Although clearly based on the H.C. Beck diagram of the period (which was only five years old at the time), this diagram was created and printed entirely without Beck’s knowledge. Although the work is unsigned, it is now known that this map was designed by Hans Schleger – perhaps better known by his pseudonym “Zéró” – who had already created a number of memorable posters for London Transport.

Beck was furious, and he wasted no time in letting London Transport know exactly what he thought:

I have just happened to see a proof of a new Underground folder. The “H.C. Beck” diagram has been used, but with considerable and, I suggest, undesirable, alternations by another artist – one not on the staff – without reference to me.

The idea of redesigning the old geographical Underground map in diagram form was conceived by me in 1931; the original diagram, published in 1932 [sic: 1933] was of my own invention and design. Every variation of it since has been either made by me or by the lithographer under my supervision.

When I recently signed a form assigning the copyright of this design to the Board, it was not merely understood, but was promised, that I should continue to make, or edit and direct, any alterations that might have to be made to the design. This practice has been followed without exception since 1932.

I wish therefore to place on record my protest against the action taken in the present instance.

London Transport’s Publicity Officer, Christian Barman, managed to placate Beck, telling him that the new map was meant as an experiment in background shading only, and that “neither Mr. Patmore nor myself quite realised how far [the artist] had gone before we saw a proof.” His response, however, stopped short of assuring Beck that all future amendments to the map would be assigned to him…

As for the map itself, Beck’s assessment is pretty much spot on: the alterations are mostly undesirable. The graduated blue background – meant to highlight the central part of the map – is distracting and interferes with the legibility of type, especially when they are set in green type. The reversal of the Thames from white to blue where it cuts through this prototypical Zone 1 is also very visually distracting. 

However, the use of a single circle for interchange stations is actually far simpler than what Beck was using at the time – many stations had two circles, and Hammersmith used three! Beck would experiment with linked “Olympic Ring” circles and other arrangements before setting on the now familiar and ubiquitous “barbell” connector in 1946.

Also of note is the depiction of planned extensions to the Northern Line  that were never completed due to the outbreak of World War II.

Our rating: An evolutionary dead end in the development of the Tube Map, but also the first indication that Beck’s position as the map’s guardian wasn’t as solid as he liked to think. Three stars.

Source: bananastrudel on Etsy