I know how you don’t like many airway maps trying to be schematic, but this one is a rather successful combination of a simplified geographical map and a schematic inset showing frequencies throughout the year. Although it has some minor beauty flaws here and there, it is really a beautiful map, especially considering the five colours used to print the map! What do you say?
Transit Maps says:
Mattias, I think this is absolutely wonderful, and certainly something that the new airlinemaps Tumblr should see!
Airline travel was still relatively new in 1936, with commercial fixed-wing services having commenced in 1914, just 22 years previously. Imperial Airways – the predecessor of BOAC and then British Airways – was only formed in 1924, but expanded rapidly throughout the British Commonwealth, as helpfully shown in the detailed pink sections of the map above. Most Imperial Airways planes were small, carrying 20 passengers or less, and still had to “hop” from destination to destination along their routes. Transatlantic services – hinted at on this map as “projected services” – were still not practicably feasible.
The main map of services is lovely enough, but the diagrammatic representation of service frequencies is quite fantastic. It takes the solid yellow route lines from the main map (the Imperial Airways and associated companies routes) and reinterprets them in schematic form. It uses a complex but visually distinct legend to denote both service frequency and operating company, making it very information-rich. As an added bonus, it even includes mileage from London for each destination. And I agree: the whole map looks great despite the limitations of early-20th century printing technology!
Our rating: A fantastic piece of ephemera from the early days of commercial aviation. Five stars!
Reader Chris Bastian notes that the 7 Line’s extension to 34th Street-Hudson Yards (that opened today!) has been added to MTA’s Vignelli-style “Weekender” map.
I’ll say that it looks pretty good, but Vignelli’s famous “one dot equals one stop” principle seems to have been broken at Times Sq/42nd and Grand Central/42nd, where one dot now seems to serve both the “S” and the “7″. Compare the “S” to the “L”, which has its own terminus dot at the 14th Av/8th Ave complex, while the “S” no longer does at either end.
Portland’s new Orange Line light rail opens tomorrow!
And while I’m excited, I’ve long wondered why exactly it’s being called the Orange Line instead of just being an extension of the Yellow Line. I’ve heard mutterings that it allows operational flexibility – with some northbound Orange Line trains becoming Green Line trains if demand requires it – but that’s always seemed like pretty weak reasoning to me.
And this promotional map almost entirely abandons that idea anyway, boasting of a “one-seat ride between North Portland and Milwaukie”… as would be made much clearer to riders if it was just the Yellow Line from end to end in the first place.
Instead, the brochure has to explain that trains change their route designation from Yellow to Orange after Interstate/Rose Quarter on southbound runs, and from Orange to Yellow after Lincoln/SW 3rd on northbound runs. How does that make transit easier to use and simpler to understand for users? It seems to me that an operational desire (potential interlining of routes) has trumped a passenger need (easy to understand routing information), and that’s not a good thing.
As I see it, the whole Orange Line brand really comes down more to marketing than anything else – it’s easier to sell a sexy “new” light rail line to the public and media than a boring old extension of an already-existing line.
Please take a look at the transit map of Geneva ! It’s beautiful. It includes streetcars and all buses.
Transit Maps says:
Okay, Nicholas, I will!
I even know who designed this map: it’s a collaboration between designer Andrea Forgacs and architect Oscar Buson, and seems to be part of a suite of maps that include the urban core (this map), the greater suburban area, a night services map and fare zone map, all built using a common design language. I’ve included a couple of mock-up images from Andrea’s website to illustrate the other maps – the night map seems to have quite a lot in common with one that I’ve previously seen from Zurich.
The main map is indeed quite gorgeous, although it has one little quirk in that all modes – be they tram, trolleybus or bus – are all depicted in the same way: as a thick, coloured line for ligne principale routes, and as a thinner grey line for ligne secondaire routes (although I believe these are all buses). It’s an interesting “mode agnostic” approach that instead focusses on level of service, which is not a bad thing. Locals would have little problem with it, as they would know route numbers, although I can see it perhaps presenting some problems for visitors who are unfamiliar with the vagaries of Geneva’s route numbering system.
Although not explicitly mentioned in the legend, there is some internal logic to the colour-coding in that the suburban bus routes – which have letters as their route designation – are all pink or orange in colour.
Technically, the map’s really well drawn: everything’s nice and clear with a very consistently applied visual hierarchy. Nothing feels too crowded, which is a real achievement with a system map of this complexity. I especially appreciate the effort put into making the rivers and lake shoreline match the visual style of the route lines, something that’s often neglected or shoddily done.
Our rating: I’m still undecided whether or not I entirely approve of the “mode neutral” treatment of the services, but the execution of the map as a whole is top-notch! Four stars.
This brand new map was sent my way by quite a few people last week, so here it is! If the name “Ilya Birman” sounds familiar, it’s because his map of the Moscow Metro came second in the design competition a few years ago that was eventually won by Art Lebedev Studios. I wrote about Ilya’s entry here at the time.
Now, Ilya and designer Alexander Karavaev have turned their attention to the tram network of the Russian city of Chelyabinsk, creating this brand new official map. (And if the name “Chelyabinsk” sounds familiar, that’s because it’s where that giant meteor explosion was caught on dashcam a few years back.)
The map is a very handsome diagrammatic representation of the network with a few design innovations that I haven’t seen before. The most noticeable is the slightly flared, almost trapezoidal marker for stations. They certainly do the job with style, and it’s nice to see something different from the usual London Underground-styled “tick”.
I’m not quite so enamoured with the terminus station route number designations, which seem a little over-designed to me. The faux perspective as the route lines rush “upwards” towards the viewer together with the angle and shiny glow of the route number boxes is just too much. The blurb on the projects website boldly declares that these are “the most beautiful termini symbol(s) in the history of transport infographics”, but I just can’t agree with that. I applaud Ilya and Alex for trying something new and out of the box, but I don’t think it quite comes off.
More successful is the slightly rough and uneven “pencil” treatment of the subsidiary grey bus and trolleybus lines. It looks great, and it’s not too forced or overdone. The subtle pattern in the green parkland areas is also quite nice, and I do love the inclusion of the children’s railway in the main park. The special permit zone for the tram line to the city’s metalworking factory is also deftly handled.
Our rating: A very attractive diagrammatic map with some innovative design features. Some come off, some don’t – but credit is due for pushing the envelope and trying new things! Three-and-a-half stars.
Source: Ilya and Alex’s project website (in Russian; lots of detail images)
A fairly bare-bones map of existing (black) and new (red) rail lines in the Baltic State of Latvia from 1938. It’s mainly interesting because it shows the five different railroad gauges in use at the time. Five! (Which is right up there with Australia’s infamous “gauge muddle”).
Long-time readers of the blog might know that one of my all-time favourite maps is this beautiful two-colour diagram of the Paris Métro from 1956. It’s stylish, beautiful to look at and easy to understand, even with just two printed colours – an elegant combination of blue and gold. (The background could be a cream paper, or it might be just aged and yellowed white paper: it’s hard to tell!) While the scan from the original source is high-resolution, it’s oversharpened and not suitable for anything other than viewing on a screen. So – as is my wont – I decided to redraw it in Adobe Illustrator, making it completely vector-based.
Here’s the end result (click the image for a larger preview). I strove to be as accurate as possible to the original piece, including the way that the blue ink overprints the gold ink. This required setting up a choke mask for the gold halftone tint area behind the blue route lines so that the two colours overlapped ever so slightly, but the gold dots didn’t show through the solid areas of blue. Old-school trapping work is fun!
Drawing the route lines was surprisingly easy, especially with Illustrator’s new Join and Corners tools, which allowed me to lay out straight sections of track, join them with one mouse flick and then visually modify the radius of corner joints until I got a perfect fit. A few graduated curves – which would originally have been made with french curves – had to be drawn manually with the Pen tool. I note that the original map was remarkably consistent with its curved corners, using only a few standard values throughout the whole map.
Typography was more challenging – a combination of perfect matches (Engraver’s Gothic for the Plan de Paris title at top right and the Ligne de Sceaux legend), serendipitous substitutions for the original typeface (with a few tweaks, Proxima Nova Condensed turned out to be very similar indeed to the gothic font used for station labels), and some good, old-fashioned redrawing of the fonts I simply couldn’t match.
The Art Deco-styled Métro label at the top left was simple enough, but the gorgeous script used for the locale names around the periphery of the map was another matter. Almost certainly hand-lettered originally, there wasn’t a modern computer font that even came close to matching its style and aesthetics. This meant laboriously tracing each letterform with the Pen tool: very few letters could be reused in other locations because almost every one was slightly different. It was definitely the most time-consuming part of the recreation, but totally worth it in the end!
The final obstacle to overcome was recreating the halftone dots used on the map – gold for the city limits and blue for the Seine. Creating good looking vector-based halftone dots in Illustrator is surprisingly difficult, with results that either look too digital and perfect, or create an unholy mess of millions of paths and anchor points. In the end, I made use of the Halftone.us Illustrator Tint Pack, a collection of lovely, organic-looking, seamless halftone pattern swatches from 5- to 90-percent grey. As you can see from the image to the left, they look fantastic and are very true to the original printed piece. I took great care to use the same line frequency and dot angle as the original map to complete the match.
Of course, once the map was completed, I could use it as a basis for two further related maps. First, a four-colour version using a contemporaneous map as my colour guide. The scan is low-resolution and a little dark, so there was a bit of guesswork involved, but it looks pretty awesome. Click on the map for a larger preview.
And finally, just for fun, a version of the map that uses the colours from the current official map. As forests and locale names don’t appear on the modern map, I had to come up with something that suited the colour palette myself. Click on the map for a larger preview.
This is a short film made using the QGIS and TimeManager, which presents the development process of rail public transport in Warsaw in the last 107 years.
The animation shows the construction and decommissioning of tram tracks, underground, Warsaw Commuter Railway (WKD) and Fast City Rail (SKM) between 1908 and 2015. Additionally, the map showing a riverbed of the Vistula River and the changing administrative borders of Warsaw.
This film is a result of group project realized during the UNIGIS Krakow study program.
I do love a good timelapse of rail infrastructure! Of particular note is the almost total destruction of the tram network and the city of Warsaw itself in the latter days of WWII and its subsequent rebuilding after the war – although never to the previous levels.
From the late 1970s through to the early 1990s, almost nothing changes at all – but from 1995 onwards, things proceed apace, with the opening of the Warsaw Metro in stages and the introduction of the SKM lines shortly thereafter (the line that disappears after just a year or so of operation interests me!).
A fascinating look at Warsaw’s evolving rail system over the years – nicely done, Jakub and team!
Here’s a sneak peek at a little weekend project… coming along nicely, I must say! I’m particularly pleased with the all-vector halftone dots, which have a lovely organic feeling to them that suit the original source material nicely. More soon!
For some time now, I’ve been busy designing a Madrid transit map, and your blog has been a great help. It’s fantastic to have access to all this information and, first of all, I wanted to thank you for running this blog. Your comments are always helpful.
Latest Madrid Metro maps were, so to speak, not very appropriate and, even without previous experience in map design – I’ve always been a pre-press guy, not a graphic designer – I thought that there should be a better way to do it. So, first as a hobby, and then more seriously, I started working on the issue.
The goal was to include both the Metro and the commuter rail system (called “Cercanías”). These networks are commonly used in conjunction and, actually, travelers have to obtain the information from two different sources, with two maps that have nothing to do with each other. From the beginning, I thought the priority should be digital (web, mobile app), so, instead of a single map with all the information of both networks, I preferred to split it into two “layers”, each one showing one of the networks in foreground with the other in the background as a subtle reference. Inspiration came from that icon in KickMap app for switching day and night service in the NY Metro system, but, instead, use it to switch between Metro and Cercanías layers. This would allow access to the whole system information while reducing the clutter of the map. Given that the map’s priority is digital, there’s no much use in showing the legend on the map itself. Instead, in order to provide an easier access, it will be available separately.
What I’m sending you is the first of these two layers: the Metro map in foreground with commuter rail in the background.
As you can see, it’s a radial grid based map (in my opinion, the best way to explain Madrid), set in steps of 15 degrees, and using only concentric circles and spokes. Amsterdam maps by Erik Hammink and Max Roberts and his circle maps were an inspiration, mostly the latter: some of their maps are great, but I thought Madrid should have a better solution (and include commuter rail system).
The main issue was to solve the line 6, since it forms the main circle. To ensure geographical consistency it could not be a perfect circle, because stations like Príncipe Pío and Argüelles are located in the city center, while others, like Laguna or Lucero, are in the suburbs. So turning the line inward was necessary in order to prevent distortion in the whole map. The river is used to close the gap and improve balance. I think it works quite well.
About type, Helvetica has been historically the Madrid Metro typeface. It is used on maps and all kind of signage and I see no reason to change it. Furthermore, the map being so different to what residents are used to, keeping the typeface seems a good idea to make it more recognizable. So I’ve tried to simply put it to good use: light for stations, bold for transfer stations and terminus. Credit to Vignelli’s NY map.
The circular interchange symbols for long distance transfers are inspired by the Lebedev Studio’s Moscow Metro map: the way complex transfers are resolved is gorgeous, and one thing that caught my attention was that it could be done without adding a new color to the symbol, so black could be reserved exclusively for labels. I have a feeling that it enhances the readability of the map, and I wanted it for my map too.
And it is at this point that I have to thank you again. Your post, in May earlier this year, about “zoomable on-line previews” led me to get to know Leaflet.js, and I’ve had a great time playing with the code (with Google’s aid, of course). I wasn’t happy with that “zoomify sharpening” either, and I have found a Photoshop script that cuts the image tiles without sharpening. It’s called Bramus (https://github.com/bramus/photoshop-google-maps-tile-cutter/) and I figured that you’d be curious about it. It works perfectly for me with Leaflet.
My purpose is to complete the map with the second layer (the one with Cercanías in foreground) but, at this stage of the project, your feedback would be much appreciated.
Transit Maps says:
Wow. Just wow. Everyone, stop what you’re doing and take a look at this right now.
This is superb modern transit map-making, and I love it.
For a self-confessed non-designer, David’s done an absolutely incredible job. Without even seeing his second commuter rail version of the map, I can already see exactly how he’s planned for its inclusion and how neatly everything fits together.
Madrid is a radial city, so David’s design choice is actually appropriate (some other radial maps I’ve seen have seemed a little forced, like Max Roberts’ New York subway map). While he’s distorted the system layout a bit to suit his design, the relative positions of most of the lines seems to be quite accurate: credit to David there!
The design language of the map is remarkably clear and consistent: I especially like the neat way David flips route lines across each other in little “x” configurations when they need to swap sides, and his “long transfer” station symbols are just gorgeous – a nice evolution of the Art Lebedev Moscow Metro interchange symbol, as David himself notes. He’s even done a decent job of making the alternating shaded zone backgrounds attractive, one of the most difficult tasks in transit map design! Often, these zones seem to be slapped on as an afterthought (*cough* London Underground Map!), but it’s obvious that David has taken great care to incorporate them as an integral part of the whole map.
Our rating: Simply outstanding! Four-and-a-half stars until I see the second Cercanías map, when I fully expect to upgrade this to a full five-star rating. To be honest, I think the map is clear enough that both the Metro and Cercanías could be displayed fully on the same map, but I certainly appreciate the way that David is approaching this as an interactive digital-first project.
Source: David’s Madridxpress website (link no longer active)
