Aesthetics >> Publications

Abstract: The contribution is a tribute to Czech Univ. Prof. Karel Kuchař and reminds us of the 35th anniversary, counted from his last public lecture named Aesthetics of Map Production. Unfortunately, Prof. Kuchař was not able to elaborate the issue of aesthetic aspects of cartographic production in further detail. The aim of this contribution is to categorize and summarize this knowledge. The first part mentions the traditional, and we can also say never-ending, discussion on cartography and early maps being a form of art. It is followed by a summary of aesthetic aspects of (not only) early maps (map format, sheet composition, use of space, shapes of map fields and structure of outlines, form of compositional elements, map contents, cartographic language, thematic cartography methods, use of colour and font in maps, author’s style and handwriting). Finally, several pieces of evidence are offered confirming that “early maps” and “computer map production” are not incompatible.

Keywords: aesthetics, early maps, Univ. Prof. Karel Kuchař

Abstract: Colour is considered a key means of expression for use in cartographic works. This is because colours and the relations among them influence not only the aesthetic impression a map creates but also its overall utility. In addition to Newton’s spectral colour theory, today theories with origins in artistic technique are gaining ground in cartography. This article introduces J. Itten’s colour theory (first published in 1961 in The Art of Colour [Kunst der Farbe]) with special attention given to his concept of seven colour contrasts. The article also discusses the suitability and unsuitability of their application in practical cartography, and it contributes original examples employing thematic maps, a discipline with broad possibilities for the application of these inventive methods by today’s mapmakers.

Keywords: colour in cartography, colour contrast, colour theory, Johannes Itten, thematic maps

Abstract: The article tries to answer the question of whether the current trend to label a map primarily as a carrier of (spatial) information does not reduce the map itself and its functions. It is based on the concept of cartography, relatively less known in the Czech and Slovak environment, of a Scottish cartographer John Stanley Keates (1925–1999). He introduced his concept of cartography, particularly in his pivotal publication, Understanding Maps. In principle, Keates does not contradict the theory of information, but at the same time however, he states that this theory to describe a map and its functions is just not enough. In his opinion, a map, as an artefact of human activity, can be seen now in several modes. As visual information, a symbolic representation, means of communication, artistic work and a product of human skill. Most of these modes use similar constructs, on one side, is the cartographer, or the creator of the map, the map is a specific mediator and the map user is on the other side. These modes, however, differ in their basic philosophy. There is alternation of visuality, semiotics, linguistics, aesthetics and technology. J. S. Keates when trying to summarize his lifelong research of cartographic production came to the conclusion that he had never paid attention primarily to communication, but above all to the representation of objects and phenomena. He believed that the product must be not only informationally effective but also aesthetically attractive.

Keywords: conception of cartography, John Stanley Keates, cartographic information, theory of cartographic communication, art and cartography, culture, society

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Abstract: Application and results of the methodology of cartographic works test evaluation from the esthetical and users helpfulness point of view. Methodology was tested on current Czech tourist and cycling maps. Except for test evaluation field examination was used among users; the marketability of single map series was also taken into account.

Keywords: assessment of cartographic works, user-friendliness, aesthetics in cartography, evaluation criteria, tourist maps

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Abstract: In those times when cartography did not make use of automated reproduction techniques cartographic products were considered works of art. Each cartographic work was original and their authors were rightfully referred to as ‘artists’. Due to letterpress and other automated techniques (which lead to the transition from traditional to computer-aided cartography) cartographic production abandoned the artistic dimension and has become a special-purpose activity. Moreover, cartographers were less and less independent as they had to conform to established norms. The status of these norms is much more long-term than that of norms followed e.g. in the area of fine art. Therefore, present-day aesthetics rightfully classifies cartographic production as the so called the non-artistic aesthetic. Creativity of authors themselves may seem to be closely connected with these facts. Our purpose is to disprove this hypothesis and point out various possibilities of creative expression in present-day cartography. There is no doubt that the ability to look for and discover such possibilities, is of high importance. Some of the possibilities can be found in applying artistic styles to cartographic styles, e.g. abstraction, fiction, imagination, etc.

Keywords: creativity, creative expression, cartographer, cartographic production, individual style of an author, aesthetics

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Abstract: Tak jako v mnoha jiných činnostech člověka, tak i v kartografii tvůrce často hledá možnosti, jimiž by dílo inovoval, případně hledá možnosti, jak uvést na trh dílo zcela nové. Paradoxem je, že uživatel na jedné straně touží po něčem novém, ovšem na druhé straně by dostal rád něco, co už zná a na co je zvyklý. Někdo upřednostňuje spíše tradici, jiný spíše inovaci. Nezřídka se také tvůrci stává, že při hledání něčeho nového dochází ať už vědomě či nevědomě k tradičnímu a osvědčenému. Vedle toho se nabízí i některé další otázky: Kde jsou hranice mezi novým a tradičním? Jaký je rozdíl mezi aktualizací a inovací kartografického díla? Jak se inovace projevuje a jaké dává možnosti? Jakou roli hraje v dnešní době autorský styl? To všechno jsou otázky, na něž se příspěvek pokouší najít odpověď. Příspěvek přitom vychází z poznatků estetiky, teorie umění, čímž umožňuje do jisté míry porovnat rozdíl mezi inovací v umění a v kartografii. Pokouší se i o stručný výklad pojmů souvisejících s touto problematikou: princip ozvláštnění, záměrnost vs. nezáměrnost, opakování a serialita, faktor rytmu, klišé, kýč nebo originalita vs. stereotyp.

Keywords: inovace a tradice, ozvláštnění, klišé,aktualizace mapového obsahu,srovnání umělecké a kartografické tvorby, autorský a vydavatelský styl

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Abstract: Od té doby, co jsou prováděna hodnocení kartografických děl, naráží jejich autoři na problém, jak objektivizovat a konkretizovat tu jeho část, která se zabývá otázkou estetiky. Je nasnadě, že tento druh hodnocení je natolik specifickým fenoménem, že si zaslouží svůj vlastní postup. Příspěvek naznačuje možnosti, které takové hodnocení má, a navrhuje jeden z jeho možných postupů.

Keywords: hodnocení kartografických děl, uživatelská vstřícnost, estetika, kritéria hodnocení

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Abstract: V současné době se stále méně daří překonávat jednostrannost plynoucí z účelové orientace a specializace člověka. Tvůrci opakovaně přehlíží hodnoty, které mohou patřit mezi důležité potřeby uživatele. Ne jinak je tomu v kartografii. Kartografické produkty často ztrácejí přiměřenost uživatelským, tedy lidským potřebám, a celkový lidský rozměr. Tuto tzv. uživatelskou vstřícnost kartografických produktů do značné míry ovlivňuje i estetika, která se přes svou doprovodnou funkci v díle podílí na motivaci lidského jednání. Estetika je nezřídka redukována na vkus člověka, na hodnocení jevů z hlediska jejich krásy či ošklivosti, na to, zda vyvolávají v člověku libost, nebo nelibost. Není důvodem toho, že je estetika vnímána jako vágní subjektivní disciplína, spíše neznalost problematiky estetiky a jejích metod? Cílem příspěvku je upozornit na roli estetické funkce produktu jak ve vztahu k uživateli, tak ve vztahu k tvůrci, tedy kartografovi. Hledá propojení estetiky a kartografie jako dvou vědních disciplín, rozebírá estetické hodnocení jako samostatný proces, pokouší se o vysvětlení rozdílu mezi uživatelskou vstřícností a estetickým ideálem, naznačuje cestu hodnocení v praxi při aplikaci poznatků z estetiky. Autor chce také upozornit na mnohostranné a bohaté možnosti vztahu člověka ke světu a otevřít debatu o výchově tzv. kartografického vkusu.

Keywords: hodnocení kartografických děl, estetika, funkce kartografického díla, omyly kartografie, uživatelská vstřícnost, vztah díla k uživateli, kartografická výchova

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Abstract: The contribution provides an overview of the ways colour is used in cartographic visualizations and how it affect S perception of these visualizations. Colour is generally considered as the most important graphic variable for expressink spatial information in cartographic visualizations. Through appropriate use of colours, the content of a map can be significantly accentuated, which enhances its legibility and comprehensibility profoundly. Appropriate use of colours is a very irnportant factor in many cartographic applications, such as emergency management tools, in whch cartographic visualization helps to transfer the required information effectively. A well-chosen colour scheme with appropriate contrasts is the best way to depict the overall character of an area or a phenomenon. The present paper describes the most significant approaches to colour use in cartography, which can be of immense help when communicating information to map users.

Abstract: The theory of creativity in contemporary cartography was described by author in the article entitled “Creativity in current cartography” (Bláha 2008) as part of the symposium “Art and Cartography” (Vienna, February 2008). This contribution builds on the theory and delivers a practical demonstration of how an author can promote creativity within cartographic practice. Selected cartographic output from “Prehistory of the genus Homo” with the subtitle “who we are, where we are, where we are going” is presented within the poster. This is a unique publication, whose text originated nearly 20 years ago. The Czech cultural anthropologist Václav Soukup connects his knowledge of several disciplines in it, but also an extremely rich amount of visual images including maps. The publication is authored by domestic and foreign representatives of other professions: painters, graphic designers, photographers – and a cartographer. Although published in the Czech language, even those who have not mastered the Czech language will certainly be happy to become familiar with the publication, too, thanks to its plentiful visual images. A big positive is that an English language version of this publication is going to be published in the future. Due to the high number of co-authors, some unification of style was needed, which would form a compact unit of a book with over a thousand pages. The author’s requirement stated: to create where possible accurate, but stylistically fresh maps evoking oil paintings. Right now oil paintings are in fact being used within the reconstruction of the various stages of human development, including activities and the environment that surrounded humans. The bases of the maps were created within ArcGIS for Desktop including the exact location of archaeological sites based on aerial photographs, available U.S. topographic maps and GPS coordinates. Within the geodatabase, data from the freely available reference data layers of Natural Earth (mainly watercourses, land, establishments) was used. Old land from the period of glacial ages was created on the basis of older analogue maps. The base of the map is colour-modified digital terrain model (DTM). Subsequently, DTM (ocean bottom and land) was converted to raster format and graphically modified using art techniques in Adobe Photoshop. Vector data, including a description of objects was further modified in CorelDRAW. Map finalization was done in Adobe InDesign. This example of cartographic practice refers to some other problems which cartography will have to deal with now and in the near future. They are a) the need for cooperation with a number of other professions when collaborating on larger or smaller projects, during which you need to consider the fact that the requirements of authors are in conflict with the classical conception of maps created in GIS, b) increasing cartographers’ graphic competency, c) cartographer practice other than purely cartographic production, because self-published cartographic products will continue to be a negligible percentage of the production of maps.

Abstract: Effort to define the world around us lead people to the fact that all the things and people around them get the names. There are any amount of definitions of basic artefact activity of cartographer, i. e. the map. In this context, it is interesting that in the present increasingly come in definitions, which see the map primarily as a carrier of spatial information. Its share of that has, among others, information theory by C. E. Shannon (1949), who pioneered computer science as a distinct field of human activity. Just the information theory has influence through geoinformatics on present map creation. However, this begs the question whether the trend define the map primarily as carrier of (spatial) information does not reduce the map itself and its functions? Indeed, is the model of information theory, applied in cartography, able to describe the general characteristics of the map and its functions? At this point, there is a concept of cartography by Scottish cartographer John Stanley Keates (1925–1999). Keates presented his conception of cartography especially in his key text, Understanding Maps (first published in 1982, the second released in expanded form in 1996). In principle, Keates is not in conflict with the information theory, but he also claim that this theory to describe the maps and its function is simply not enough. According to him, on the map as an artefact of human activity can be seen now in several modes. As the visual information, a symbolic representation, a communication, an artistic work and product of skill. Most of these modes using similar constructs, in which a cartographer/mapmaker is on the one side, the map is a specific mediator and the map user is on the other side. These modes, however, differ in their basic philosophy. Alternate with the visuality, semiotics, linguistics, aesthetics and technology. When J. S. Keates trying to sum up his lifelong research of cartographic creation came to the conclusion that he never paid primarily communication, but also a representation of the objects and phenomena. According to him, the product must be not only informative effective but also aesthetically attractive. And how we understand maps?

Keywords: J. S. Keates; Understanding maps; conception of cartography

Abstract: The poster presents maps of students of the Faculty of Science (Charles University in Prague) which emerged in the course “Thematic Cartography”. Instructions were as follows: 1st possibility: compose a map in a known artistic style, 2nd possibility: compose a map using a known artistic technique, 3rd possibility: compose the map in a completely original way. Imagination and creativity are not limited, but you have to respect the basic rules of cartography.

Keywords: students’ work, creative expression, art & cartography, aesthetics & cartography

Abstract: To create valuable output, people must learn from mistakes, learn to evaluate the results of their work and, thus, not to repeat their mistakes. There are many ways of assessing products arising from human activity, i.e. cartographic works as well. Verbal assessment (reviews, references) is the most common one. It usually includes the list of positive and negative aspects of the product, or a multi-criterion assessment containing a system of value parameters of the work, usually numerical. This assessment is usually done by more or less experienced experts. What does the user think, though? It is desirable to find an adequate way of assessment assisted by the user. It is the user who is the ultimate recipient of the product. Apart from standard sociological approach using questionnaires, surveys or managed interviews, there are possibilities with high independence potential in the area of potential semantic differences in the researcher´s and the respondent´s perception. These are represented by various tasks given to individuals or groups concerning cartographic works or an analysis of user mental maps based on the users’ experience with cartographic works.

Keywords: assessment of cartographic works, viewpoints of assessment, methods in assessment, map quality, user-friendliness

Abstract: The first part mentions the traditional, and we can also say never-ending, discussion on cartography and early maps being a form of art (expert specialization, mastery in map production and freedom of creation, evolution of cartographic language, more accurate mapping, evolution of reproductive techniques and technologies in general, J. B. Krygier’s polemic on the dualism of science × art in cartography, establishment of the ICA Working Group called Art and Cartography). It is followed by a summary of aesthetic aspects of (not only) early maps (map format, sheet composition, use of space, shapes of map fields and structure of outlines, form of compositional elements, map contents, cartographic language, thematic cartography methods, use of colour and font in maps, author’s style and handwriting). Finally, several pieces of evidence are offered confirming that “early maps” and “computer map production” are not incompatible. We can find such examples, among others, in Bachelor Theses dealing with artistic techniques used in current cartographic products for the public and with maps of fictitious worlds using similar means of expression as early maps.

Keywords: early maps, art in maps, aesthetics, Karel Kuchař

Abstract: In those times when cartography did not make use of automated reproduction techniques cartographic products were considered works of art. Each cartographic work was original and their authors were rightfully referred to as ‘artists’. Due to letterpress and other automated techniques (which lead to the transition from traditional to computer-aided cartography) cartographic production abandoned the artistic dimension and has become a special-purpose activity. Therefore, present-day aesthetics rightfully classifies cartographic production as the so called the non-artistic aesthetic. Creativity of authors themselves may seem to be closely connected with these facts. Our purpose is to disprove this hypothesis and point out various possibilities of creative expression in present-day cartography. There is no doubt that the ability to look for and discover such possibilities, is of high importance. Some of the possibilities can be found in applying artistic styles to cartographic styles, e.g. abstraction, fiction, imagination, etc.

Keywords: creativity, creative expression, cartographer, cartographic production, individual style of an author, aesthetics

Abstract: Evaluation of present-day road books was conducted as a part of assessment of cartographic works. This assessment is conducted using aesthetic and user-friendliness criteria and is part of a larger project financed by the Grant Agency of the Charles University (GA UK no. 249/2006/B-GEO/PrF) called "Application of Aesthetics in Visualization Methods of Cartography". The road books were evaluated by a combined method of evaluation criteria and field research among users which took place in November 2007 at selected petrol stations in the Central Bohemian Region, Czech Republic. The users´ opinions and evaluations were collected via questionnaires and conducted interviews. The paper presents results of the field research and the evaluation of criteria. The evaluation was performed by a four-member team of geography and cartography students, with the help of methodological instructions of the author.

Keywords: assessment of cartographic works, road books, aesthetics, user-friendliness, field research

Abstract: Rock representation in maps belongs to the traditional problems in classical cartography. There is a gap in this field in digital cartography. Possibilities for rock representations using digital cartography means mainly in large- and middle-scaled maps are discussed in this article. Several ways to represent the rock formations on contemporary digital maps are described together with their limitations and relation to techniques used in the classical cartography. Problem is also seen from other points of view: availability of geographical data in the Czech Republic, possibilities for automatic processing and aesthetics and user-friendliness.

Keywords: visualization of hypsography, cliff drawing, rock formations, digital cartography

Abstract: Problematika sjednocení vizualizace a popisu výškových bodů, resp. kót, je do jisté míry opomíjena a metod pro vizualizaci je téměř přesně toliko, kolik je na trhu atlasů, potažmo map. V české odborné literatuře chybí diskuze, která by vyřešila toto vakuum a která by vnesla do problému více pravidel a odstranila nepřesnosti. Příspěvek se zabývá vývojem pojmů kóta a výškový bod, jejich vzájemným vztahem a jejich (možnou) vizualizací na mapách a v atlasech českých i zahraničních. Na vizuální stránku problému je nahlíženo z pohledu kartografické tvorby, estetiky a uživatelské vstřícnosti.

Keywords: vizulizace, kóta, atlasy, uživatelská vstřícnost, estetika

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Abstract: V roce 2004 dvě známá česká kartografická nakladatelství (Kartografie Praha, a. s. a SHOCart, spol. s r.o.) vydala Školní atlas světa. Po představení autorů příspěvek s pomocí systému hodnoticích kritérií analyzuje a hodnotí tyto dva atlasy z hlediska estetiky a uživatelské vstřícnosti. Vzhledem ke svému charakteru je hodnocení podpořeno průzkumem mezi uživateli (žáky ZŠ a SŠ).

Keywords: školní atlasy světa, hodnocení kartografických děl, estetika v kartografii, uživatelská vstřícnost

Abstract: Barva je neodmyslitelnou součástí života lidí a má v něm rozličné funkce. Ne jinak je tomu v kartografii. K efektivnímu využívání barvy v kartografické tvorby je třeba správně a především plně pochopit pojem „vyjadřovací prostředek“, s nímž je barva spojována. Vyjadřovací prostředky lze přirovnat k specifickému druhu písma, k autorskému rukopisu jako prostředku sebevyjádření autora; slouží i k co nejvěrnějšímu popisu reality. Ve všech těchto pojetích má barva svou důležitou úlohu. Srovnáme-li funkce barvy v kartografii a ve výtvarném umění, najdeme poměrně velké množství styčných bodů. V kartografii se barva uplatňuje na pozici nosiče informace, ale má i značný vliv na celkové estetické působení a uživatelskou vstřícnost díla. Ve výtvarném umění je využívána k věcné charakterizaci, k znázornění emotivního, asociativního a symbolického významu, a konečně je sama o sobě výtvarnou hodnotou. Co se vývoje uplatnění barvy v dílech týče, ve výtvarném umění existují epochy dominance a naopak podřízenosti barvy. Kartografie dlouhý čas vývoj výtvarného umění kopírovala, odloučení nastalo s rozvojem reprodukčních technik. V posledních staletích je používání barvy v kartografii úzce svázáno s tiskařskými možnostmi. Pro to, aby barva našla své uplatnění jako nosič kartografické informace, je důležité plnohodnotně využít jejích funkcí. Zefektivnění může napomoci znalost vztahů barev, jelikož barva není v kartografickém díle nikdy přítomna izolovaně, navíc není zelená jako zelená. Příkladem může být sedm kontrastů Johannese Ittena: contrast of saturation, contrast of light and dark, contrast of extension, contrast of complements, simultaneous contrast, contrast of hue and contrast of warm and cool. Ukazuje se, že oblast výtvarného umění a designu může být pro kartografii zdrojem cenných informací a poznatků.

Keywords: kartografické vyjadřovací prostředky, teorie barvy, funkce barvy, vztahy barev, uživatelská vstřícnost, kartografická informace

Abstract: Problematika objektivizace hodnocení kartografických děl není nijak nová. Mluví-li se o hodnocení z hlediska estetiky a uživatelské vstřícnosti, je objektivizace, resp. kvantifikace jedním z klíčových úkolů během takového hodnocení. V první části příspěvku je položena otázka, zda je objektivizace takového hodnocení vůbec možná. Při té příležitosti autor naráží na otázku tzv. redukce reality, na níž se obecně váže otázka tvorby vzorků, dotazů a stanovování hodnoticích kritérií. Hlavním cílem příspěvku je však seznámení kartografické veřejnosti s metodami a postupy používanými v sociologii a psychologii (např. pozorování, rozhovor, dotazník, v rámci tzv. škálování potom metoda párového srovnávání nebo metoda sémantického diferenciálu).

Keywords: hodnocení kartografických děl, estetika, objektivizace a kvantifikace hodnocení, sociologický výzkum, psychologické škálování

Abstract: Geografická knihovna PřF UK pořádá ve spolupráci s katedrou aplikované geoinformatiky a kartografie od 6. 5. 2008 do 3. 6. 2008 výstavu Podoby současné kartografie s podtitulem z tvorby studentů geografie a kartografie. Budou představeny originální návrhy map mladých kartografů. Díla jsou zajímavá především originálním netradičním pojetím. Více o výstavě v sekci "estetika" => výstava