parallel with wayfaring signage the maps have to be of use at a variety of levels – not only as a reassurance tool to the experienced traveller and a planning tool to the infrequent traveller but also as a marketing tool to the potential traveller.

Commonality exists in ill judged design and a featured text based issues is as follows: Stop text features on a non-horizontal plane and stop text features in uppercase text only. Two examples of this occurring are on the Buenos Aires (below right) and the Copenhagen (below left) map. On the Buenos Aires map both of the described text issues occur, the stop names text is always on a 45º angle and every stop is in uppercase with the road names on the underlying schematized road map in title case. The map is also on a black background to further obscure legibility for partially sighted passengers. The Copenhagen map displays it’s stop text in title case but has the text placed at different angles throughout the image – horizontally (vertically on one version) and at both 45º and 135º angles. This inconsistent approach means a reader, new to the map has to tilt their head both left and right to read the map properly or rotate it depending on a fixed of hand held product, which from a usability viewpoint is unacceptable. Good practice in labelling schematic maps is to have all stop names on the horizontal plane, this is unavoidable in geographic maps in regard to road text labelling but completely avoidable on a schematic with the widening of the map area to accommodate the text effectively. If there are many stops featured on a horizontal route line, stop text can be positioned top and bottom alternately to alleviate the need for excessive route length which would occur if the text was placed only on one side of the route line. On the Atlanta ‘Marta Rail Map’ (overleaf) the station stops also double up as parking icons with the exception of the central ‘Five Points’ stop which has an icon positioned after the text – a lot of which is also on a 45º angle. Copenhagen

Buenos Aires

This messy approach is distracting as it forces particular components into multi-functionality which is an unnecessary gimmick considering the relative simplicity of the map itself. The text for ‘Peachtree Ctr.’ flows over the spur to ‘Bankhead’ and there are further anomalies with the truncation of place names where there is space for the full stop name to appear. The actual point size of the font also varies and the naming of the lines on the map is not consistent with the naming of the lines on the legend. Despite this poorly executed schematic, the map is still understandable, which is more of a testament to the style of map than this particular design itself. These examples pinpoint designs that seemingly lack the consideration other maps have been given but what exactly constitutes a good schematic spider map? It is a question of what to do but also what to avoid, as described the positioning of text at unnatural angles and the avoidable doubling-up of component functions is something to be avoided but unnecessary complexity that is often executed. A good example of an uncomplicated UK map is the Tyne and Wear Metro map (above), this has a very simple design with the station stops clearly shown by being spaced evenly and nice use of a stand out font. The only criticism is a small detail of the title for Central Station being split by the stop itself. The London bus maps are also worth noting as not only are the designs eye-catching and easy to use there are hundreds of different maps that appear over the whole city that compliment the TfL brand identity of wayfaring signage, tube and geographic maps and transport related tourist information.

Tyne and Wear

Atlanta transit map

Design practice Good design practice for schematic spider maps needs to be approached in a considered way as they contain a series of statements and messages to aid individual travel and travel planning. Clarity and legibility are the paramount factors when considering design layout and detail. What a schematic lacks in geographic detail it should make up for in graphic presence, ideally it will lead the user to conclude their initial question and in return leave no ambiguity. A spider map has to accommodate users approaching it for differing reasons and who will use it in different ways because it is made up of various elements, especially if it is complimented by a data table. Ideally a schematic spider map would contain the following components that relate to each other in a logical manner: Text: • Sans-serif font • Stop names in title case • Stop names on horizontal plane only • DDA (Disability Discrimination Act) compliant where possible with a minimum of 12pt lettering • Consistent naming convention throughout (especially for bus maps) Colour (route lines): • Balance and contrasting in terms of colour relationships between the individual lines • Avoid the use of hatched or patterned lines Route lines: • Clear with appropriate line weight • Well spaced to aid readability • Avoid excessive crossing of route lines and crossings throughout lines are to be consistent - eg always over rather than alternating under and over throughout a single route • Good relationship with stop name text and iconography in terms of space and clarity • Curves to relate appropriately • Geographically accurate in terms of compass points (ie items that are north in reality are north on the map) • 45º and 90º angles are generally accepted to be the most aesthetically pleasing

Stop graphics, including terminus points, interchanges and point of interest iconography: • Consistent and obvious • Relates well to a complimentary key • Good relationship with related components such as text and iconography in terms of space and scale • Good relationship with corresponding data table (where one exists) • Avoid doubling the use of the stop graphic so it also becomes an icon

What a schematic lacks in geographic detail it should make up for in graphic presence

designers are looking towards technology to assist with the design process as well as contributing to systems that will not only enhance the finalised output but also add elements of accuracy and sustainability to the applications they create with it developers.

The technological progression of design Introduction Beck’s original creation is almost a century old now and apart from advances in technology in this time little has changed in the underlying ethos of the schematic spider map although production methods have altered considerably. Beck used to hand draw and letter set all of his maps whereas they have been maintained electronically for a number of years now. Digitised design and print makes mass production and sustainability easier to deal with however since Beck created his underground map the style has only be improved rather than bettered and the maintenance and production of the maps can now be managed more effectively and executed in a timelier fashion due to the technology available.

This is what the term ‘Information Design’ encompasses. It’s an over-arching description that encapsulates a plethora of communication disciplines. Inhouse applications are becoming ever more common as the ability to tailor things to specific needs becomes easier due to advances in technology and a further level of understanding within industries – Adobe are well known for buying out smaller companies who have independently developed tools and systems that compliment their ever expanding suite of products, the most well known acquisition being Macromedia and Adobe’s competitor Quark itself tried to purchase Adobe in the late 1990s. This swallowing of competitors and niche developers/designers not only gives them the market edge but continues to give them market superiority as they buy out development houses such as Virtual Ubiquity. It is only a matter of time before they become more involved in the 3D design realm or start to produce toolboxes for cartography as discussed widely on many weblogs. Industrialisation and digitisation The industrial revolution, which emerged in the latter years of the 18th century was a complete revolution in terms of manufacturing and a huge step away from cottage industries and localised craft manufacturing. During the early 20th century Henry Ford further streamlined mass production by introducing electrification of existing assembly lines thus having a direct effect on production times which reduced cost and promoted availability. The Digital Revolution as it is termed started in the late 1970s/early 1980s whereby there began a gradual change from analogue and mechanised development and production to a digital based world - the change is still taking place today with the advent of digital TV signals that will become effective over all of the UK by 2012. This further industrialisation/ digitisation of design and especially the development of graphic and web based design means in some sectors it is or soon will be possible to mass produce information without the need for excessive staff numbers or externally contracted work because automation means mass production becomes a sustainable reality.

Developments in the field of design are moving rapidly as demand increases for device and web based applications and tools. In parallel with this, designers are looking towards technology to assist with the design process as well as contributing to systems that will not only enhance the finalised output but also add elements of accuracy and sustainability to the applications they create with IT developers.

In parallel with this but on a smaller scale at present, information design has to rely on similar techniques otherwise it would not exist. Increasingly, design programs are becoming more user friendly and it is becoming commonplace (even standard practice) to meld design and technology with computer programming on a specialised basis. If there is an achievable requirement that can be developed in house, so long as the skill sets exist, it is possible to micro-develop. This benefits not only the end user but the designers and developers too as they attain better knowledge and understanding of their products, which in turn can be manipulated if required as they are managed centrally and not exclusively by external consultants who are bound by the conditions of contract. Mass production and automation Some may argue that automating graphic design is perhaps a backward step as it eliminates a stage of creativity but in fact it is just a different way of achieving the design process. All design needs to focus on the finished article and the user-base and this will be achieved by various methods in the design process which will differ from discipline to discipline and designer to designer. Shirking from the fact that automation and semi-automation exists is ignoring the inevitable as at face value all design programs do is automate and often influence the userâ&#x20AC;&#x2122;s decisions. The creativity in automating anything is the decision on what it will finally look like and how that can be further manipulated as well as the actual intuitive user interface production and development. The benefits of mass produced information products is the ability to reach a wider audience and also to react to and manage change more effectively. From a public transport perspective making customers and potential customers aware of social inclusion and modal shift/modal choice is a serious consideration on lots of different levels including environmental reasons. In theory, the more people who are aware of and understand a service the more there are who will continue to use it and the more potential customers will exist. So having a widely distributed and easily available suite of branded products results in the potential to increase patronage but importantly the products themselves have to be of a high enough standard of design and accuracy to achieve a level of trust from their users - they have to be meaningful on a social and a personal level. Digitisation also means that products can be managed more efficiently. Running work from a central application is also a good way to manage design, production, proof and print, data quality and staff training requirements. It is also a fast way of retrieving statistical information such as time used by a designer to execute a product or amount of product changes executed in any given time period. changes executed in any given time period.

products... have to be meaningful on a social and a personal level

digital

ncobank ndonWincobank Road Merton Lane

Meadowhall

obank

Templeborough Sheffield Road

Meadowhall Interchange

one Road

Brinsworth

Carbrook Attercliffe Common Carbrook

Bawtry Road

Attercliffe Common

mapping Tinsley Park Europa Link

Waverley

Catcliffe Main Street Catcliffe

Treeton Lane

High Field Spring

Treeton

Wood Lan

rkway Industrial Estate

kway Avenue

r Park

project

Park Centre

Handsworth

Handsworth Road

South Yorkshire Passenger Transport Executive and the Digital Mapping Project: Introduction to SYPTE South Yorkshire Passenger Transport Executive (SYPTE) is the organisation responsible for public transport in the county of South Yorkshire (UK) and it carries out the work of SYITA, South Yorkshire Integrated Transport Authority. Whereas commercial businesses operate the bus/train/tram network on a profit basis SYPTE deal with items such as information provision, infrastructure, bus shelters and interchanges, integrated planning, marketing, monitoring, facilities management, external relations, customer services/call centre and policy/strategy planning and implementation.

Introduction to the Digital Mapping Project Until recently SYPTEâ&#x20AC;&#x2122;s information provision has mainly revolved around timetable, realtime and service frequency information. The missing piece of the suite was a comprehensive range of maps to complement the existing products. This issue had already been highlighted in the Information Strategy 2007-2011 and the Digital Mapping Project was conceived to address this imbalance within the product range. The approach to attaining maps for products was a carefully considered one and having all maps produced by an external agency was not possible due to the range and styles required but more importantly because there would be an issue with sustainability and a step away from reactive production. Bus services in South Yorkshire can currently change 4 times per year (known as 4XY) and owing the amount of preparatory work required (not helped by the poor quality and untimely submission of some operators information) the Service Information section often have to react quickly and efficiently to display alterations to the transport network, sometimes within hours â&#x20AC;&#x201C; something that would be almost unmanageable if entirely dealt with by an external agency. The best solution was to tender for a supplier to help SYPTE semiautomate their planned mapping provision. Working closely with the contractors the aim of the Digital Mapping Project was to design a suite of mapping products that would be managed by SYPTE and could be controlled and output by an intuitive user interface that manipulated data

The Service Information section who work within the IT department are responsible for a suite of information products ranging from leaflet/posters and web based timetables and area guides, poster based maps, management of online registration for timetable updates, Passenger Information Displays (PIDS), kiosks and journey planning software.

from the Service Information System (SiS) database and the Geographic Information System (GIS) to create styled geographic and schematic maps as specified by a set of graphic and cartographic design parameters set by the Digital Mapping team at SYPTE. This approach ensured a consistent design style was employed across the product suite and a set of rules was established to ensure maps would be produced in a consistent and unambiguous manner to a set of branded guidelines. Importantly, it was written into the brief that SYPTE would retain control of particular aspects of the system to ensure it would be flexible enough to design and produce new and ad-hoc maps thus enabling the system and the organistaion to keep pace with anticipated demand following the launch of the application. In 2008, T-Kartor were awarded the contract to supply and maintain the software. The Sweden based company have vast experience in public transport information products and designing back-end data-driven applications to aid the management, production, control and sustainability of cartographic systems. Products developed for the Digital Mapping Project The project aimed to achieve the semi automation of the following map products: Connect Corridor Map (CCM) This existing product features on the Connect flags; information displays situated across Sheffield city centre. The maps were 100% hand crafted in Adobe Illustrator by SYPTE staff to a set of design guidelines initially Connect corridor map (CCM)

conceived by City ID, the design consultants for the Connect wayfaring project for SYPTE and the city council. These could be quite time consuming to create as a lot of planning and skill was involved from the designers point of view, who had to interpret several sets of raw data and define them as a graphical piece that showed the interaction of the bus services from the chosen stop. Once this process was semi-automated the designer generates and uploads the required data into the Digital Mapping System (DMS), which interprets and plans the map before an output is created in Illustrator. Due to the complexities of the data and the many variables in the design process a certain amount of manipulation and tidying is required by a designer to under 10% of maps after completion to ensure quality is kept to a high standard. A full set of corridor maps can now be produced in a matter of hours rather than days. Geographic Location Map (GLM) GLMs existed previously albeit in a much simpler format, situated at train stations throughout South Yorkshireâ&#x20AC;&#x2122;s rail network. The previous versions of these posters were maintained by a print company and did not adhere to any of SYPTEâ&#x20AC;&#x2122;s design or branding guidelines or standard of quality. What was achieved by having GLMs produced by the DMS was a much more user friendly product that had the usability focus of onward journey planning and the geographic map element orientated to the direction the user was facing thus avoiding the often complicated process of the user reorientating themselves in relation to their situation - this was accomplished Geographic location map (GLM)

by surveying each poster case location and inputting the degree of orientation into the DMS. The cartographic styling of existing pedestrian maps from the Connect project was used in the development of the GLMs to further establish the recognisable and individual style used elsewhere. Single Line of Route (SLR) and Variable Line of Route (VLR) SLR maps currently exist in timetable products and are a graphical representation of the timing points the service operator (bus company) has registered along a route. Services often have route variations that are known as route profiles and VLRs display a route and its associated variations rather than a single straight line. Although simple to execute manually on an individual basis, having the ability to automate this process would make having SLR and VLRs present on all bus stops a reality, in fact it could also make having CCMs on a large number a reality too - there are over 3000 individual bus stops in South Yorkshire none of which currently have any mapping provision due to the logistics of maintaining such products manually and the size of the display panels within the infrastructure. The existing bus stop timetables (aka carousels) are currently fully automated using service data from SiS exported to pdf via Excel in a set of pre defined graphical formats according to number of services per stop. This was developed in house by the IT Development and Service Information team. Spider Map: Network (SMN) In many ways this was the focal point of the project. Unlike the other maps developed within the system the SMN was to be a brand new product rather than an update of an existing set of products. This made the task of designing the maps less complex than it could have been as there was nothing currently in place and therefore it was undertaken from the ground up as a totally new concept - this also meant there was a lot more work involved. Complimenting the schematic spider map element of the product is a data table of services and an inset GLM that acts as a wayfaring map and also a site plan. Interactive Geographic Network Map: (iGNM) An interactive web map was created covering the whole of South Yorkshire featuring all bus and tram routes and also live departure times, journey planning and walk routes - http://maps.travelsouthyorkshire.com/

Design specification for SYPTEâ&#x20AC;&#x2122;s schematic spider map product Header - TSY Light Grey Bus

10 mm bleed

20 mm

20 mm 15 mm Interchange name inserted here

Xxxxxxxxx Interchan

25 mm

125mm

10 mm bleed

25 mm

20 mm

High frequency bus services from her 30 pt White

125 mm 21mm

Service finder

25 mm TSY Dark Grey Bus (no stroke)

Interchange name inserted here

High frequency services from XXXXXXXXXX Interchange

9 mm

5 mm

Service

Towards

Stop

Service Approximate frequency journey time

Operator

Places of interest along route

Wisewood

10 mins

29 mins

First

Woodhouse

10 mins

30 mins

First

Woodhouse

10 mins

30 mins

First

Loxley

10 mins

29 mins

First

Meadowhall Interchange

30 mins

1 hour 10 mins

First

Spinkhill

30 mins

39 mins

First

Swallownest

15 mins

30 mins

First

Rotherham

20 mins

52 mins

First

Fulwood

10 mins

28 mins

First

Halfway

5 mins

45 mins

First

Waterthorpe

12 mins

28 mins

First

Firth Park

30 mins

43 mins

First

Firth Park

30 mins

43 mins

First

Herdings

12 mins

23 mins

First

Herdings

12 mins

26 mins

First

Low Edges

10 mins

32 mins

First

Stocksbridge

30 mins

52 mins

First

Stocksbridge

30 mins

50 mins

First

Rotherham Interchange

30 mins

1 hour 15 mins

First

Rotherham

20 mins

37 mins

First

High Green

30 mins

42 mins

First

Chapeltown

30 mins

32 mins

First

Birley

20 mins

28 mins

First

Frechville

20 mins

22 mins

First

727

Chesterfield

30 mins

37 mins

Stagecoach East Midlands

Rotherham Interchange

30 mins

55 mins

Dunn Line

X78

Doncaster

10 mins

1 hour 19 mins

First

Blue

Halfway

FT1

10 mins

32 mins

Stagecoach Supertram

Blue

Malin Bridge

FT1

10 mins

17 mins

Stagecoach Supertram

Purp

Herdings Park

FT1

30 mins

19 mins

Stagecoach Supertram

Purp

Meadowhall

FT1

30 mins

16 mins

Stagecoach Supertram

Yell

Meadowhall

FT1

10 mins

16 mins

Stagecoach Supertram

Yell

Middlewood

FT1

10 mins

20 mins

Stagecoach Supertram

35 mm

30 pt White

Place holder for the data table has dimensions: W = 490 mm H = 575 mm

585 mm

Disclaimer text: Shown in default position but can be moved if required

25 mm

This product shows information for high frequency services departing from this location.

To Darton, Castleford and Leeds

Bus services shown on the diagram have a service frequency of 30 minutes or better between 8am and 6pm, Monday to Friday.

To Dodworth, Silkstone Common, Penistone and Huddersfield

Journeys on some services may be longer or shorter than those shown. Always check the information displayed at the bus stand, on the front of the bus or ask the driver for details. Places of interest shown are within 400 metres of the stop. Colours shown on the diagram may differ from those used by bus operators on these routes. 18 pt 20 pt leading TSY black

Placeholder: W= 140 mm H = 100 mm

Stocksbridge Manchester Road/Underbank Lane 57

Stocksbridge Moorland drive

Stocksbridge Manchester Road/Victor

58 Deep Knowle A

Additional Information:

1189 mm

Total measurement for art board: W = 1682 mm, H = 1189 mm SNM Map place holder to be non-visible - no stroke and fill

FreeBee route map will be a separate library item Disclaimer text will default to the position indicated but can be moved i PLEASE NOTE: Spider map is for illustrative purposes only - Please refer to the full specifiaction for guidelines.

Height of map placeholder = 948 mm 25 mm 10 mm bleed

5 mm 25 mm

You are here

25 mm TSY Dark Grey Bus (no stroke)

9 mm

5 mm

25 mm

Key

GLM map place holder to be non-visible - no stroke and fill Dimensions of place holder W = 325 mm, H = 260 mm.

30 pt White

25 mm

260 mm

GLM map Linked file for GLM map placed here.

Bus interchange

Ticket facilities

Tram stop

Information point

Rail station

Toilets

Hospital

Baby changing room

Parks & gardens

Lift

Sport & leisure

Steps

Library

Ramp

Museum

Staffed site

Football stadium

Bicycle parking

Shopping area

Park & ride (tram)

Theatre

The bottom two identifiers will need to be added as library items.

10 mm bleed

5 mm 25 mm

10.5 mm

10.5 mm 4.5 mm 25 mm

Pedestrian areas

Building entrance

Non-pedestrian areas

Payphone

Roads

150 mm

93 mm

20 mm

We aim to provide information that is as accurate as possible. We cannot accept responsibility for errors, or for any bus that does not operate as shown. If there is a problem with this product please call Traveline.

This stop identifier is used to show bus stops situated on street. It contains a bus stop reference letter as well as the stop number displayed at the stop.

FreeBee

This stop identifier is used to show bus stops situated in an Interchange or Bus Station. It contains the bus stop reference that is displayed at the bus stop.

14 pt TSY Black 16 pt leading

MMM8

This stop identifier is used to show tram stops. It contains a tram stop reference that is not displayed at the tram stop.

14 pt White

From Sheffield Interchange

Sheffield Interchange

TM Travel

Castle Street

Norfolk Street

Flat Street

Furnival Gate

We are working hard to ensure that all public transport is fully accessible to all. Most high frequency buses are low floor and have space for wheelchairs or buggies. If you need assistance when travelling please ask the driver. 16 mm

25 mm

Fitzwilliam Gate

Furnival Street

Eyre Street

16 mm

Ref: XXX-0000-00000000 Date: 00.00.0000

150 mm

5 mm

25 mm

16 pt 18 pt leading TSY black

Pinstone St Town Hall

Paternoster Row Sheffield Station

10.5 mm 10.5 mm

20 mm

150 mm

To find out more about South Yorkshire public transport network, visit travelsouthyorkshire.com

16 pt 18 pt leading TSY black

Placeholder: W = 270 mm H = 170 mm

FreeBee route map will be a separate library item which can be placed anywhere on the map art board.

MMM8

1.5 mm gap

10.5 mm

Travel South Yorkshire represents the organisations and operators that work in partnership to provide public transport products and services throughout the region.

1 pt stroke TSY Dark Grey Bus

Car parking (free/pay)

325 mm

9 mm

5 mm

30 pt White

16 pt TSY Black

Arundel Gate Interchange

Travel information

25 mm TSY Dark Grey Bus (no stroke)

ÂŁ

Civic building

12345678

1 pt stroke TSY Dark Grey Bus

Park & ride (bus)

University or college Any combination of the three types of stop identifiers can be used.

3 mm corner rounding TSY Dark Grey Bus 1 pt stroke

25 mm

16 pt 18 pt leading TSY black

Charter Row

10 mm bleed

1682 mm

nge

185 pt TSY Pink Kerning = optical 166 mm

105pt TSY Dark Grey Bus Kerning = optical

10 mm bleed

Width of map placeholder = 1107 mm Barnsley Rail Station

Wombwell Rail Station

Elsecar Rail Station

To Kirk Sandall, Hatfield & Stainforth, Thorne, Cleethorpes, York, Hull, Scarborough and Bridlington

To Moorthorpe and Leeds

Rail

Chapeltown Greengate Lane

78 High Green Foster Way

Chapeltown Rail Station

High Green Cottham Road

Chapeltown Market Place

Chapeltown Lound Side

To Bentley, Adwick Wakefield and Leeds

Thorpe Hesley Chapelfield Place

Doncaster Interchange

Thurnscoe Rail Station Burncross Bevan Way

Rail

Goldthorpe Rail Station 17

Parson Cross Lindsay Avenue

Fox Hill Fox Hill Crescent

Conisbrough Rail Station

Bolton-upon-Dearne Rail Station

il Ra

Fox Hill Fox Hill Road

Ecclesfield Monteney Road

X78

Grenoside Norfolk Hill

Grenoside Halifax Road

Balby Warmsworth Road

Wisewood Hallowmoor Road 13

Mexborough Rail Station

Firth Park Sicey Avenue

Conisbrough Church Street

car venue

Oughtibridge Langsett Road North

57 58

Tinsley Meadowhall South

Leppings Lane Hillsborough Middlewood Road

13 Loxley Rodney Hill

Arena Don Valley Stadium Attercliffe

Yellow Blue Purple

Parkway Industrial Estate Parkway Avenue

17 66 77 78 40

Broomhill Glossop Road

Treeton Wood Lane

Catcliffe Treeton Lane

You are here

Waverley High Field Spring

26 Swallownest Main Street

Catcliffe Main Street

X78 26 23A

Sheffield Interchange

Wales School Road

Aston Aughton Lane

Purple Cathedral

University of Sheffield West End Hospitals

To Worksop, Retford and Lincoln

Kiveton Park Rail Station

Hyde Park Fitzalan Square

Kiveton Park Station Road

South Anston Ryton Road

Kiveton Bridge Rail Station

Dinnington Interchange

Handsworth Handsworth Road

Sheffield Station

13 14 48 94 95 42 41 32 47 727 53

eet

West Street

Shalesmoor

Canklow Bawtry Road

69 A1 57 58

Castle Square

Rotherham Interchange

X78 Rail

13 14

Sheffield Centre Arundel Gate City Hall

40 Fulwood Barncliffe Road

A1 69

Templeborough Sheffield Road Carbrook Attercliffe Common

Cricket Inn Road

77 8 7

Langsett Primrose View Infirmary Road

required

X78 Rail

Nunnery Square Hillsborough Park

Bamforth Street

Netherthorpe Road

Meadowhall Interchange

Tinsley Park Europa Link

Woodbourne Road

Hillsborough Interchange

Thrybergh Doncaster Road

Rotherham Rail Station

Carbrook

Valley Centertainment Hillsborough Langsett Road

Malin Bridge Park & Ride Blue

Owlerton Penistone Road

Swinton Rail Station

Droppingwell Upper Worthley Road

Deepcar Manchester Road

Worrall Haggstones Road

Deepcar Carr Road

Deepcar Lee Avenue

a Street

Middlewood Park & Ride Yellow

Rail Rail

Darnall Rail Station

25 mm

Woodhouse Rail Station Rail

Granville Road Sheffield College

Rail

Manor Park Manor Park Centre Highfield Charlotte Road

Lowfield Heeley Bank Road

Heeley Chesterfield Road

Heeley Richards Road

13 14 Woodhouse Cross Street

Park Grange Croft Park Grange Arbourthorne Road Spring Lane

Manor Top City Road

Manor Top Elm Tree

Base Green Basegreen Drive

94 95 42 41 32

95 Frecheville Dyke Vale Road

Hollinsend Gleadless Townend

Moss Way Frecheville Birley Moor Road Donetsk Way

Newfield Green Gleadless Road

Woodseats Chesterfield Road

White Lane Leighton Road

Birley Lane

Birley Moor Road Hackenthorpe

48 47 Herdings Raeburn Road

Purple Herdings Park

94 Birley Birley Lane

42 41

Crystal Peaks Bus Station

Beighton Drake House Lane

Dore & Totley Rail Station

53 Lowedges Lowedges Road

Waterthorpe

Dronfield Rail Station

To Hope Valley, Manchester & Manchester Airport

To Chesterfield, Derby, Nottingham, Birmingham and London

25 mm

Whittington Moor Duke Street

727 Chesterfield Coach Station

Halfway Streetfields

41 Halfway Rotherham Road

Westfield

Blue Halfway Park & Ride

An output of a schematic spider map product for Doncaster Interchange from the Digital Mapping System

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Frenchgate Centre

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Doncaster Council House Doncaster Civic Theatre

Doncaster Rail Station La ith Ga te

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A630 Way ord Traff

This map is based upon Ordnance Survey material with the permission of Ordnance Survey on behalf of the Controller of Her Majesty's Stationery Office © Crown copyright. Unauthorised reproduction infringes Crown copyright and may lead to prosecution or civil proceedings. SYPTE 100030252 2009

St Sep

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C3 C2

St S

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Trafford Way

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Doncaster Market

ay W

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Ch 30

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C7 B10

A10

Doncaster College, The Hub

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Doncaster Interchange

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Detail of a SYPTE schematic map product for Sheffield Interchange

The SMN product: Introduction Many other cities and areas around the world display their public transport networks by stylised spider maps because it is a clear and concise way of promoting the public transport availability within a geographic zone. There are numerous variations in the style and complexity of such illustrations and SYPTE approached the question of ‘what do we include?’ by commissioning some market research and carrying out a series of internal workshops to gauge opinion of staff and members of the public.

The service information provision from SYPTE, although of a consistent quality lacked (prior to 2009) a comprehensive suite of maps and mapping products. To bring into parallel the information provision of other public transport executives and operators; spider maps were a major consideration that will improve the quality of the public transport message in South Yorkshire and help customers and potential customers to understand the network. The spider map product is made up of several individual elements that as an ensemble form the piece, these are the spider map, the data table, header/footer and Geographic Location Map (GLM). How the spider map was approached The spider map was approached from a variety of angles. The digital mapping team had a good idea of what the product would be and even what it would look like but the full requirements had to be captured from not only the design point of view but from other professionals within the executive as well as the public. The primary aspect here was to avoid any conflicts of interest and at the same time to avoid trying to create an ‘omnipotent product’. In this sense an ‘omnipotent product’ would have been a final output that was all

The main difference between schematic maps for light rail and underground systems and bus networks is the supplementary information that is required to fully understand the messages within the product. Often on smaller scale, simpler maps an accompanying data table is not required to explain the journey details as these can be worked out by investigating the map itself. More comprehensive and complex networks tend to exist beside a table of information to sense check the graphical element – this is not because the graphical element is incomprehensible, merely the data table is a necessary tool to assist with journey planning and some users will naturally be drawn to it and will prefer it to reading a map.

things to every user – it was of paramount importance the project was approached with this in mind to avoid an end result that was too confusing, too complicated or too cluttered to use. Balancing these issues effectively was a driving factor behind the project and map design and in the early stages of design development, separate workshops were held with the public and selected SYPTE staff members to gather opinion and user test existing schematic map posters from around the world. The main considerations when approaching the initial design phase of the product were: • • • • • •

What do the public like/want? What do SYPTE like/want? How do other PTE’s and transport operators use schematic maps and what do they look like (benchmarking)? How do we maintain and sustain the maps? Design and visual communication issues and considerations - size, branding, colour, data manipulation, font IT issues and considerations – data manipulation and management

External Research SYPTE commissioned IPSOS/MORI to conduct a piece of qualitative research on a selection of the South Yorkshire public where a diverse demographic of public transport users and non-users of various ages and physical ability were canvassed. The workshop focused on a selection of posters containing schematic transport maps currently in use across the UK. The groups were also tasked with completing a series of journey planning exercises using the products in order to test potential usability issues. The results of which stood at almost 100% success rate, meaning that schematic public transport maps were a successful reality. The general consensus was that the schematic maps were a good thing to have and parallels were drawn between the tube map and similar pieces. Two other significant pieces of information were exposed during these sessions – the vast majority of those interviewed believed large amounts of data and lengthy tables within the products were unapproachable in terms of use, it was considered off-putting to approach a poster containing large amounts of data as it alludes to a complicated process before the procedure of journey planning has even started and therefore a user would either bypass the product or have little faith in their own ability to de-cipher it.

The second significant discovery was the lack of positivity towards a centralised geographic location map (GLM) within a schematic spider map as a central point illustrating the positions of actual bus stops. TfLâ&#x20AC;&#x2122;s main schematic spider product exists all over the city and highlights bus services from a cluster of stops within a locality. Due to the fact the clusters are not within a single building like an interchange or bus station it is necessary to display these stops geographically as they are often situated on either sides of road junctions. The user groups partaking in the IPSOS/MORI research did not like this geographic element to feature as the focal point of the map, the two mapping styles within one map that indeed have two separate functions (stop locating and route planning) were considered necessary but not as being compatible within the same section of the poster probably due to their differences in style, execution and message. The results of the survey were instrumental in forming the basis of the information product, with exclusive public opinion the design could be formed around what was perceived as the better elements these maps. Internal Research Within SYPTE a series of workshops were held where existing schematic products were displayed as well as a prototype based on the public research and design development within the Digital Mapping Team. For the prototypes, the basic elements (with dummy data) were positioned on a variety of poster sizes to gauge opinion how large the product would be, this would go on to define the scale of the map and table. The poster size and orientation was an important initial consideration as the maps that would first appear at South Yorkshireâ&#x20AC;&#x2122;s four main interchanges would contain a great number of services for this type of map. The primary concern at this stage was the decision of what to leave out, what to show and how to display it. The comments from the workshops were captured and used to inform the decision processes made by the team. Beyond the two sets of research the teams at SYPTE and T-Kartor pooled their resources and experience to further enhance and define the design requirements. Development T-Kartorâ&#x20AC;&#x2122;s involvement in the spider map section of the project was to provide a digital solution addressing the problems of producing a series of spider maps with limited staff resource and furthermore sustaining the posters, especially when requirement expanded beyond the larger sites. The requirement was for an intuitive user interface that would utilise data from various sources to enable the semi-automation of the spider map and also the product it would sit in.

SYPTE’s involvement centred on the provision of the graphic design guidelines for the map and product, usability and the management of their IT requirements in terms of how their own data was produced for feeding into T-Kartor’s Digital Mapping System (DMS) and how the DMS interface could be best used by design staff. Once the format of the service data had been agreed and the other requirements finalised the two teams effectively started work on the project from opposite ends. T-Kartor began investigating how raw data provided as a set of Microsoft Excel files could be turned into graphics that could then be manipulated in Adobe Illustrator with a series of ‘efficiency tools’ developed by one of their programmers. The digital mapping team at SYPTE in parallel with T-Kartor, started to design the look and feel of the schematic map itself and to produce a set of technical guidelines so the graphical constraints could then be programmed into the system to enable the desired output. Guidelines for the data table element and actual product were also produced.

The requirement was for an intuitive user interface that would utilise data from various sources to enable the semi-automation of the spider map and also the product

visual communication

Design and visual communication considerations of the SMN Introduction The approach to the design of the spider map product entailed a variety of considerations derived from the research and team discussions and ‘brainstorm’ sessions. Not only was it important to develop a product that fulfilled the points of the captured requirements it was also an exercise in balance. All design projects have a series of constraints that need to be considered and the main visual communication issues for the spider map product are documented here.

After the internal workshops (SYPTE prototype products were only used internally and not included in the public consultation) it became apparent that a landscape product was not only the more popular orientation, it also lent itself better to the layout of the required elements and when wall mounted was readable at an acceptable level. Investigations into the amount of probable information to be displayed resulted in a large scale poster being required and portrait was immediately ruled out as the top of the poster would be far too tall to read, a large square product was also considered that again was dismissed for the same reason. The final decision was to have the product size set to double A0 (landscape) this was also a manageable size in terms of printing the posters at SYPTE. The poster cases were specified to sit 900mm off the floor (whether wall mounted or free standing) to enable the best height for use by a variety of customers. Amount of data and services: The question of what services to display on the product immediately created a swathe of considerations. Where it may seem obvious to display all services in the same manner this simply was not an effective solution due to the amount of likely services on products at busy interchanges and also the way the actual services run. The services had to be disseminated in a sensible and logical manner but at the same time we were reluctant to totally discriminate erratic and ‘one journey per day’ services.

Poster size and orientation, placement and positioning: We were aware from the outset that the size of the posters would depend on several factors including exactly what it was we wanted to display. All information products produced by SYPTE are Disability Discrimination Act (DDA) compliant and have a minimum point size of 12 to enable legibility, however on a poster rather than a leaflet the text needs to be larger still so as not to become lost within the space but not so large that it looks out of place.

Schematic spider bus maps usually split the services into two groups (1) services running frequently, for example up to every 30 minutes whereby each service is denoted by an individual colour and (2) services running less frequently that are all coloured grey. Although this approach is a commonly used method it was not possible in the case of the busier sites in South Yorkshire (especially those in Sheffield) due to the large amounts of services operating from each managed location. Sheffield Interchange alone has around 26-28 high frequency and 25-30 less frequent bus services using the site on a daily basis and showing all services on a schematic spider map would have been detrimental to conveying a sensible and coherent message to the public. Once the amount of services on a schematic spider reaches the upper twenties the designer will start running out of colours that are different enough to be distinguishable without having to resort to striped lines or varying the line weight which compromises the aesthetic quality of the map and also adds another tier of learning to the user who would then have to read the map with an additional process of cross referencing to establish visual reasoning. To reflect existing information product rules and to rationalise the cartographic content the following approach was taken: Only bus/tram services that operate at a peak time (0800-1800 Monday to Friday) frequency of up to every 30 minutes would be shown on the main map in graphical format, these would be complimented by the neighbouring data table. Services that operate at a lesser frequency would be listed in a separate data table as â&#x20AC;&#x2DC;other servicesâ&#x20AC;&#x2122; with a short disclaimer explaining this. Some of these services run very infrequently, to the point where a detailed timetable product is the right option for a customer rather than a wall mounted map. For less busy sites the rules can be adapted to show all services, circumstances permitting and each new product can be investigated and planned by using SYPTEâ&#x20AC;&#x2122;s Data Extractor which enables a designer to interrogate the services database (SIS) via an interface which displays bus and tram services by site/stop cluster and frequency and enables the user to make decisions based on the data present in the system rather than decisions based on personal perception. Creating Information Products based entirely on personal perception de-rationalises the processes in place and renders the suite of products available as ineffectual from a continuity and effective sustainability point of view. Continuity is a paramount factor in gaining trust and attaining a consistent quality and brand.

Timing points: At a service specific level this was an opportunity to enhance our mapping offer in terms of what we displayed. It was important to show stopping points (timing points) on the SMN as we did on other products but there was a chance here to add another level of detail. Other, simpler schematic maps already produced by SYPTE concentrated on showing area names as stops only. For instance, on a CCM two services could serve two different parts of an area but on the map would appear as just a singular area for example Beighton is a local area so Beighton, West Street and Beighton, High Street would appear on a CCM as just Beighton. This works well for the CCM style of map by keeping it specific to area-to-area travel where corridors are more likely to exist. With the SMN a decision was made to show the timing points as separate entities, irrespective of their relationship within a local area so Beighton, West Street and Beighton, High Street would appear as separate stops on the map to accurately reflect what appeared in the printed and online timetable leaflet and what had been officially registered by the operator. This additional level of detail would provide the customer with a more comprehensive picture of the network and assist in the decision making process as some local areas cover large geographic spaces. Interestingly this approach, especially in map format highlights an issue with how operators register services and how they are processed by SYPTE â&#x20AC;&#x201C; however the prospect of digital registrations takes a big step towards making this a more manageable process with a better set of products for the end user. At present two different operators may operate two similar or even identical services in parallel but have registered both services

with different timing points (registering services/timing points is a legal obligation). This in turn results in the twin services having differences in information terms but as they are often in commercial competition the operators would not necessarily wish to re-register just to make their service work better at the final information output. In an ideal world SYPTE would stipulate the timing points to be promoted on any service to significantly increase the customer experience. Iconography: Points of interest (POI) are important factors when planning a journey as they are not only points of visual and mental reference they are places commonly visited for a variety of cultural, medical or professional reasons. SYPTE’s information team had an existing suite of icons that were in use on information products and were increasingly being used on marketing products and GIS based maps at the recommendation of the team to avoid ‘pink train syndrome’ whereby other departments within the organisation were not adhering to an established convention, resulting in differential and inconsistent as well as inappropriate use of cartographic symbology. This suite is continually expanding to accommodate the requirements of the executive’s mapping and information needs, in future the suite will hopefully be used also on site signage. The Digital Mapping Project itself has resulted in the creation of new icons for: education, civic buildings, castles, CCTV and rail park and ride. POIs are also managed from a database to make placement consistent within the SMN. For the map there are 8 categories of POI in a hierarchy that will appear on the map if they are within 400 metres of that particular timing point in real life. By categorising the POIs in this manner, the right points always have the right POIs associated with them and by restricting the amount of categories we avoid overloading the map with icons. Consideration has been taken when developing the suite to make any new icon in the same style as the original City ID designed suite and at the same time closely following any guidelines available from DfT for road signage and taking into account the icon will be read at small scale. By taking this approach, new icons achieve a corporate standard. Sorting the data table by service number or destination: Complimenting the schematic map is a data table of services. This contains more details on the journey time, frequency and operator that would be impracticable to display in diagrammatic form without diluting its message. Additionally, and this became quite apparent within our internal workshops, different users will use the product in a variety of ways. Some preferring to

establish the situation by initially reading the data table, others by finding what they required on the map and in both cases cross referencing and double checking their findings by reviewing the element they did not look at first. Irrespective of what a user looks at first the product quite obviously needed a map and a data table to provide a comprehensive level of information to a customer base with a wide range of preferences, ability and knowledge. The next question that arose was ‘we only have space for a single data table so how do we sort the data?’ The external IPSOS MORI market research also showed that people were turned off products containing large amounts of complex tabulation, so showing a single list was the right way forward especially as space was a premium. The two main ways of sorting the list were either by service number or destination, both ways are good methods of displaying such data but which was the best way in this situation and why? We also had to bear in mind that whatever the decision, some users would always prefer it to be sorted the way we decided not to show. Ultimately the decision was made to display the data in service number order and this was done for a variety of reasons. If the list was sorted by destination this would only show part of the information required as the table could only show end destinations and not intermediate via points. This was due to space and also because the existing ‘destination finder’ product detailed every local area possible as a destination from any one site and these were to be retained at interchanges. Further to the research it was anticipated that existing public transport users would use the map/table to re-affirm their journey and by being existing customers they would be aware of their service number and would wish to reference it in numeric order within the table, they could then use the line graphic within the table to find the line of route on the map. Alternatively they would be familiar with the local geography to some extent and be able to locate their service or where they wished to alight quite easily by looking at the map itself. It was also evident that non-users would use the complimentary products available on site in conjunction with the map and table to find the best option available to them, starting with the destination finder or PID screens which feature real time scrolling service information listed alphabetically by destination and via point. Site staff will also give journey planning advice by service number so this also reinforces the need to sort numerically.

Design specifications – Product, table and map: To enable T-Kartor to provide us with the best possible solution to our requirements it was important to provide them with appropriately detailed specifications. Three specifications for the SMN product were submitted to them Product specification: This contained detailed measurements of the overall poster product and guidance for placeholders for other elements such as the spider map, inset location map and table. It also featured static items such as the header and footer. Table specification: Adobe In-design was used to produce the table specification as it has such a comprehensive table builder built into the application. A visual specification was issues as well as the actual In-design file. Map specification: This specification contained the most detail because the map would be the most variable element. Whereas the product specification dealt with the placement of elements from various sources into a template and the table specification dealt with variety in length according to data amount; the map specification had to take many variables into account, not only static variables such as text within interchange blocks but non-static variations and possibilities that may arise when constructing a schematic spider map such as terminus points.

The map specification not only had to define the cartographic styling it also had to be a detailed guide to the mapping supplier of what was and what was not acceptable when programming the parameters into the Digital Mapping System

Spider map specification, design issues and solutions:

No.

Name

Function

Service number lozenge Route line Stop

Terminus

Curve

Stop name

Icons for points of interest ‘You are here’ block Managed location blocks Crossovers

Placement of bus/tram service name onto route line within graphic entity Coloured line displaying route of a particular service Circular interruption to a route line to denote a registered timing point on a service End point of a service, made up of stop name, service number lozenge and larger stop dot Bend in a route line to denote generalised geographic placement or to accommodate text Text label displaying local area name and side road name as registered by service operator Graphic device to denote a specific location such as a hospital or university Centralised square featuring ‘You are here’ text and site name Squares denoting interchange sites to aid orientation and reference Route lines sometimes have to cross one another - crossovers are like graphic bridges

8 9 10

These components all have variations in text, colour, position, diameter and length. The following text describes the design issues and solutions of the map specification followed by the actual specification itself. ‘You are here’ block: The initial thought a user has when looking at a map is ‘where am I?’ the SNMs are site specific so a good solid device was required to attract attention and fit well with the balance of neighbouring items. The other consideration was the amount of services likely to emanate from this starting point, which would affect its minimum size. It also had to accommodate the term ‘You are here’ as well as the site name in adequately sized text. Due to the length of most site names it was

Introduction: The map specification not only had to define the cartographic styling it also had to be a detailed guide to the mapping supplier of what was and what was not acceptable when programming the parameters into the Digital Mapping System in order to semi-automate map and product production. Essentially there are ten graphical components that combine to form the schematic spider map:

necessary to split the name text onto two lines to enable the font weight to feature at a readable level, especially from a short distance. The text within the block consists of a static and a variable, the static being ‘You are here’ and the variable being the site name which is fed into Illustrator from the Spider Map Network interface of the Digital Mapping System which is controlled by the designer. Likewise the product reference number and date that appear in the footer of the product to facilitate effective site management and information product control. The block had to be a uniform shape to achieve balance and have the same space available on all sides for services leaving the site. This meant it could only be a square or circular formation as other 360° symmetrical polygons looked gimmicky and would have complicate the design rationale for this element, sketches quickly established a circle was not the right shape for the centre of this kind of map but a square would work very well with the style of the product and also enabled services to exit at right angles only at 0º, 90º, 180º or 270º which at the initial stage of viewing keeps the message simple. Generally schematic spider maps either have no ‘you are here block’ as they depict a network as a whole or they will feature a geographic hub which consists of an inset geographic map showing roads and bus stops etc. which turns into a schematic at the edge of the inset map frame. The other

option for this map was the geographic hub but this proved unpopular with the user testing carried out as part of the market research so was dismissed as an option.

Stroke weights and route lines: The stroke weight of the route lines is 10pt with the centre of each parallel line being situated 6.5mm apart. This creates enough white, background space between each line to make them distinguishable from each other and avoids a situation where the brain fails to see the white space because the lines are too close together. The colours in the colour palette also help to avoid this visual fusion. A snapshot of a route line in colour with a stop dot is present within the data table to enhance the prospect of successful cross-referencing of the separate information elements within the product. Stops: The stops (aka stop dots) are shown by a circular dot within the route line comparable to the stops on a CCM style map. This is a good method on large scale maps but also works well at smaller scales as it subtly interrupts the line whilst retaining the flow of the service. Other styles of stops used on popular designs feature a â&#x20AC;&#x2DC;fly offâ&#x20AC;&#x2122;, a small line, usually at right angles to the main route line positioned next to the stop text. In these cases interchange points are usually denoted by a circular stop dot where lines converge. South Yorkshireâ&#x20AC;&#x2122;s interchange points are denoted by a grey block to accommodate many services and to make the interchange situation a less complex analysis for the user. Rail and underground schematic maps usually avoid such considerations due to the less busy nature of a fixed track network.

Service number lozenge: These were also designed to reflect the style used on the CCM maps displayed in Sheffield city centre but with extra rules in place to accommodate the length of routes. Services should be labelled with a service number lozenge at the exit point of a â&#x20AC;&#x2DC;You are hereâ&#x20AC;&#x2122; block or managed location block, they are always labelled at a terminus point (unless the terminus point is a managed location block) and also mid-route to reassure the user that they are following the required service. Terminus Points: The terminating points had to stand out from other stops, especially as they are not exclusive to the mapâ&#x20AC;&#x2122;s edge where a user might assume they would naturally appear. Each terminus point consists of a terminus stop dot which differs from a standard stop as it is larger and is made up of a stroke and fill rather than just a white fill, they are wider than the route line to bring attention to them and like all other stops are complimented by a piece of naming text. All terminus points contain a service number lozenge to further denote the end of a route and to add clarity. Icons: Further to what has already been discussed the icons have been incorporated into a font called DMS Sheffield Sans Karto as ASCII shortcuts by using the application Fontlab. By achieving this they can be placed accurately in conjunction with text and managed more easily as they are referenced through the system via the font and not as a set of single graphic elements which need to be individually placed.

Font: As with all SYPTE’s information products the font used was Sheffield Sans 2, designed for exclusive use by SYPTE and Sheffield City Council by Jeremy Tankard. This font is not too dissimilar to New Johnson, used by TfL in their products and signage and is ideal as a legible and attractive sans serif font that works well at a variety of weights. Using a bespoke font augments the branding of the suite of products it is used on thus creating a recognisable identity that will be associated by its purpose. Text: Text on the maps is used for the central and interchange blocks and the stop names. The innovative enhancement to this map was to differentiate between local areas and road names as discussed previously. To give the stop names a hierarchical process all local areas occur in title case bold followed on the next line by the road name in title case regular. This brings out the primary piece of information, which is then supplemented by the secondary level of detail – the road name. The stop text is placed within the map and then positioned within the map. The designer first interrogates an in-house ‘data extractor’ which extrapolates and formats the necessary service data into a set of spreadsheets, these are then used as the source

data by the DMS to place the text into the map alongside the associated service route line. Positioning is then achieved by a set of ‘efficiency tools’ which are configured via an Illustrator toolbar to the map design specification and accurately arrange the stop text in the required position: top or bottom of horizontal line OR right or left of vertical line OR top or bottom of 45º, 135º, 225º or 315º lines. Each timing point/stop within the data has a set of real life easting and northing co-ordinates to assist the map-maker with keeping the map to a level of accuracy when in the process of cartographic design. Because the data is fed into the map it is possible to create maps with manipulated data whereby the designer can alter the data for points outside South Yorkshire where the data convention is different. Beyond a geographic schematic it would also be possible to alter the data to gain an end result that reflected for example an organisational chart or some sort of workflow diagram.

Corners and angles: All possible corner variations within the schematic map design are based on 45º and 90º variations. A majority of schematic network maps use these angles as it keeps visual variation within a multipart entity to a minimum and therefore makes it easier to read. It also gives the designer more space to position text and show route interactions that shallower angles would deny.

With the route line weight being 10 point with a 6.5mm distance between centre lines, the corner variations were calculated by drawing a set of concentric circles radiating at increments of 13mm (6.5x2) and then splitting the circles into either 45º or 90º segments. By doing this, each route line taken as a singular entity has 12 possible corner variations – four at 90º and eight at 45º. A pair of parallel route lines would have a possibility of 24 possible corner variations as each radiating corner is larger than the section it is parallel to, and so on. Like the rest of the design specification, these variables were programmed into the DMS and are executable via a custom-built interface within Adobe Illustrator.

Crossovers: These occur when route lines have to cross one another, in these circumstances a white buffer is applied to the bottom of the route line/s that cross over the top of the others which creates the illusion that they are floating. As with the separate parallel route lines having white space between them it is important to replicate this notion in a crossover situation for the same reason. Interchanges: Interchanges are important points within a journey. They are obviously used as points of single or multi modal interchange but they are also reference

points for passengers travelling through them and this is why they feature so prominently on the schematic spider maps. Indicative of the main ‘you are here block’ they act as orientation points to the map reader and also need to accommodate many services either terminating at or travelling through them. To avoid messy and complex graphic scenarios at these points the decision was made to draw them as square blocks to denote busy area. Despite this simplification the interchange blocks work well as a solution to a potentially intimidating visual experience for the user. Colour: The existing colour palette used in production of other information products and maps was not expansive enough to cope with the required amount of colours for the SMN and was therefore expanded considerably. From the original 13 colours for route lines currently in use the swatch was enlarged to 31 colours. Research showed that Transport for London (TfL) used colours that featured on their mapping products in signage to bolster the corporate design message and characteristics. Reviewing City ID’s Connect guidelines also revealed their suggestion of using colours for multiple uses for example the route line colour Pantone 383C was currently being used for route lines on the CCM maps but also for green areas on geographic maps. Employing this methodology aided in the decision making process when expanding the colour palette. Pantone 638C which had the existing use of access icons (parking etc) only was incorporated into the swatch as was the colour ‘TSY Network Bus’ which was used exclusively until this time for corporate logo use. Two colours were also utilised from the TfL guidelines – those being used for the Bakerloo and the Hammersmith & City lines. Unlike the CCM’s there is no strict stipulation as to what colours are to be used in which order. The reason for this is because of the amount of probable routes plus variations in the routes themselves which could result in two shades of blue being next to each other at the end of the services where they were have not met elsewhere on the journey. For this reason the ultimate decision of route colours is left up to the designer, although the system itself does initially reference the colours in the order they appear in the specification according to the numeric service order. The colours are specified in a certain to contrast with each other so usually an amount of tweaking is required by the designer rather than a wholesale re-colouring exercise.

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Spider map specification drawings: Introduction: The following pages contain selected drawings from the spider map specification document. These give detailed measurements, relationship information, rulebases and values to the elements that form SYPTEâ&#x20AC;&#x2122;s spider maps.

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6.5mm

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3.25mm

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Sheffield Interchange

Langsett Road

Haggstones Road

Langsett Road North

Carr Road

Lee Avenue

370022177 Stocksbridge

Manchester Road

370022201 Stocksbridge

Moorland Drive

370022221 Stocksbridge

Manchester Road

First (South Yorkshire) Sheffield Interchange Castlegate Markets CG3 West Bar WB1 Gibraltar Street/Lambert Street Moorfields/Allen Street Penistone Road/St. Phillips Road Infirmary Road/Portland Street Infirmary Road/Balaclava Road Langsett Road/Langsett Rise Langsett Road/Channing Street Langsett Road/Hatton Road Middlewood Road/Taplin Road Dykes Hall Road/Middlewood Road Dykes Hall Road/Findon Street Dykes Hall Road/Far Lane Dykes Hall Road/Dunella Road Worrall Road/Laird Road Worrall Road/Vainor Road Worrall Road/Prescott Road Worrall Road/Dykewood Drive Worrall Road/Hillsborough Golf Club Worrall Road/Both Directions Worrall Road/Fleet Lane Haggstones Road/Kirk Edge Road Haggstones Road/Walshaw Road Haggstones Road/Boggard Lane/Both Directions Haggstones Road/Haggstones Drive Haggstones Road/Naylor Road Haggstones Road/Burton Lane Church Street/Naylor Road Church Street/Brook Lane Church Street/Church Close Langsett Road North/Millennium Green Langsett Road North/Cockshutts Lane Main Road/Wharncliffe Side Main Road/Green Lane Main Road/Brightholmlee Lane Manchester Road/More Hall Lane Manchester Road/Bitholmes Lane Manchester Road Manchester Road Carr Road/Carr Fold Carr Road/Hillcrest Road Hillcrest Road/Grove Road Hillcrest Road/Townend Lane Hillcrest Road/Helliwell Lane Helliwell Lane/St Davids Road St Margarets Avenue/Helliwell Lane St Margarets Avenue/Carr Road Wood Royd Road/Carr Road Armitage Road/Fox Glen Road Lee Avenue/Knowles Avenue Lee Avenue/Bocking Hill Nanny Hill/Manchester Road Manchester Road/Hunshelf Road Manchester Road/Victoria Street Manchester Road/Hole House Lane Manchester Road/Park Drive Way Park Drive Way/Patterson Close Park Drive/Smith Road Sitwell Avenue/Melbourne Road Moorland Drive/Oaks Avenue Oak Avenue/Melbourne Road Ridal Avenue/Oaks Avenue Ridal Avenue/Park Drive Park Drive/Park Grove Park Drive Way/Manchester Road Manchester Road/Newton Avenue Manchester Road/The Silver Fox Manchester Road/Underbank Lane

FST 1200 1201 1202 1202 1203 1205 1206 1207 1208 1210 1210 1211 1212 1213 1214 1214 1215 1216 1216 1217 1218 1219 1221 1222 1223 1223 1224 1224 1225 1225 1226 1226 1227 1227 1228 1229 1229 1231 1233 1233 1234 1235 1235 1235 1236 1236 1236 1237 1238 1238 1239 1240 1240 1242 1243 1244 1244 1244 1245 1245 1246 1247 1247 1247 1248 1248 1248 1250 1251 1252

0 387183 435769

0 389272 433731

Stocksbridge Manchester Road/Underbank Lane 57

3 392308 430791

7 393415 430669

5 397937 428770

0 397942 427719

Stocksbridge Moorland drive The majority of stops will be named as indicated here by area and main road name. This is pulled directly from the SIS data file which is produced from SYPTEâ&#x20AC;&#x2122;s Connect Data Extractor database. Tram stops are named as they appear on street and this data is pulled directly from SIS.

In instances where a stop has the same area name and road name as another stop within the data for that route the naming of the stop will still incorporate the area name but will also include the main road and side road name seperated by a forward slash. The field featuring main road/side road names is not unique and if a situation occured where there are two stops with the same area name, main raod and side road it would need to be manually edited by the designer. The manual edit would either result in one of the stops being renamed to incorporate a landmark or even to remove altogether.

Stocksbridge Manchester Road/Victoria Street

58 Deepcar Knowle Avenue

Rail station stops willl be manually entered as this data is not currently available in SIS.

4 398487 427035

7 398303 426233

2 399160 425586

SYPTE - Information Projects Project: Digital Mapping Sub-project: Spider Map Network (SMN) Drawing title: Data into graphic Version: 1 Date: February 2009 Initials: ST Drawing number: Status: final

Static text Statement: You are here Colour: White Font: Sheffield Sans 2 Value : Bold Weight: 35pt Alignment: Centrally aligned text positioned in centre of box. Note: Static and variable text exist within a single text box. One blank line of text between static and variable text. Centre of text box to be positioned at centre of ‘You are here’ block

A28

mm5.21 nim

mm52

nim mm5.6

A28 A18

ebal etuor-diM

mm5.6

YOU ARE HERE BLOCK

here’ gnillebal etuor-‘You diM sare paM krowblock teN redipS

mm5.21 nim

Variable text Statement: (for example) Sheffield Interchange Colour: White Font: Sheffield Sans 2 Value: Regular Weight: 35pt Justification: Central Note: Primary area names and site/road names will appear on seperate lines.

ereh era uoY

Initial stop Minimum distance between centre of invisible stroke of ‘You are here’ block and initial stop: 6.5mm

dleffiehS egnahcretnI

You are here Sheffield Interchange

75.5mm min

‘You are here’ block Fill colour: TSY Pink (c17 m100 y0 k3) Stroke colour: White Stroke weight: 4pt Dimensions: 117x117mm Corner rounding: 5mm Note: size of block is large enough to accommodate 17 lines of route per side at 10pt line weight and 6.5mm distance from the centre of each line 6.5mm Route Lines Stroke Weight: 10pt Note: Displayed in grey for illustrative purposes only. Route lines can only exit the ‘You are here block’ at 0°, 90°, 180° or 270°. Route lines should be grouped together at the exit point and justified to the centre of that side of the box prior to branching off.

Initial stop and initial service number lozenge Minimum distance between initial stop and initial service number lozenge: 6.5mm

Service number lozenges Minimum distance between centre of ‘You are here’ block and centre of initial service number lozenge: 75.5mm

It may be necessary on occasion to have a ‘stray’ group in order to show the initial stops from one side of the block more effectively. Please see eastern side of the illsutration here. SYPTE - Information Projects Project: Digital Mapping Sub-project: Spider Map Network (SMN) Drawing title: You are here block Version: 1 Date: January 2009 Initials: ST Drawing number: Status: Final

6.5mm

ROUTE LABELLING

Spider Network Maps Mid-route labelling

12.5mm min

82A 12.5mm min 6.5mm min

You are here Sheffield Interchange

82A 81A

25mm m

Mid-route label

4 12 2 82 0 /8 3

A 81 A0 8101 ail R 8 X7 0 3 42 0 12 /83 82

8 8101 1A R A0 X7 ail 30 8

81A 81A 100 Rail X78 30 42 120 82/83

min.

Stop

Terminus

Route line

82A 81A

12.5mm min.

NOTES: Routes need to be labelled as near the ‘You are here block’ as possible (6.5mm min), at terminus points and also mid-route. The preferred angles for mid-route labelling are 0° or 45° although 90° route labelling is permitted if it is not possible to name at 0° or 45°. If a route has to be labelled at 90° the text should appear at this angle and not at 270°.

6.5mm

SYPTE - Information Projects Project: Digital Mapping Sub-project: Spider Map Network (SMN) Drawing title: Mid-route labeling Version: 1 Date: December 2008 Initials: ST Drawing number: Status: final

ELEMENT POSITIONS

nicaf htroN dna htuoS :tniop suStop, nimreicon t elband uod text dna epositions lgniS

mm5.9

notgninnatS evirD nrocA 1GE

mm5.6

Stop labels Colour: Black Font: Sheffield Sans 2 Value: Bold for local area names and regular for 1GE street names mm5.9 Weight: notgn18pt innatS

evirD nrocA

3.25mm

12.5mm min

6.5mm

Beighton Drakehouse Lane 25mm min

Ideally be pos side of legibili to avio not alw

mm52.3

Frecheville Birley Moor Road

:SETON

dekcats eb ot secivres gnitanimreT .rehtegot ot pot ni dekcats segnezol sunimreT edro eht ot gnidrocca redro mottob lliw secivres gniylretuo ,secivres fo cats egnezol eht nihtiw tsrfi erutaef

12.5mm min mm1

mm5.6

1GE Manor Top 5GE City Road

3.25mm 6.5mm

mm5.6

Elm Tree City Road

6.5mm

Crystal Peak Bus Station

8mm x 8mm

notgninnatS evirD nrocA

1mm

mm5.9 3.25mm

snoitairav °54 :tniop sunimret6.5mm elbuo1mm d dna elgniS

natS rocA

6.5mm

3GE notgninnatS evirD nrocA

Stop labels on top of 45° or 225° route notgninnalines: tS Justifyntext otgright, ninnanchor atS bottom right of text to centre of stop circle, evirD nrocA evirD nrocA move text 6.5mm left. Icons justifiedmm5.6 3Gabove E top of text . 3GE right and set 3.25mm mm5.6

6.5mm 6.5mm

Waterthorpe Thorpe Green

Stop labels on bottom of 45° :SETON or 225° route lines: Justify text 3.25mm left, anchor top left of text to )tseW( °072 ,)htuoS( °081 ,)htroN( °0 :snoitairav 8 ni raeppa stniop sunimret elgniS centre of stop circle, move text 6.5mm right. Icons justified ,secivres fo redro eht ot gnidrocca redro mottoleft b otand potset ni3.25mm dekcatsbelow segnezol sunimreHalfway T bottom of text .

no rehtegot dekcats era stniop sunimret owt naht erom taht dednemmocer ton si Streetfields tI .ecnerefer rof )selpitlum( stniop sunimreT ees - ylno °072 ro °081 ,°09 ,°0 6.5mm

6.5mm

25mm min

Holbrook Bus Depot

Sh 6.5mm 6.5mm

Halfway Station

y, Stop Labels need to sitioned along the same f the route line for ity purposes, however od text clashes this may ways be possible.

ks n

6.5mm

Stop circles diameter:2.75mm stroke weight: none colour: white

12.5mm min between stops, including terminus points

Terminating stop circles diameter: 5mm stroke weight: 4.5pt central colour: white

Halfway Streetfields

82A

Halfway Rotherham Road

10.5mm

Terminating lozenges Width: 21.5mm Height: 5.5mm Corner radius: 2.75mm

6.5mm 3.25mm

Lozenge text Colour: White Font: Sheffield Sans 2 Value: Bold Weight: 16pt

6.5mm

Icons to be positioned centrally. 6.5mm

Stop labels on top of 135째 or 315째 route lines: Justify text left, anchor bottom left of text to centre of stop circle, move text 6.5mm right. Icons justified left and set 3.25mm above top of text .

Text on horizontal terminus points is always positioned beneath the service number lozenge

Sothall Meadowgate Avenue

Killamarsh heffield Road

y Road

Stop labels on bottom of 135째 or 315째 route lines: Justify text right, anchor top right of text to centre of stop circle, move text 6.5mm left. Icons justified right and set 3.25mm below bottom of text . 6.5mm

SYPTE - Information Projects Project: Digital Mapping Sub-project: Spider Map Network (SMN) Drawing title: Stop, icon and text positions Version: 1 Date: March 2009 Initials: ST Drawing number: Status: final

TERMINUS POINTS 1

kcolb hguorht/tniop sunimret nSingle oitatSand suBdouble /egnahterminus cretnI point: South and North facing

skaeP latsyrC noitatS suB

luM

TON

itluM °0 °09 °081 °072 p ehT u si tI nahc S suB

kcolb noitatS suB/egnahcretnI )06k 21y 8m 21c( suB yerG kraD YST :ruoloc lliF etihW :ruoloc ekortS mm06x06 :snoisnemiD mm5 :gnidnuoEG1 r renroC 9.5mm ot hguone egral si kcolb fo ezis :etoN Stannington tp01 ta edis rep etuor fo senil 8 etadommocca Drive ertnec eht morf ecnatsid mm5.6 dnAcorn a thgiew enil .enil hcae fo

6.5mm

Stannington Acorn Drive EG1

9.5mm 6.5mm

3.25mm

noitatS suB/egnahcretnI non elpitluM )htuoS dna htroN( stniop sunimret notgninnatS evirD n6.5mm rocA mm5.6 EG1 1GE EG5 2GE 9.5mm 3GE Stannington mm5.6 4GE Acorn Drive 5GE

NOTES: Terminating services to be stacked together.

1mm

Terminus lozenges stacked in top to bottom order according to the order of services, outerlying services will feature first within the lozenge stack

6.5mm

Single and double terminus point: 45° variations

mm5.6 6.5mm 6.5mm

Stannington Acorn Drive

EG3

EG3 Stannington Acorn Drive

E Stann Acorn

5GENOTES: 4GE mm5.6 3GESingle terminus points appear in 8 variations: 0° (North), 180° (South), 270° (West) , 2GE 1GE Terminus lozenges stacked in top to bottom order according to the order of services, mm5.6 notgninnItaistSnot recommended that more than two terminus points are stacked together on a evirD nro0°, cA90°, 180° or 270° only - see Terminus points (multiples) for reference.

Single and double terminus point: West and East facing

6.5mm

EG2 Stannington Acorn Drive

EG2 Stannington Acorn Drive 6.5mm

6.5mm

NOTES: 1mm 6.5mm

EG2 EG3 Stannington Acorn Drive

6.5mm

Terminating services to be stacked together.

EG3 nington n Drive

6.5mm 6.5mm

6.5mm 1mm 9.5mm

East and West facing singular (and multiple) terminus points are always text labelled beneath the service number lozenge and never on top.

EG8 EG3 Stannington Acorn Drive

6.5mm 6.5mm

, 90° (East) , 45°, 135°, 225°, 315° outerlying services will feature first within the lozenge stack.

a 45° route line, any terminus points ending in three or more services should occur at

SYPTE - Information Projects Project: Digital Mapping Sub-project: Spider Map Network (SMN) Drawing title: Terminus Labels (singles) Version: 1 Date: February 2009 Initials: ST Drawing number: Status: final

TERMINUS POINTS 2

dna °09

°072

emgeS 1

snInterchange/Bus oitairav renroc °54Station dna °0terminus 9 point/through block Interchange/Bus Station block Fill colour: TSY Dark Grey Bus (c12 m8 y12 k60) Stroke colour: White Dimensions: 60x60mm Corner rounding: 5mm Note: size of block is large enough to accommodate 8 lines of route per side at 10pt line weight and 6.5mm distance from the centre of each line.

Crystal Peaks Bus Station

mm51 mm8Multiple 2 non Interchange/Bus Station mm1terminus 4 points (North and South) mm45 mm76 Stannington mm08 Acorn Drive 6.5mm mm39 EG1 mm601 EG2 mm911 EG3 6.5mm mm231

Mult

EG4 EG5

825.3( tp01 :thgiew eniL °54 :elgnA

mm5.6 :senil etuor neewteb ecnatsiD 6.5mm

NOTE

6.5mm

EG5 EG4 EG3 EG2 EG1 Stannington Acorn Drive

Multip 0° 90° 180° 270° The po

It is un chang Bus St

NOTES: 6.5mm Variable text

Statement: (for example) Crystal Peaks Bus Station Colour: White Font: Sheffield Sans 2 Weight: 30pt Value: Regular Leading: Auto

All text is variable to cover a number of Interchange and Bus Station sites (Managed Locations). The ‘Interchange’ or ‘Bus Station’ text appears on line 2. The name of the site appears on line 1. The block is large enough to accommodate all current Managed Location names on a single line. Services that terminate at one of these blocks do not require a terminating lozenge and seperate piece of text or icons.

tiple non Interchange/Bus Station terminus points (West and East)

6.5mm

EG6 EG7 EG8 EG9 EG10 Stannington Acorn Drive 6.5mm

EG6 EG7 EG8 EG9 EG10 Stannington Acorn Drive

6.5mm

ES:

ple terminus points appear in 4 variations:

oints should not appear at any of the 45° increments.

nlikely that more than 5 route lines will terminate at a stop that is not an Interge or Bus Station, there are a seperate set of specifications for Interchanges and tations whether they are a terminus, ‘through block’ or both.

SYPTE - Information Projects Project: Digital Mapping Sub-project: Spider Map Network (SMN) Drawing title: Terminus Labels (multiples) Version: 1 Date: January 2009 Initials: ST Drawing number: Status: final

CORNER VARIATIONS

90° and 45° corner variations revossorc °54 ralugniS mm5.6

staesdooW daoR dlefiretsehC

270°

mm51

mm14

mm51

mm57.31

90° and 4

15mm 28mm 41mm 54mm 67mm 80mm 93mm 106mm 119mm 132mm

Segmen 1 2 3 4

Line weight: 10pt (3.528m

revossorc latnoziroh °09 ralugniS Distance between route lines: 6.5mm

mm5.6

staesdooW daoR dlefiretsehC

mm51 mm51

Angle: 45°

NOTES:

45° situations at 50% 0°

mm)

8 1 0°

315°

90°

7 6

270°

225°

180°

45°

2 3

90°

5 4

135°

180°

Start

End

Segment

Start

End

0°

90°

0°

45°

90°

180°

45°

90°

180°

270°

90°

135°

270°

360°

135°

180°

225°

270°

315°

360°

Distance between route lines: 6.5mm Line weight: 10pt (3.528mm) Angle: 90°

Number 1 2 3 4 5 6 7 8 9 10

Circle diameter 15mm 28mm 41mm 54mm 67mm 80mm 93mm 106mm 119mm 132mm

All angles to feature in the Spider Maps are either 45° or 90°. Within the map drawings the 45° corner sections can appear in 8 different situations, whereas 90° corner sections can appear in 4 situations (see left for more detail). Multiple stacked corners are based on a series of concentric circles, the smallest diameter being 15mm. These radiate out as required with each subsequent circle being 6.5mm distance from the last at an incrementation of 13mm. The 15mm corner piece for both 45° or 90° angles will always form the innermost circle of any multiple stacked corner. Cornered angles that feature on their own should always be formed by using the inner, 15mm piece. Any two corner sections are to be joined by a straight interconnector of a minumum length of 10mm. Corner sections should not be joined together without this straight section being present (see below).

SYPTE - Information Projects Project: Digital Mapping Sub-project: Spider Map Network (SMN) Drawing title: Corner Variations Version: 1 Date: March 2009 Initials: ST Drawing number: Status: final

CROSSOVERS

sruoloC etuoR paM krowteN redipS Singular 45째 crossover

C 151 enotnaP 0c 84 m 59 y 0k

C 862 enotnaP 28 c 001 m 0y 21 k

C 383 enotnaP 02 c 0m 001 y 91 k

C702 enotnaP 0C 001 m 34 y 0k

enil etuor sub

enil etuor sub secaps neerg MLG

enil etuor sub

15mm

C 836 enotnaP 38 c 0m 01 y 0k

C 605 enotnaP 05 c 001 m 001 y 51 k

C 463 eno41mm tnaP 56 c 0m 001 y 24 k

C 264 enotnaP 05 c 85 m 001 y 54 k

snoci ssecca

enil etuor sub

2 NMS 58 c 04 m 09 y 04 k

1 NMS 52 c 56 m 05 y 0k

C 754 enotnaP 0c 51 m 001 y 82 k

C 230 enotnaP 0c 09 m 68 y 0k

esu tnerruc on

noci liaR noci E&A latipsoH

6.5mm

Woodseats Chesterfield Road

15mm

Singular 90째 horizontal crossover

:setoN 15mm s detareneg eht no raeppa yllaitini lliw ettellap siht ni sruoloc ehT on eht fo renroc tfel eht morf si egnar ruoloc eht fo tniop15mm gnitrats ht yb setuor ot dengissa-er eb neht nac seulav ruoloc etairporppA t rehtar pam a no tneserp era setuor mart owt ro eno ylno erehW t eerht lla ,pam a no tneserp era setuor mart on erehW .esu etuor edom rehto on dna liar rof desu syawla si kcalB .evoba sa raeppa .setuor ro secivres

kcalB YST 01 c 0m 0y 001 k enil etuor liar

6.5mm

Woodseats Chesterfield Road

13.75mm

Double 45째 crossover 15.5mm 6.5mm

6.5mm

White buffer: 15 point positioned centrally behind route line

Woodseats Chesterfield Road

Text: Font: Sheffield Sans 2 Point: 18 Area name: bold Road name: regular Leading: auto

41mm 15mm

6.5mm

Singular 90째 vertical crossover

Notes:

12mm

Woodseats Chesterfield Road 32.5mm min

6.5mm

SYPTE - Information Projects Project: Digital Mapping Sub-project: Spider Map Network (SMN) Drawing title: Crossovers Version: 1 Date: February 2009 Initials: ST Drawing number: Status: final

COLOURS

Spider Network Map Route Colours Pantone 207C C0 m 100 y 43 k0

Pantone 383 C c 20 m0 y 100 k 19

Pantone 268 C c 82 m 100 y0 k 12

Pantone 151 C c0 m 48 y 95 k0

P c m y k

bus route line

bus route line GLM green spaces

bus route line

b b

Pantone 462 C c 50 m 58 y 100 k 45

Pantone 364 C c 65 m0 y 100 k 42

Pantone 506 C c 50 m 100 y 100 k 15

Pantone 638 C c 83 m0 y 10 k0

T c m y k

bus route line

access icons

y G

Pantone 032 C c0 m 90 y 86 k0

Pantone 457 C c0 m 15 y 100 k 28

SMN 1 c 25 m 65 y 50 k0

SMN 2 c 85 m 40 y 90 k 40

S c m y k

Rail icon Hospital A&E icon

no current use

TSY Black c 10 m0 y0 k 100

Notes:

rail route line

The colours in this pallette will initially appear on the generated sc starting point of the colour range is from the left corner of the nor Appropriate colour values can then be re-assigned to routes by the

Where only one or two tram routes are present on a map rather th route use. Where no tram routes are present on a map, all three tr appear as above. Black is always used for rail and no other mode. services or routes.

Pantone 302 C c 100 m 25 y0 k 50

Pantone 339 C c 84 m0 y 56 k0

Pantone 512 C c 50 m 100 y 15 k 10

Pantone 7409 C c0 m 30 y 95 k0

Pantone 329 C c 100 m0 y 46 k 46

Pantone 180 C c0 m 79 y 100 k 11

bus route line blue tram line

bus route line

bus route line purple tram line

bus route line yellow tram line

bus route line

TSY Pink c 17 m 100 y0 k3

Pantone 470 C c0 m 58 y 100 k 33

Pantone 814 C c 55 m 60 y0 k0

Pantone 470 C c 65 m0 y 100 k0

Pantone 197 C c0 m 45 y 10 k0

TSY Network Bus c 100 m 78 y0 k 54

you are here etc. GLM bus stops

Bakerloo line TfL

no current use

tram icon

Hammersmith & City line TfL

TSY & ‘T’ icon

SMN 3 c 25 m0 y 50 k 50

SMN 4 c 24 m0 y0 k 38

SMN 5 c0 m 50 y 50 k0

SMN 6 c0 m3 y 10 k 30

SMN 7 c 50 m 25 y0 k0

TSY Mid Grey Bus c 10 m7 y 10 k 40

no current use

product layouts

chematic map in the order they are in shown above (reading left to right). The rthern side of the central ‘You are here’ block, flowing in a clockwise direction. e product designer.

han all three, remaining tram route colours should not be made available for bus ram route colours may be used to display bus routes, in which case their order would . If no rail routes are present on the map, black should not be used to denote other

SYPTE - Information Projects Project: Digital Mapping Sub-project: Spider Map Network (SMN) Drawing title: Colours template Version: 1 Date: February 2009 Initials: ST Drawing number: Status: final

An output of a schematic spider map product for Rotherham Interchange from the Digital Mapping System

Rotherham Inter

High frequency bus services f

Service finder

Towards

Places of interest along route*

Stop

Service frequency*

Approximate journey time*

Maltby (Circle)

15 mins

36 mins

Maltby (Circle)

15 mins

35 mins

Meadowhall

21 mins

15 mins

Blackburn

32 mins

15 mins

Kimberworth Park

30 mins

13 mins

Maltby

30 mins

38 mins

Dalton

A10

19 mins

17 mins

Herringthorpe

A10

20 mins

27 mins

East Herringthorpe

14 mins

30 mins

19B

Dinnington

30 mins

38 mins

Sheffield

30 mins

1 hour

Crystal Peaks

30 mins

50 mins

Whiston (Circle)

30 mins

15 mins

Whiston

33 mins

19 mins

Thrybergh

14 mins

19 mins

Wingfield

15 mins

17 mins

Munsbrough (Circle)

15 mins

19 mins

Wingfield (Circle)

15 mins

17 mins

*This product shows information for high frequency services departing from this location. Bus services shown on the diagram have a service frequency of 30 minutes or better between 8am and 6pm, Monday to Friday.

Barnsley Interchange

Journeys on some services may be longer or shorter than those shown. Always check the information displayed at the bus stand, on the front of the bus or ask the driver for details. 229 218

Bus services

High frequency services from Rotherham Interch

Places of interest shown are within 400 metres of the stop. Colours shown on the diagram may differ from those used by bus operators on these routes.

Stairfoot Doncaster Road

Ardsley Doncaster R Wombwell High Street

®Ô

30 mins

1 hour 15 mins

Sheffield

20 mins

32 mins

108

Rawmarsh (Circle)

10 mins

33 mins

109

Rawmarsh (Circle)

10 mins

31 mins

218

Barnsley

30 mins

1 hour 35 mins

220

Doncaster

32 mins

1 hour 23 mins

221

Doncaster

30 mins

1 hour 23 mins

229

Barnsley

32 mins

58 mins

Sheffield

32 mins

50 mins

X78

Sheffield

10 mins

32 mins

X78

Doncaster

10 mins

FreeBee

Rotherham Centre

12 mins

3 mins

FreeBee

Parkgate

12 mins

9 mins

48 mins

Other services departing from here These services run to a less frequent timetable and are not shown on the map. For more information please pick up a leaflet in the information centre, ask a member of staff or check the electronic displays around the interchange. Bus Services

Towards

Bus Services

Towards

Bus Services

Towards

1A 3 3A 4 6 10A 11A 12

Ravenfield Common Ravenfield Common Ravenfield Common Ravenfield Common/Silverwood Thorpe Hesley Maltby East Dene East Dene

13 19 19A 20 21 25 25A 29

Bramley Worksop Worksop Maltby Sheffield Aston/Harthill/Killamarsh Todwick Laughton Common/Rotherham General Hosp.

31 43A 44 45 122 227 396 X12

Meadowhall Kimberworth Park/Meadowhall Lea Brook East Dene Maltby Barnsley/Hoyland South Conisbrough/Doncaster Barnsley

®“

Chapeltown Lound Side

Chapeltown Greengate Lane

Thorpe Hesley Chapelfield Road Kimberworth Park Oaks Lane

Kimberworth Park Ox Close Avenue

Kimberworth P Kimberworth Park

Droppingwell Upper Wortley Road

High Green Cottam Road

You are here

Blackburn

Key Rotherham Council 0 A63

B10

B9 B8

B7 B6 ad Ro

B4 B3

Rotherham Library

A9 A8

a W

A10

Information point

Rail station

Toilets

Hospital

Baby changing room

Parks & gardens

Lift

Sport & leisure

Steps

Library

Ramp

Museum

Staffed site

Football stadium

Bicycle parking

Shopping area

University or college

Rotherham College of Arts and Technology

B2 A2

Kimberworth South Street

Rother C

Grenoside Norfolk Hill

Park & Ride (tram)

Theatre

Park & Ride (bus) £

Car Parking (free/pay)

Civic building

Pedestrian areas

Building entrance

Non-pedestrian areas

Payphone

Roads

Rotherham Markets

37.5

75 Yards

St ree t

37.5

St ree t

75 Metres

He nr y

ham Stree

ûý þ

MMM8

Effing

Date: 26/10/2009

Ref: RTI

X78

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Travel information Travel South Yorkshire represents the organisations and operators that work in partnership to provide public transport products and services throughout the region.

Meadowhall Interchange

Carbrook Attercliffe Common

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Frederick Street

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Fox Hill Fox Hill Road

B1 A1

Rotherham Rail Station

Ticket facilities

Tram stop

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Doncaster Doncaster Centre Interchange

Road

Goldthorpe Barnsley Road

218

Darfield Nanny Marr Road

Balby Warmsworth Road

Bolton Upon Dearne Prospect Road 218

Bolton Upon Dearne Canberra Rise West Melton Melton High Street

Mexborough Highwoods Road

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218

220

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Swinton Racecourse Road

Swinton Rockingham Road

108 109

Rawmarsh Thorogate

Upper Haugh Symonds Avenue

Mexborough Bus Station

Swinton Thomas Street

221

Conisbrough Doncaster Road

Windhill Coniston Road

Manvers Manvers Way

220

221

Mexborough Adwick Road

Manvers Wath Road

229

Wath Upon Dearne Montgomery Road

Warmsworth Sheffield Road

Denaby Main Bolton Street/Harrogate Drive

Denaby Main Church Road

Denaby Main Bolton Street/Dalton Court

Denaby Main Doncaster Road

221 220 X78

Conanby Chambers Avenue

Conisbrough Church Street

Swinton Church Street

Swinton Valley Road

Rawmarsh Kilnhurst Road

Kilnhurst Highthorn Road 218 220

Munsbrough Wagon Road

41 39 42

109

108

Rawmarsh Bellows Road

Rawmarsh Dale Road

41 42

Kilnhurst Victoria Street

Thrybergh Doncaster Road

Wingfield Roughwood Road

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Park k Road 109 220 218 221 229 108 41 42

Dalton Asda 11

Kimberworth Kimberworth Road

39 X78 66

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Rotherham Interchange

Tinsley

A1 69

Parkgate Stadium Way

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Herringthorpe Wickersley Road

Wickersley Bawtry Road

Brinsworth Bawtry Road Wickersley Morthen Road

Catcliffe Main Street

1 2 10

19B

Bramley Bawtry Road

Maltby Rotherham Road

Thurcroft Katherine Road

Maltby Tickhill Road

Maltby High Street

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Laughton Common Rotherham Road

Dinnington Doe Quarry Lane

®÷ ®Ô 35 34

19B

Beighton Queens Road 33

Manor Top City Road

Swallownest Main Street

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averley gh Field Spring

Maltby Braithwell Road

Moorgate Baker Street

Treeton Bole Hill

East Herringthorpe Ridgeway

East Herringthorpe Mowbray Street

Broom Valley Broom Valley Road

MAGNA Science Adventure Centre

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Herringthorpe Herringthorpe Valley Road

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34 10 19B 35

Rotherham Central Rail Station (2 mins walk)

Rotherham Centre Rotherham Interchange

Thrybergh St Leonards Avenue

East Dene Far Lane

X78 37 15 11 14

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33 32 69 A1

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Eastwood Herringthorpe Valley Road

37 15

8 7

Whiston Greystones Road

Dinnington Interchange

Handsworth Handsworth Road

Crystal Peaks Interchange

â&#x20AC;&#x2DC;Our sense of place and position, and our understanding of the relations between things, their dimensions and attributes (true or false) is forged and reinforced by their representations on the mapâ&#x20AC;&#x2122;

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Conclusion:

The Information Age is heralding huge advances in what we know and what we can potentially understand. The term ‘Massive Change’ coined by designer Bruce Mau encapsulates the scale of scope now necessary and possible due to the age we live in. Where standing alone is not always a beneficial step because design is so much part of a bigger picture where the lines between disciplines is constantly blurring into one architecture. Mau states ‘The old-fashioned notion of an individual with a dream of perfection is being replaced by distributed problem solving and team-based multi-disciplinary practice’ (Mau, B. 2004. , Massive Change. Phaidon), he also discusses the thought of not (for example) isolating graphic design as it consists of so many differing strands ‘instead of isolating graphic design, we looked at economies of information, and so on. The patterns that emerged reveal complexity, integrated thinking across disciplines and unprecedented interconnectivity’ (Mau, B. 2004. , Massive Change. Phaidon). This integrated interconnectivity is the key to the design of the schematic spider map product, where the elements of the project were dealt with by individuals or smaller teams with the same understanding and then incorporated together into a system with a consistent output. SYPTE’s new spider maps can be looked at from a ‘pre’ Digital Mapping perspective and ‘post’ Digital Mapping perspective - the ‘pre’ consists of a manual planning and execution process which could be laborious given the time constraints involved, was prone to human error or personal interpretation and was often outsourced whereas the ‘post’ consists of far more rigid and therefore less fallible process due to the IT aspect and the fact a lot of the graphical design has be pre-programmed into the system. The design of these mapping products suddenly becomes semi-automatic therefore specialised graphical design and mass production is a manageable option rather than an unsustainable procedure.

101

Introduction: ‘Our sense of place and position, and our understanding of the relations between things, their dimensions and attributes (true or false) is forged and reinforced by their representations on the map’ (Fawcett-Tang, R. & Owen, W. 2008, Mapping graphic navigational systems, Rotovision). This quote captures the essence of a map and how humans need them to make sense of the world around them, a map is a tool to confirm, to reassure, to illustrate and to educate. Without maps the act of cognitive geography would be extremely difficult and as human beings we have need tools to navigate and sense-check our increasingly complicated yet, due to technology, increasingly accessible world.

Visual clutter and noise By definition any information graphic should be informative and some require more commitment on the users part due to their complexity. Some exist for artistic or fun purposes for example Simon Patterson’s art-piece The Great Bear, which infamously took a London tube map and replaced the station names with the names of comedians, philosophers, footballers, explorers and a host of other persons. Others exist for wayfaring and mapping purposes or to explain the magnitude of something that would otherwise be impossible to envisage. A common element to avoid though is that of visual noise or clutter. The graphic is there to notify and even enlighten its audience and unnecessary additional elements can dilute the message and confuse the user. Edward Tufte, well renowned authority on the interpretation of data into graphics refers to excessive and pointless elements on data graphics as cartjunk, he explains in the book The Visual Display of Quantitive Information why avoiding it is important ‘Cartjunk does not achieve the goals of its propagators. The overwhelming fact of data graphics is that they stand or fall on their content… the best designs are intriguing and curiosityprovoking, drawing the viewer into the wonder of the data, sometimes by narrative power, sometimes by immense detail, and sometimes by elegant presentation of simple but interesting data’ (Tufte, E. 2001, The Visual Display of Quantitative Information, Second edn, Graphics Press). Often it is a case of what you see is as important as what you don’t, that is not to say important information has been disregarded but merely that a level of clarity has been achieved by the discipline of the designer. Quality, efﬁciency and sustainability: Automation also makes the quality of the end product a more achievable goal, an element of specialist skill is required by the staff using the system as they have to be familiar with the process, the design specifications and how to use them as well as the local geography for the required product. Despite the design elements existing in a pre-programmed state the user at the wheel of the application is still required to enter into creative decision making due to the problem solving aspect of producing a schematic map in Tufte

Mau

terms of placement, colour grouping, technical proofing and (as no system is perfect) there are occasions where problems may occur that need a design solution that is not present within the original specifications. So quality is assured by consistency and efficiency is maintained by the system itself due to the automation process. The sustainability of the products is maintained more by the accompanying Batch Update Tool (BUT), which compares sets of data from two differing dates and runs out a report on required changes due to differentials within the data sets, including the introduction of new services. Sustainability is further achieved by the designer analysing the changes on paper to decide if a complete re-run of the map is required or if some manual edits within the existing Adobe Illustrator file are all that is neededâ&#x20AC;&#x201C; thus saving time and money. Pre-definition of such designs is also significant in the cases where new or differing products are required as it makes immediate reaction a possibility. The usual issue with bespoke products within a suite is that they are not defined as they are â&#x20AC;&#x2DC;one offsâ&#x20AC;&#x2122; and so can look out of brand, even when designed to a set of guidelines which may not have accounted for such diversity. The products become more sustainable as they become more achievable and therefore manageable. When surveying rail stations and interchanges in South Yorkshire at the start of the digital mapping project as a site information review, some existing information products were found to have been in place (and out of date) for 7 or 8 years due to unsustainable or non existent methodologies, a lack of ownership and differences in internal requirements and opinion. Primarily this was the result of multiple sections producing or contracting work, which should have been carefully managed by a single source. Recent and significant changes in attitude, understanding and the introduction of an Integrated Planning Process (IPP) as well as a deeper corporate appreciation of what quality and intelligent information products can achieve have been instrumental in eradicating a mixed-up approach to public facing information.

Mau

Patterson

Social responsibility: Take the Digital Mapping Project as an example; it was originated as a requirement of an internal SYPTE strategy to fill a gap in the information provision. A digital solution was necessary to manage the production workloads as efficiently as possible thereby eliminating reliance on outside agencies and ultimately cost. The solution also had to incorporate some graphic design styles in use by the PTE and a new set of design guidelines as well as offering an adequate software solution that could manipulate GIS and service data as required into an illustrative template. Although not covered in the Information Strategy itself, there is more to increasing information provision than just producing a poster to fill a blank wall and this is where social responsibility comes into play. Being a public body SYPTE have a social responsibility not only to their customers but also to their potential customers to provide the best they can offer. From an information viewpoint this goes beyond informing customers and towards educating them to develop their spatial awareness and visual literacy by the act of simplifying complexity. This isnâ&#x20AC;&#x2122;t something the average public transport user will be aware of but keeping to rules and guidelines goes a long way to enforcing a standard people will ultimately come to expect. If a product is well presented and positioned it will get looked at, likewise if it follows a brand style it will get recognised as a product that will inform the user about public transport, further still it will be trusted as a reliable and understandable information source which relates logically to the rest of the suite available be it printed, online or device based media. This echoes the AIDA formula of Attention, Interest, Desire and Action, the design needs to be attention grabbing in order to gain interest from the user who will then investigate in more detail and form a desire to enact the message therein. Good social design needs to be inclusive, not exclusive and it should have the ability to make a real difference to how things are perceived and the potential to change existing habits and attitudes.

Fuseproject

Lakanal House

All social design has a level of social responsibility, sometimes this responsibility is a solution to a problem such as designing vandal proof bus shelters – the social problem is that in some areas there are issues with vandalism at bus shelters but customers still have a requirement to use the shelters, the solution being a re-design of the shelter itself. Some social designs such as Fuseproject’s One Laptop Per Child concept, seek to resolve social innjustice by introducing a cost effective, mass produced laptop at an affordable price of $130, thereby increacing the potential accessibility and mobility and education of people who would otherwise be denied this chance due to their circumstances. The designer of a set of information products may not have such an obvious level of social responsibility but it exists nonetheless, especially in the quality and legibility of information and not necessarily the amount. In a worse case scenario bad design can lead to fatalities. In June 2009 a fire at Lakanal House in Camberwell, South London resulted in 6 deaths, the high number of fatalities being blamed on the buildings materials and confusing internal layout. In the best cases a user won’t even notice the actual design as were because it becomes part of the environment. It can be informative such as road signage or as potentially confusing as the governments attempt to enhance food labelling by showing Guideline Daily Amount (GDA) for nutrients in weight and colour code rather than the far more obvious percentage graphics adopted by many leading food and shop brands. The social responsibility of a schematic public transport network map are low, say in comparison to a well designed school but nevertheless it is a very serious consideration and all public organisations owe their customers a high level of understandable, cost-effective and quality design – that is their social responsibility.

GDA by percentage

GDA by weight and colour

ood

ffe Road

The signiďŹ cance of the design project: So what is the significance of semi-automating the graphic design of a public transport schematic network map? Most significantly, the major innovation was not the automation of a schematic drawing as this has been done before but the automation of a schematic drawing with a stylised and definitive finish that then fitted into a product template. The invisible significance that viewers of the final product do not see is how the project was developed using market research, benchmarking against existing maps, workshops and the involvement of a diverse staff force from two organisations consisting of cartographers, graphic/ information designers, project managers, GIS analysts, IT analysts and IT programmers and other staff who were used on a consultative basis to discuss data, business systems, site management, customer experience and operational bus services. Working together in a co-ordinated manner helped forge a deeper, corporate understanding of the information design process and the benefits of an IT driven system in terms of management, sustainability and brand. Publicly the significance exists on two planes - the visual and the cultural. Visually there has been a vast enhancement in the mapping product offer to the public which assists with their understanding and knowledge of the public transport network and also reflects well on SYPTE as an organisation for providing quality, up to date products in a consistent and recognisable format and style.

Doncaster Centre Trafford Way

Culturally there should be a sliding scale of quality Vs. usage whereby the better the quality in look, accuracy and placement the better the chances of increased patronage due to increased understanding and knowledge. This is also affected by marketing, infrastructure, signage, ticketing and site management â&#x20AC;&#x201C; it was stated by the author at one of the internal workshops that the schematic spider map was not an omnipotent product, as it could not be all things to all users or contain vast amounts of information for

Balby

Warmsworth Road

Conisbrough Church Street

Parson Cross

Firth Park

Lindsay Avenue

High Green Chapeltown CottamWay Foster RoadGreengate Lane

Sicey Avenue

Carbrook

Burncross

Attercliffe Common

Thorpe Hesley

Chapeltown

Chapelfield Road

MarketSide Lound Place/Chapeltown Station

Bevan Way

Thrybergh

Meadowhall

Doncaster Road

Meadowhall Interchange

Wisewood

Ecclesfield

Hallowmoor Road

Monteney Road

Grenoside

Droppingwell

SMN overview stage Norfolk Hill

Oughtibridge

Grenoside

Langsett Road North

SMN planning stage

Upper Wortley Road

Ecclesfield

Monteney Road

Hillsborough Langsett Road

Rotherham Centre

Halifax Road

Rotherham Interchange

Fox Hill Fox Fox Hill Crescent Hill

Sheffield Centre

Fox Hill Road

Arundel Gate

Parson Cross

Wincobank StandonWincobank Road

Lindsay Avenue

Fox Hill

Fox Hill Crescent

Merton Lane

Firth Park

Meadowhall

Sicey Avenue

Wincobank

Templeborough Sheffield Road

Meadowhall Interchange

Sandstone Road

Loxley

Grimesthorpe

Rodney Hill

Holywell Road

Wisewood

Hillsborough Owlerton

Brinsworth

Carbrook Attercliffe Common Carbrook

Bawtry Road

Attercliffe Common

Hallowmoor Road Middlewood Penistone Road Road Hillsborough

Langsett Road Hillsborough

You are here

Tinsley Park

Langsett Road

Europa Link

Waverley

Hillsborough

Catcliffe Main Street Catcliffe

Middlewood Road

Sheffield Centre

Sheffield

Sheffield Interchange

Treeton Lane

High Field Spring

Treeton

Wood Lane

Sheffield Sheffield Centre Centre Arundel Sheffield Gate Interchange

Broomhill (Sheffield)

Parkway Industrial Estate Parkway Avenue

Manor Park

Glossop Road

Manor Park Centre

Handsworth

Handsworth Road

Highfield

Charlotte Road Lowfield

Heeley Bank Road

Heeley

Richards Road

Manor Top City Road

Swallownest Main Street

Woodhouse

Aston

Aughton Lane

Manor Top City Road

Manor Park

Manor Park Centre

Woodhouse Cross Street

every single iteration of a bus route or feature complex ticketing options. The map is a piece of a multiple, it has a function as a singular entity but also sits amongst a suite of paper and electronic information at staffed sites – it had to be rationalised and balanced as part of the design process. The public will view the map in several ways both consciously and subconsciously. For some it is simply a map or a piece of information, others will recognise its visual identity within a scheme and how this relates to printed and online media. Less consciously it forms part of an individual’s human geography and is iconic, not in the sense that it is a specific symbol of Sheffield city but in terms of representation and characteristic recognition, it becomes a cultural indicator on a generic level. This is due to a phenomenon known as ‘recognition over recall’ where ‘recognition memory is obtained through exposure, and does not necessarily involve any memory about origin, context or relevance’ (Lidwell, W., Holden, K., Butler J., 2003, Universal Principles of Design, Rockport) in simpler terms this occurs when an object is present in a place over time. Even if as a passenger you do not use it you would probably notice if it no longer existed. In detail this is also important from a map reading aspect whereby a map user may return to a map to check a particular route they are familiar with and recognise as having a certain position on the poster. There may be better, newer options available to them but they will be drawn to the route they recognise in the first instance due to prior knowledge – this is vital to remember when updating schematic maps in order to retain the design as best as possible. Why automate? Automation is a desirable process for a number of reasons, it will make the production of schematic maps for SYPTE a controllable, manageable and financially stable option. The actual process of computerised automation is something most people take for granted however the most commonly used computer applications all have a varying range of toolbars within their Graphical User Interface (GUI) that contain buttons or shortcuts to enable the user to execute a variety of procedures based on common SMN detailing stage

SMN styling stage

requirements such as changing fonts or putting a boarder around a page. The schematic spider map manager within the Digital Mapping application is basically the same whereby the designer has the ability to use the ‘efficiency tools’ made available to them to make the task quicker, less prone to error and within the guidelines without constant reference being made to an external document. Cartography Schematisation of public transport information is approaching its century, it has developed significantly over the decades from hand drawn craft to data driven solution. The maps help us make sense of something complex, to understand the interactions between elements, to realise the possibility available to the public transport user. What constitutes map making is a changing definition. Stephanie Posavec has produced a series of maps based on the format and layout of literary classics by illustrating the occurrences of structures within the text such as sentence length and punctuation. Her illustrations ‘map’ the results of her research and what’s unique about this approach is the information is within the chosen books just by existing within the piece itself and Posavec ‘discovers’ the information by ordering her own data from what is already there – it is like a graphical reformation on the structure of language. This form of information gathering, rationalisation and illustration is also a form of cartography, it may radically challenge the historic perceptions of map making but it fundamentally serves a very similar purpose without any traditional geographic context. The context is the subject matter itself and the resultant image is the map (examples overleaf, bottom). To draw a parallel, take for example the painting Harran II by Frank Stella (1967), it’s not a painting in a traditional style, it’s executed by an established process that is visually different from Michaelangelo’s The Creation of Adam but this does not alter the reality that it is an artwork and despite the obvious differences between the two pieces they are both meaningful paintings. The same viewpoint can be applied to schematic maps, compare a Googlemap of Leopold Street in Sheffield with a Connect Frank Stella

Michaelangello

Corridor Map, they again differ greatly in execution, meaning and style but are both nevertheless maps. Maps are representations of our surroundings, they allow us to plan, allow us to make sense and to understand networks, political boundaries, direction. A map can never fail to show something and by their very nature they are informative. Just referring to a schematic map as a diagram or even denying that it is a map fails to acknowledge its important contribution to graphic communication during the last century. The majority of map-making today is executed by using a computer system to manipulate data for the purpose of attaining an illustrated end product than has a message or series of messages. ESRI, the leading GIS software developers describe automated cartography on their website as ‘The process of making maps using computer systems that carry out many of the tasks associated with map production’, likewise Peter Hall’s essay entitled Critical Visualization in the book Design and the Elastic Mind opens with the edict ‘…when information is more prolific and more widely available then ever before, diagrams, maps and visualization tools offer a means to filter and make sense of it.’ (Antonalli, P., Aldersey-Williams, H., Hall, P. & Sargent, T. 2008, Design and the elastic mind, Museum of Modern Art.).Visualization tools are needed to make sense of vast amounts of data and information that would otherwise be too large or complicated to understand in their bit-parts or en masse unless a graphical interpretation is available. There are various emerging terms used to describe the act of creating ‘maps’ of information systems and datasets – cartographic visualization being one of them. Traditionally cartography has been firmly rooted in geography, science and more recently geospatial information technology, rarely though is design discussed within this topic as its representations are seen as being scientific rather than creative. However this newly evolving cartographic visualization embraces graphic design, not at the detriment of accuracy or message but to the fundament of visualization and simplifying the complex.

Googlemaps

SYPTE Sheffield Connect Corridor Map (CCM)

Schematic spider maps may not be viewed as cartographic creations even by some of the professionals who are responsible for drawing them â&#x20AC;&#x201C; cartographic visualizations is probably a more realistic term as they are creatively representative and semiotic rather than geographically exact. They are the halfway point between geographic maps and infographics. The purpose of a map is to deliver a message, a story, a journey â&#x20AC;&#x201C; it is equally important that a map tells you what is not possible as well as what is. Without doubt the style of execution of these maps is a style of specific cartography, after all the act of cartography is the act of making maps often for very specific purposes. The apparent lack of geography is part of the rationalisation process, all maps are rationalised in some way, some more than others and even a map that appears at 100% will always contain less detail that reality itself due. Design evolves with necessity, trend, requirement, innovation and experimantation and with this, opinions and perceptions also alter. Mapping and the art of mapping is evolving to encapsulate a broader thinking and it is challenging us to question what we traditionally accept as a piece of cartography. The science of old school map creation and the worlds of IT and design are merging ever closer and this enables us, within the information age to expand our perception of the world around us. Partially automating processes enables high levels of accuracy and avoids misinterpretation of background data and information. Persuing this path in terms of schematic cartography is an inevitabe progression of having final outputs based on illustrative works that are updated manually. Cartographic visualization and schematic maps are tools to help us understand, the world around us, to see the simplicity within complexity and often the invisible within the visable. The design and execution of these, if well considered, enhances our understanding and appreciation of the world around us, we no longer just map geography as we have the ability, knowledge and impetus to map anything we need to disemminate, disect and understand.

Stefanie Posavec

Nattrutekart for Haugesund og omegn

T-Kartor’s Kolumbus night map

N81

Bleikemyr

Kvala

N81

Bleikemyr

Trudvang

Gard

Ramsdalen

Skeisvang vidg.skole

Ramsdalen N82

Hordaplass

Sletta

Solvang

Flotmyr

N87 • Stakland/Nes • Skjoldastraumen

Lysskar Brakahaug

Haugesund sykehus

Haugesund sentrum

Grinde Førre

Skre N83,N84,N85,N86

Haugesund sentrum

Raglamyr v/Esso N85,N86 N85,N86

Aksdal Frakkagjerd ungdomsskole

Aksdal

Førre Hageby

Austmannavegen N84

Vår Frelsers gravlund

Grinde Garhaug

N85

Frakkagjerd

Førre

N85,N87 N85

N84 N86 N88

Grindefjorden

Svebakken

Høyblokkene

N84,N87

Risøy N82

N82

Vardafjell vidg.skole

N81,N82

Hasseløy

N81 N83 N85 N87 N89

Eivindsvatnet

Kolnes

N8 8,N

Viken

Biltilsynet

Førresfjorden 9

N84

N83

Torvastad N89

Hestmyr

Norheim Bø ungdomsskole

Spanne

Moksheimsåsen

N89

Torvastad

Spannetopp

Norheim

Stange

Aksnes kryss

N83 3 N8

Torvastadkrossen

Vormedal

Tuastad skole

f ds

n de

Breivik

Avaldsnes

rla

Fø

Tuastadvatnet

Røyksund

8 N8

Karmøy

Tysvær

Vormedalsvatnet

Bøvagen

Avaldsnes

Klovning

N86

Førland

Storasund

N83

Håvik terrasse

Fosen

Tysværvåg

Røyksund Stårhogg

Falkeid

370022599 Manor Top

City Road

370021693 Mosborough

High Street

370021707 Halfway

Windmill Greenway

00DEBSB139

Eckington

00DEFR7797

Eckington

00DNWH7289

New Whittington

00DOWB7267

Old Whittington

00DOWW7315

Old Whittington

00DWMS6534

Whittington Moor

Leadmill Road/Sheffield Station SS4 Granville Road/Castle College Granville Road/Farm Bank Road Granville Road/Stafford Road Granville Road/Ingram Road/Both Directions City Road/Manor Lane City Road/Dovercourt Road City Road/Cemetery City Road/City Road Cemetery City Road/Park Grange Road City Road/Wulfric Road City Road/Eastern Avenue City Road/Elm Tree Mansfield Road/Applegarth Drive Mansfield Road/Woodhouse Road Mansfield Road/Mansfield Drive Mansfield Road/Cadman Road Mansfield Road/Hollybank Road Mansfield Road/Wadsworth Road Birley Moor Road/Hopefield Avenue Birley Moor Road/Heathfield Road Birley Moor Road/East Glade Crescent Birley Moor Road/Thornbridge Drive Moor Valley/Sheffield Road Moor Valley/Moor Hole Farm Moor Valley/Quarry Hill Mosborough Moor/Owlthorpe Rise Mosborough Moor/Moor Farm Avenue High Street/Westfield Crescent High Street/Station Road High Street/Cadman Street High Street/George and Dragon Windmill Greenway/Mosborough Hall Drive Windmill Greenway/Rotherham Road Pipworth Lane Prince of Wales Bus Station 2 School Street Berry Avenue Fanshaw Road Church Birk Hill School Mulberry Road Aspen Road Rowan Road Fir Road Birk Hill School Masons Cottages Handley Cross Roads Eckington Road Highland Road Handley Court Stone Lane The Wellington High Street Brearley Street Burnbridge Road Top May Avenue Burnbridge Road Potters Close Ashcroft Drive Webster Croft Gypsy Lane Old Whittington Club Bulls Head Whittington Hill Whittington Way Brimington Road North Duke Street King Street North Stand Road

1210 1212 1212 1213 1214 1215 1215 1215 1216 1217 1218 1219 1220 1220 1220 1221 1221 1222 1222 1223 1223 1224 1224 1225 1226 1227 1228 1229 1229 1230 1230 1230 1232 1233 1236 1238 1240 1241 1241 1242 1243 1243 1244 1245 1245 1246 1246 1247 1250 1253 1253 1254 1254 1255 1255 1256 1256 1257 1258 1258 1259 1259 1300 1301 1302 1302 1303 1304 1306 1306 1307

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381336

44243

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43919

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373716

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5 4

Interviews:

High Barnet

Totteridge &

Introduction: The following pages contain interviews with people involved in schematic mapping and shows examples of work.

Edgware Burnt Oak

Woodside P

West Finch

Mill Hill East

Finchley Ce

Colindale

East Finchle

Hendon Central Brent Cross Golders Green Hampstead

Hill

lesden Green

10 0

Kilburn

Kentish Town West

Chalk Farm

Finchley Road Swiss Cottage St. John’s Wood

Edgware Road

ater

Belsize Park

West Hampstead

Marylebone

Baker Street

Archway

Gospel Hampstead Oak Heath

Great Portland Street

Camden Town Mornington Crescent

Tufnell Park

Kentish Town

Camden Road

Thameslink 200m from

outh pstead

Finchley Road & Frognal

Highgate

113

d Junction is outside ort for London zonal pecial fares apply.

Caledon

King’s Cross St. Pancras

for St. Pancras International

Euston

Warren Street Regent’s Park

Euston Square

Farringdon

Euston 200m

Russell Square

Barbican

An interview with Ken Garland Garland’s book ‘Mr Beck’s Underground Map’ is considered to be the authoratitive tome on the subject In your book ‘Mr Beck’s Underground Map’ you refer to the ‘Map’ throughout as a ‘Diagram’. Would you agree that Beck, albeit unwittingly had in fact created what would become a particular style of cartography? Beck always referred to it as a diagram. whether it could be called ‘a particular style of cartography depends on how narrowly you define the word ‘cartography’. I always call it a diagram. Would you say clarity was the driving force behind Beck? Yes Beck had an increasingly strained relationship with LTE in its various guises. In terms of design how important is it to strike a balance between design integrity and corporate ‘opinion’? One person’s ‘design integrity’ is another person’s bloody-minded pig-headedness. I usually steer clear of ‘integrity’, myself. Have current versions of the map become too cluttered with too much information (for example: accessibility/wheelchair icons etc)? Yes, I’m begiining to think so. though the ‘disabled access’ icons are undeniably useful, they do interrupt the flow of the diagram unhappily. Following on from the last question, do you think there is scope for a selection of underground maps to be created for differing purposes to avoid clutter? In the case of the ‘disabled access’ icons, I think so. otherwise, probably not. Technological advances in the field of graphic design are inevitable and often occur at quite a pace. Do you see a shift in the future whereby computer automation of schematic maps is inevitable and the graphical design element, styling and rules of such projects are pre-defined and programmed into a system? Yes, very likely. What has been the most significant map of this style in the last 10 years? The london bus routes diagrams, which mix geographical components with topographical components in a splendid, magical way. What has been the worse iteration of a non-Beck London underground map since 1964 and why? The New York subway guide of 1972, by Vignelli. it was beautiful but because it had not been properly tested, it was largely incomprehensible. Is Beck’s creation (and his inspiration to others) the most important occurrence in graphic design during the last century? I cannot say; I avoid superlatives of this sort.

Above is Beck’s underground map circa 1933. The only recogniseable geographic feature present is the River Thames. Route lines are kept to 45º and 90º angles to simplify the message and are individually coloured (as with past underground maps) to differentiate between routes. Below is a TfL (Transport for London) map from 2008. Still heavily influenced by Beck’s initial diagram, it is naturally more complex due to the growth of the network over time and the necessity to display iconography such as accessibility and places of interest.

An interview with Tony Pearce Public Transport Project Manager and designer with Swedish mapping solutions company T-Kartor who produce in the region of 3,500 schematic transport maps annually. When Ken Garland was asked ‘What has been the most significant map of this style in the last 10 years?’ his response was ‘... the London bus routes diagrams...’ can you briefly outline how these maps came about, from the T-Kartor point of view? T-Kartor began working for TfL in 2000. They had just developed the idea for the spider map and tested it on the public. At the time TfL were looking to increase the number of cartography suppliers and went to tender for a 3 year framework. T-Kartor were given design guidelines to follow in order to qualify for the tender and set about learning to create a spider map. Technological advances in the field of graphic design are inevitable and often occur at quite a pace. Do you see a shift in the future whereby computer automation of schematic maps is inevitable and the graphical design element, styling and rules of such projects are pre-defined and programmed into a system? T-Kartor has built up its business idea on cartography built on a constantly updated database. We are always trying to bring automation into all areas to give us a competitive edge, where we have the skills to bring together cartographic database knowledge, programming knowledge and cartographic design skills. We are making progress with automation of schematic transport mapping on many fronts. It is my assumption that this cost effective working method will inevitably spread to new areas in the future. What are the main graphic design issues when putting together a map of this type? • Simplicity • Well established design rules which are adhered to throughout the product family • Strong branding • Striking a balance of having a minimum number of absolutely necessary features Do you see schematic mapping as a form of graphic design or a style of cartography in itself? I suppose it is if you want it to be. Cartography is symbolizing on paper what is spatially laid out before you. This is schematic mapping, absolutely. Would you agree that it’s feasible to display various schematic maps at a singular location that show different ‘messages’ for example a high and a low frequency bus route map? I think it takes a long time to educate the public to use transport mapping properly. Clarity is of major importance. Therefore, if there are several types of mapping together it is important that they are designed together as a family, but different in a way that is obvious to their different usage. How important is it to have a ‘rulebase’ for designing such maps - not just design guidelines but a set of principles to aid decision making? Very. It forms part of the educating of the public in map reading. Is there an element of social responsibility in producing public transport maps? In as much as there is a responsibility to run a ransport system. The system without the info. will not be used to its maximum potential, which will be a waste of tax payers’ money and environmentally unsound.

An interview with Paul Crowley Paul was the Design Director for London based design agency Creator he currently works for Demographik Is schematic mapping a form of graphic design or a specific type of cartography? I’d say both. It’s a meeting point of where cartography starts to become a form of graphic design. Graphic design in itself, is an umbrella to many different types of visual media. Whilst cartography is a specific application of information. Technological advances in the field of graphic design are inevitable and often occur at quite a pace. Do you see a shift in the future whereby computer automation of schematic maps is inevitable and the graphical design element, styling and rules of such projects are pre-defined and programmed into a system? Yes, it’s already happening. The human element may be defining the initial style and scope. But ultimately, machines can speed processes. Google mapping cars drive around London, connected to satellites firing off pictures every so many feet. But as yet, they haven’t replaced the driver. What are the most important aspects (to you) when designing a schematic map? Planning and more planning. Know your limits. Know your scale. How important is the social responsibility aspect when approaching this type of design? Very. If you are presenting information to the public you have a responsibility to accuracy and accessibility. Orientation could be a life or death situation! Having the same ‘message’ available in differing formats helps to cater for a wide variety of customers and their needs. Do you agree this builds ‘trust’ with the public and helps not only to reinforce the overall message but to some extent helps them gain a visual literacy? Delivering any message with visual consistency is key to success. This opens up a bigger discussion about language and branding too. People understand and engage with the service and interact with what they feel comfortable with. So this builds trust, and therefore confidence = use/engagement. Behind these maps is a swathe of underlying data, does it take a certain kind of designer to undertake such projects? Yes. This relates to what sort of designer you need for the job. Online designers have some of the same skill sets as information designers. They understand the scope of a project and how to utilise information/data. They understand the need to be flexible and to audit as much information as possible before committing to a solution. Is simplicity the key to an effective map of this kind? To the end user yes. It may need to relay different information. But it is important to switch on and off information as required. Information is always there, but it is layered.

Creatorâ&#x20AC;&#x2122;s design brief on this product was to improve the information for Metropolitan line customers whilst taking on board a variety of legibility guidelines from the RNIB (Royal National Institute for the Blind). They also had to minimise print costs. Frequency bases timetable information replaced the full timetable previously used. For the schematic route map the average journey time was incorporated between stations to enable better journey planning and understanding of the routes from the user point of view. The design team at Creator also produced a comprehensive set of design guidelines for TfL staff who would be responsible for keeping the product up to date in the future - thus retaining the styling of the original leaflet. It won a Design Business Association Design Affectiveness Award.

An interview with Eddie Jabbour Designer of the New York City Kick Map Technological advances in the field of graphic design are inevitable and often occur at quite a pace. Do you see a shift in the future whereby computer automation of schematic maps is inevitable and the graphical design element, styling and rules of such projects are pre-defined and programmed into a system? Computers aid in mapping as a potent tool but still need human judgement to make stylistic interpretations of a “reality” for the best communication of information to the end user. What are the main graphic design issues when putting together a map of this type? Clarity & accuracy for the communication of information to end user. Do you see schematic mapping as a form of graphic design or a style of cartography in itself? Should be both to be most successful. The design - or style - should aid in the communication of information. How important is it to have a ‘rulebase’ for designing such maps - not just design guidelines but a set of principles to aid decision making? Define “principles”. A “rulebase” is very important for consistency which is important for clear communication to the end user. Is there an element of social responsibility in producing public transport maps? Anything for public use should be absolutely responsible, no? It can effect millions of people. What is the most important advancement to design that has made the production of this map easier? Adobe Illustrator is the greatest 2D design tool of the past 75 years, in my opinion. Your Kick Map seems to marry the more schematic style of Vignelli’s 1972 schematic and the modern day geographic map was this your approach to the scheme? The KickMap is a hybrid map. It takes the best of both schematic and geographic disciplines while discarding the weaknesses of each. Are there any sustainibility issues with this map in terms of service and geographic updating? Not at all. It’s design has proven to be very adaptable. Most recently as an App for Apple’s iPhone. Is the Kick Map the best iteration of the NY transit system? Best? I can’t answer that. However its design is superior to the current MTA map, which I believe is poorly designed for its intended purpose.

An interview with Harriet Miller Designer with Bristol based, legible city experts City ID, responsible for various wayfinding schemes throughout the UK How vital is iconography in a project such as Connect Sheffield? I would say it is a vital part of any information system: • enables more information to be communicated where there is restricted space • provides a quick and direct way to indicate headline mode indicators at the highest level of a sign - to be read at distance and identify the type of information provided at each point; or the location of specific services eg. bus stop, taxi rank • internationally understood symbols, minimise the need to provide translations in many languages • icons can be designed and used in a way to reinforce the visual character of an identity system and therefore reflect the personality of place. In Sheffield, for example, the cultural pictograms are set within a form that reflects the heritage of hallmarking in the city • iconography used across multiple products and services in the information system provides a consistent language that helps to connect different modes of transport helping to make interchange between bus/walking/cycling/tram etc easier Technological advances in the field of graphic design are inevitable and often occur at quite a pace. Do you see a shift in the future whereby computer automation of schematic maps is inevitable and the graphical design element, styling and rules of such projects are pre-defined and programmed into a system? Yes, this is advancing rapidly. Graphic Design, geographically referenced location data and information content structures have developed in isolation of each other to some extent. What there is a demand for now is for these strands to come together. Google has taken great leaps developing location-based tools however the planning of content has not been thought through leading to inaccuracies and confusing/misleading hierarchies. Automated mapping is now being explored, however there is still a way to go to create the sensitivity of the cartographic rendering of maps which ensures a product that is engaging and beautifully drawn. The graphic quality is often clumsy and lacks refinement leading to ‘visual noise’ that impacts on the legibility of information. Accuracy can also be a problem - there can be no ‘interpretation’ of reality that sometimes is necessary to create a cartographic representation of a space that is easily understood. The demand is there to make processes more automated, and I am sure that better solutions are being developed. What are the most important aspects (to you) when designing a schematic public transport map (like the Connect corridor maps)? • An engaging design • Remembering the 7 second rule - the time average time someone will dedicate to finding the information they need at a bus stop • Information that is accessible • Information that is intuitive - doesn’t require lengthy explanation • Consistency of information, graphic elements, set out • Only providing what you need to know at each point in the journey • Ensure the map works as part of an overall system (information planning, visual set out, order of read) • Making sure the ‘You are here’ is easy to find • Testing designs with the public - especially non-bus users How important is the social responsibility aspect when approaching this type of design? Very - public design must be accessible to all • Need to understand and consider different needs of people related to: age, abilities, language etc • Create designs that are inclusive: accessible, legible, use of plain English, internationally understood • Use best practice and testing

Having a series of integrated information points within an area helps to create a sense of geographic understanding, would you agree it also educates the users in teaching them a visual literacy? Any information system requires an amount of learning. Once learnt, the system should be easy to use and navigate so that it becomes 100% intuitive and trustworthy. Good design is engaging. An edited, well designed system can engage even those who might feel alienated by mapping information. Consistent design and consistent high quality information is absolutely essential to build the visual literacy of the system and build the confidence of the user. Good quality, consistent design gains a form of trust from the public. How important is it to acquire a balance between information provision and legibility/readability? • Balance is crucial but legibility and readability has to be the highest priority • Less is more - only provide what is needed at each point in the journey • Employ a process of editing out information - only the essential What did you learn whilst working on the Connect project, in terms of information design? • Importance of communicating a transport network. Understanding the network is a challenge and a barrier to modal shift to bus use • Information can only do so much - if the basic network - whether streets, spaces or bus routes and stops - is not intuitive and logical, it is very hard to communicate through information. • Importance of design management - of creating a benchmark and maintaining a level of quality. A system be weakened very quickly without this ‘guardian’ role. What must be avoided with a project such as Connect Sheffield and similar schemes such as Quaylink and other legible city projects? • Avoid the risk of not maintaining the system and upholding the principals underpinning the design • Avoid designing without understanding the user’s needs • Avoid designing in isolation form other stages in the journey Is schematic public transport mapping a style of cartography? (tube style bus maps as opposed to routes overlayed onto a geographic background) I would definitely identify this as a distinct type of mapping. It’s all down to the percentage of accuracy a map has to the real geography. Destinations or points on a route can be accurately placed so that the spacial relationship reflects real geography, but the routes between can be simplified or straightened. This is a middle point on the scale of geography to diagrammatic. At the far end of the scale is something like the tube map that has no relationship to geography and has been designed to represent possible routes and connections in an easy-to-read memorable way. This can work for a ‘closed’ system like a tube network easier because the emphasis is on ability to connect rather than navigating a space yourself. The issues here relate to the ability for people to move from a closed system to an open network of streets and spaces and understand the relationship. A good example is Covent Garden to Leicester Square in London - on the tube map they look far away, but in reality it’s quicker to walk between them than take the tube.

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Acknowlegments Design team at South Yorkshire Passenger Transport Executive

Design team at T-Kartor

StaceTurner Edward Robinson Josie Walker Saad Masood Dr. Andrew Phillips Richard Mason

Tony Pearce Matthew Archer Bjorn Ohlsson Roland Hansson Agita Tarasova Martin Sandberg Amy Blackburn

Cartographer/Information Designer Information Designer Information Designer Senior GIS Analyst GIS Analyst Project Manager

Project Manager GIS Systems Analyst Software Programmer Software Programmer Software Programmer Software Programmer Quality Assurance Manager

Contact: staceturner@gmail.com Thanks to: Tony Pearce and T-Kartor, Harriet Miller and City ID, Paul Crowley, Eddie Jabbour, Ken Garland, Pam Bowman & my family

â&#x20AC;&#x153;this mapping instinct, like our opposable thumbs, is part of what makes us humanâ&#x20AC;? Katharine Harmon, You Are Here: Personal Geographies and Other Maps of the Imagination