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Judith A. Tyner. Principles of map design. New York. „The Guilford Press”, 2010

chapter 2
Map Design
Nothing is more commonplace or easier than making maps. 
Nothing is as difficult as making them fairly good. A good 
geographer is all the more rare for needing nature and art to be 
united in his training.
—J
acques
-N
icolas
B
ellin
(1744, 
quoted in Mary Pedley, The 
Commerce of Cartography, 2005)
whAt Is mAP desIgn And why does It mAtteR?
When we speak of map design there are two meanings: layout of design elements and 
planning the map. Layout involves decisions such as “Where should I place the title, 
where should the legend and scale go?”; in art, this is called composition. Design 
in the sense of planning begins before a single line is drawn and includes deciding 
what information will be included and choosing a projection, the scale, and the type 
of symbols. It is at the heart of the map creation process. In this chapter we look at 
both aspects of design. The remainder of the book will assist you in making design 
decisions.
Map users form their spatial concepts of a place, in large part, from maps, 
whether it is a neighborhood, a region, the world, or the universe; maps are used 
in decision making, as we saw in Chapter 1. The information presented on a map 
can have far-reaching consequences, a reality that places heavy responsibility on the 
mapmaker. Objective mapmakers are obligated to make maps as clear and truthful 
as possible.
At the same time there is considerable leeway for creativity in new approaches 
and techniques. Otherwise there would be no changes in map design. New technol-
ogy, whether the rise of lithographic printing in the 19th century (invented 1796) 
or the use of computers in the 20th introduced changes in designs and symbols on 
maps.
Design is a holistic process; language is a linear process. Although I can identify 

Map Design 19
certain steps that must be taken in mapmaking, they are not necessarily followed in a 
specific order, and, in fact, several may be taken simultaneously. However, I cannot, 
in a book, consider all aspects of design at once, but must break them into steps.

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