Brexit has divided a nation politically. The esri UK Media Maps team put together a Brexit Isles visualisation to understand how the two nations would look geographically. Find out what inspired us and how we put the maps together.Read More
Colour plays an integral role in UI design, but 1 in every 12 men and 1 in every 200 women (approximately) are colour blind.
So, how do you design effective, accessible and aesthetically pleasing interfaces for colour blind users?Read More
This is a multivariate dot density map. The map reveals religious identity across London. Each person is represented by a single dot - the colour depicting religious allegiance. So how did I create it?Read More
I received some interesting data from the Met Office - lightning strike locations for the UK and Ireland. Given a new set of data there is a common process that I work through to arrive at the final map.Read More
The ArcGIS Maps for Adobe Creative Cloud is an app that allows you to work with data-driven maps in Adobe Illustrator and Photoshop. From these you can create beautiful, data-driven maps in hours, not days.Read More
At our annual conference, Ken Field presented on thematic map design. Ken describes himself as a professional ‘cartonerd’ and is part of Esri’s cartography team, having moved to sunnier climes. For those of us that missed his talk, I’m delighted to be able to share his insight in this guest blog.Read More
Arcade is a simple expression language that was introduced into the ArcGIS Platform at the end of 2016. It can be used to configure symbology, labelling and pop-ups and makes expressions portable across the ArcGIS Platform.Read More
We have two exciting announcements about World Imagery services. In the next month, we will be receiving a UK wide update to the Imagery and Imagery with Labels basemaps. This is in addition to the new World Imagery (Clarity) service. Read on to find out what’s changed and for more details on the World Imagery (Clarity) service.Read More
Vector tiles contain vector representations of data across a range of scales. Unlike raster tiles, they can adapt to the resolution of their display device and even be restyled for multiple uses. With ArcGIS Pro 1.4 users can now also publish their data as vector tiles using local projections such as British National Grid. In this first of two posts, I'll take you through the steps required to publish your own vector tiles using a local projection.Read More
When you're at the coast and gaze off into the horizon, do you know which countries are directly across the sea from you? I recently tried to answer this question by creating a map that went on to be featured on The Telegraph, Mail Online, BBC News and, more recently, Esri's Maps We Love gallery.Read More
As America prepares to elect its 45th president, many media agencies are opting to use cartograms instead of traditional maps. Want to know why? As well as looking at the general benifts of using cartograms I've also looked at the strengths and weaknesses of different types.Read More
A few months ago I was given the opportunity to visit a client to discuss cartography and how they can communicate spatial information in an efficient and effective manner.
Whilst preparing for the visit, I started to investigate Colour Vision Deficiency (CVD) and came across some interesting facts, tools and techniques which I’d not really considered enough before.
Whilst there are a number of different types of Colour Vision Deficiency, the most common is ‘red-green blindness’ which affects approximately 8% of males (Jenny and Kelso, 2007). Of this impairment, the most prevalent type is Deuteranopia. Whilst this might not seem a large percentage, this group of users should not be disregarded when designing maps.
One of the most useful tools I discovered is Color Oracle which can be found here: http://colororacle.org/. This is a free little utility which simulates CVD on screen and it’s quickly become an invaluable tool when I design and create maps.
One thing I hadn’t realised is how hard it is to distinguish the subtleties of the commonly used red to green colour ramp for people with colour vision impairments. This colour scheme gets used a lot, especially in hotspot mapping. I personally used this colour scheme since I felt it represented something effectively on a scale of low to high, or ‘good’ to ‘bad’. Since we’re all used to the traffic light system it’s such a common way to represent a range of data. But how is this seen by someone with CVD?
Figure 1 shows how someone with “normal” vision would view a map of wind speeds around the UK. The red areas represent higher wind speeds and the green areas represent lower speeds. But now, consider how this same data might viewed if you suffer from Deuteranopia (the screenshot is simulated using the Color Oracle utility). This clearly shows how hard it is to determine which areas of the UK have high and low wind speeds.
Figure 1. The left map illustrates normal colour vision and the right simulated Deuteranopia (Red-green blindness). Both maps use a red to green colour scheme. Data shows mean UK wind speed from DECC.
So what are the alternatives to displaying such data? Well, there are a number of different strategies and as always it depends on the data and the message that you’re trying to communicate. However one simple option is to change the colour scheme to a red to blue diverging ramp (in ArcGIS Desktop this is called ‘Cold to Hot Diverging’). The advantage of using this is that red can still represent high wind speeds in this example whereas lower speeds are now represented as blue instead of green. Figure 2 shows how this data would appear with normal vision shown against how this compares with some who has Deuternanopia. Both maps are now legible and the high and low wind speeds are distinguishable.
Figure 2. The left map illustrates normal colour vision and the right simulated Deuteranopia (Red-green blindness). Both maps use a red to blue colour scheme. Data shows mean UK wind speed from DECC.
There are a couple of other excellent resources which I would highly recommend looking at. Firstly, for a more thorough discussion of designing maps considering CVD then “Designing maps for the colour-vision impaired” by Bernhard Jenny and Nathaniel Vaughn Kelso is a fascinating read. It’s full of theory and practical advice. A .pdf of the paper can be found here.
Also, for designing colour schemes for choropleth maps, ColorBrewer is an excellent resource. It allows you to select qualitative, quantitative and sequential colour schemes and also has an option for suggesting schemes which are CVD safe. ColorBrewer can be found here and again, I find it extremely useful.
Finally, there is a more general blog article from the Esri Mapping Centre which highlights some excellent colour tools for map makers which can be found here. Also, there is a set of styles designed for maps for the colour deficient in the ArcGIS Resources section.
It is clearly important to carefully consider the colour schemes that you’re using when creating maps. This will help ensure that the information that you’re presenting is meaningful to the widest possible audience. As mentioned earlier, I now use these tools and techniques whenever I’m creating maps and I frequently check symbology using the Color Oracle tool. It’s become an invaluable part of my workflow.
Jenny, B. and Kelso, N.V. (2007). Designing maps for the colour-vision impaired. Bulletin of the Society of Cartographers SoC, 41, p. 9-12.
If you've recently visited our Office HQ in Aylesbury you may well have noticed a poster proudly displayed in the foyer showing Solar Potential Mapping. I've been producing a number of posters showcasing work that Esri UK are undertaking and this is one example. The poster explains how GIS can be used to model Solar Potential as part of some of the Low Carbon work being carried out by Esri UK. This blog article will briefly describe how this poster was created and the main tools which I used.
Please click map for a higher resolution (2.2mb) version in a new window.
The Geoprocessing tools in ArcGIS Desktop were used to undertake all of the necessary calculations and create each layer used within the map. These were then combined with ModelBuilder to process the data for an area surrounding Oxford City Centre, an area which many people are familiar with. The cartography in the main map was produced using a combination of standard ArcGIS Desktop tools, Maplex for ArcGIS, Cartographic Representations and some of the more advanced Cartography tools to perform processes such as simplifying the road system. This combination of tools allowed me to create a very pleasing cartographic output. Each map inset in "The Process" box was also created as separate layer in ArcGIS and exported as individual images.
For this poster I was keen not only show the interesting mapping outputs generated from calculating solar potential, but also to explain the broad process behind how to create these outputs. I hand sketched numerous layouts before deciding upon the one presented in the final poster. The layout of this poster, in particular the complexity I wanted to use in the process section, helped with my decision to use Adobe Illustrator for the final poster production.
All of the insets, logo's, titles, drop shadows, arrows, and text placement were carried out in Illustrator.
The process flowchart/diagram was also constructed in Abobe Illustrator. I was particularly keen that the round insets maps acted as "magnifying glasses" through to the appropriate layer of interest. This visually represents the power of a GIS being able to peel away layers of information to reveal more interesting data! All of the map layers and cartography for these were produced in ArcGIS and exported as TIFF images and then all placed in Illustrator. I used the greyscale duration layer as a basemap to add context mainly because I thought the output was so visually interesting! The geography of each "magnifying glass" matches the geography on the underneath.
There are various different options for interoperating mapping between ArcGIS and Illustrator. For the purpose of this poster though I exported the maps out as high resolution images and then placed them into an Illustrator document. I decided to use this method mainly due to simplicity and I didn't want to modify any of the cartography within Illustrator. However, it is possible to export to Adobe .ai format from ArcGIS which is another option for working between the two applications. This will give you more control over the exported features so you can modify the elements in Illustrator rather than exporting just an image. If you decide to export from ArcGIS to .ai then there are a number of issues to be aware when creating your Map Documents (MXD's) prior to exporting. These include not using transparency in your layers and also not nesting your layers in the Table of Contents.
I have recently started using some of the Colour Ramps available at the Esri Mapping Centre which are great for symbolising a variety of continuous surfaces and build on the out of the box ramps provided in ArcGIS. The downloadable colour ramps (from here) have many many to choose from so when you load the styles into ArcGIS Desktop it is quite hard to keep track of them and see which colour ramp is which.
For example it is hard to distinguish between the following elevation colour ramps:
However, if you right-click on the Color Ramp drop down you can un-check “Graphic View”.
When you look at the colour ramp drop down now you can see the name of the colour ramp. You can then more easily choose your colour ramp.
A useful tip when you have many colour ramps for specific needs, or perhaps if you suffer from colour blindness!