While it’s true that I don’t really like the use of station labels that are angled – being very much in the Erik Spiekermann camp that believes horizontal labels aid comprehension and create a cleaner looking map – I do realise that there are times when their use is necessary. If you do use angled labels, then I strongly advise that you keep the number of angles used to the absolute minimum required – type […]
Following on from last week’s tutorial, here’s how to use the Core Type Area to make your station labels align perfectly and consistently when you’re applying them to 45-degree angled route lines. If you use the edges of the Core Type Area when you’re aligning labels to horizontal and vertical route lines, then it should make perfect sense that you use the corners of it when you’re labelling angled stations. The first GIF shows the […]
A lot of transit maps that I’ve seen and reviewed on this blog are badly let down by their labelling. Sometimes it seems that the labels have been applied without much forethought or planning, or just slapped on at the end and placed wherever they will fit. But labels are arguably one of the most important parts of a transit map: it should always be immediately apparent which station marker a label belongs to, and […]
Here’s a fantastic follow-up post from Owen Lett (the man who brought you this neat fantasy transit map of Victoria, BC) in response to yesterday’s tutorial about point type in Illustrator. There’s a lot to like about this approach, especially the integrated type point and station marker (two overlaid points define both elements and both can be placed simultaneously) and the use of paragraph styles (an often-overlooked feature in Adobe Illustrator) gives the ability to […]
Here’s a small but important tip when it comes to working with station labels in Adobe Illustrator. Most of the time, it’s easier to use what Illustrator calls point type when setting labels – that is, you click once with the Type Tool and then type your text, rather than dragging out a text frame with the tool. It looks neater in wireframe view and is generally less cumbersome to work with. However, you need […]
Staying with Berlin for another day, here’s a neat, compact little connections map from the late 1930s. The presence of the “Reichsportsfeld” U-Bahn station means this map must be from no earlier than 1936, while “Adolf-Hitler-Platz” stands as a stark reminder of the dark days that Europe was about to face. The map is very simple (but not crude; the draftsmanship is excellent), and is embellished with some understated but gorgeous hand-lettering – there’s absolutely […]
To be honest, this is a pretty small category and I’m only including it for completeness’ sake. Included in this category are san serif fonts that don’t fall into any of the three major categories, veering more towards the decorative or ornamental. Examples of this include the Madrid Metro’s severe, squared off typeface (that matches the aesthetics of the map almost perfectly), and the similar, but less successful, square font that was once used in […]
The third – and most diverse – category of sans serif typefaces is known as humanist sans. Compared to the grotesque and geometric categories, humanist sans typefaces almost calligraphic, with a natural variation in line weight and open characters that enhance legibility. With less “rules” to their construction, there’s a much greater variety of letter forms – meaning it’s easier to find a typeface that projects its own unique personality upon your map, which can […]
Geometric sans serif typefaces – as their name suggests – are based on geometrical shapes, especially circles for their “o”. Many of these typefaces have their roots in the 1920s and 1930s, and often reflect the Art Deco aesthetic of that period. Of the three sans serif categories, this is my least favourite for use on transit maps. Their rigid reliance on geometry makes them a little inflexible in use, and because many of the […]
This series of posts is inspired by an anonymous poster, who requested some information on typography in transit map design. Almost without exception*, modern transit maps use sans serif typefaces for their labelling. Sans serif literally translates to English as “without [a] serif”, and denotes that the typeface does not have serifs: those little nubs at the top and bottom of characters that can help the eye follow large amounts of text. The practice of using […]
