After a text placement engine places labels (e.g. annotations or labels) some manual adjustment is usually required. The major reason for this task is to avoid text colliding with other objects and to improve map aesthetics and composition. Here is an example map with the position of labels manually placed and adjusted. What do you usually do when updating your map and you have to update those labels?
When running a text placement engine, it is common that the placed labels (in red) do not match with the position of the existing labels (in black). Have you ever thought that it would be useful if the updated labels can be positioned in the same place as existing labels? This is definitely possible using a combination of MAPublisher features.
Workflow involved to perform this task:
- Obtain the position coordinate of existing text objects
- Create new attributes to record #MapX and #MapY of each text object insertion point
- Export the attribute table as a text file
- Transfer the deteremined coordinte values of the text objects to the MAP layer (point layer in this example)
- Join Tables using a common attribute between two tables
- Place labels for the MAP layer
- MAP LabelPro or Label Features
- Adjust the position by those determined coordinate values for the text objects
- Applying the recorded value to #MapX and #MapY
Step 1: Find the coordinates of the text insertion point from a text layer.
Every map object (point, line, area, image, and text) has a coordinate. MAPublisher calculates an insertion point when map objects are added to the artboard. For labels, a text insertion point can be seen as an anchor point or the square dot that is at the beginning of a text object. In this example, the text insertion point is placed at the lower-left corner of the word “Le Crocodile Restaurant” (highlighted in the red color in the screencapture below). The coordinate of this text insertion point is represented by the #MapX and #MapY attributes in the MAP Attribute panel. These two attributes are considered MAPublisher properties and are usually hidden. To display them, change their setting to “Visible” in the Edit Schema window as shown below.
Step 2: Record the coordinates of the text insertion point from a text layer.
Make the #MapX and #MapY coordinate values as useable attributes. Create new attributes called “TextCoord_X” and “TextCoord_Y”, then copy the values from #MapX and #MapY using Apply Expression.
Step 3: Prepare to copy coordinates of existing labels to the point layer.
The coordinate values of the text insertion coordinate of a text layer are now copied. The next step is to copy these coordinates from the text layer to the point layer. A simple method to do this is to use Join Tables based on a common attribute. In this example, the string field “RESTAURANT” is the common field in both text and point layers to make a connection. If you already have some other attributes (i.e. object ID or feature ID in both the text layer and the point layer, you should use that). Export the attributes as a text layer from the MAPublisher Attributes panel options menu.
Step 4: Join the Point layer to the exported attributes table.
Now, create a table join between the point layer table and the exported attribute table using the Join Table feature.
Below is the result from joining the tables together. There are also _MapX and _MapY columns because all visible attributes were exported. While the the step of copying attribute to TextCoord_X and TextCoord_Y was not totally be necessary, having columns named _MapX and _MapY could avoid some confusion because the point layer also has #MapX and #MapY columns. In this case, having attributes clearly indicating the values from the text insertion point is what is most important.
Step 5: Place labels with MAPublisher (inherit the attribute values from the point layer to text layer)
Now, place labels with MAPublisher using either Feature Label or MAP LabelPro. The important step here is to inherit the attributes from the point layer to the text layer (the target layer for generating new, updated labels).
When creating a new Text MAP layer, make sure that the “Base attribute schema on:” option is checked. This will allow the text layer to inherit the attributes from the point layer.
Below is the result of placing labels with MAP LabelPro (red labels). The result (in terms of the attribute structure) should be the same if labels are placed using Feature Labels. The position of new labels are not the same as the existing one. The label position can now be adjusted using the TextCoord_X and TextCoord_Y values.
Step 6: Move the text objects by adjusting the #MapX and #MapY.
As illustrated above, the text position is obtained from the text insertion point. The next step is to apply the text insertion point coordinates to the #MapX and #MapY attributes of the point layer using an expression with the Apply Expression feature or use the “Derive value from expression” option in the Edit Schema dialog box.
Apply the TextCoord_X and TextCoord_Y values to #MapX and #MapY, respectively.
The labels are now positioned in the exact same location as the existing text layer.
One of Adobe Illustrator’s powerful yet occasionally confusing features is the ability to apply fills, strokes and Graphic Styles to art at either the Object level or the Layer level. This is extremely useful because you can effectively use Layers to set up symbology templates so that any art that is drawn on a Layer inherits its appearance from that Layer. Confusion often arises when users combine art styles at both the Layer and Object levels, and cannot figure out why their map does not look how they expect it to look. Most of the examples here are going to be based around using the Appearance panel to apply strokes and fills.
Selecting Objects or Selecting Layers
The first decision you have to make is how you select your art. You can either select the layer that the art is on or directly select the art itself. This determines where the changes you make get applied. In order to select the layer, click the circle to the right of a layer name in the Layers panel. You will see that the layer is selected (also known as targeted) by the addition of another circle around the first circle.
To select all the art on a layer you can either click in the space to the right of the circle, or Alt-click the layer name.
If you expand the layer you can see that the art is targeted rather than the layer.
Whichever method you use, you will see the art on the canvas appear as selected.
Of course you can select individual art using the Selection tool or clicking to the right of the circle next to the object name in the Layer panel.
Changing Strokes and Fills
One advantage of selecting art at the layer level over selecting art directly is the access to the strokes and fills in the Appearance panel.
If you select the layer, you do not get direct access to the art’s strokes or fills, however if you select the art you do.
You can add more strokes or fills in the Appearance panel, but if you want to add strokes or fills at the layer level, they are additional to the strokes or fills that are defined at the object level. We can see this if we style the fields individually with different fills, perhaps representing different crop types. We could also add a stroke to each object, or we can add the stroke to the layer. Adding strokes or fills like this is useful when you want to ensure that all art on that layer shares the same symbology.
Directly changing the appearance of objects is reflected both in the Appearance panel and the object thumbnails in the Layers panel.
However, if you add extra strokes or fills at the layer level, these are not shown in the objects thumbnails.
One important consideration is that it is not possible to use the Appearance panel to adjust several pieces of art with different fills or strokes that are applied at the object level. For example, suppose we have changed the colours of several building outlines, and now want to change them back to black. If we select them all, we will see that the stroke option is not available in the Appearance panel, rather it says Mixed Appearances. The fill is still available to be changed as it is the same for all objects.
Altering appearances can have different results if applied to objects or layers. A good example is a street style that is created with two strokes. If this is applied at the object level, each object is considered separate and you end up with overlapping paths.
However, if this style is applied at the layer level, the paths are styled at the same time and appear to be merged.
Applying Graphic Styles
Graphic Styles are great to easily add combinations of strokes, fills and effects to art, and these can also act differently when applied to objects or layers. In the Graphic Styles panel we have a Graphic Style with null fill and stroke, but a drop shadow added. If we try to add this directly to the building art, the null fill and stroke will cause the buildings to disappear.
However we can add it to the Buildings layer and the effect is successfully combined with the object level appearance.
Resolving Appearance Confusion
As mentioned earlier, it is possible to combine object level and layer level appearances. This can get complicated if you have different objects on the same layer with different appearances as well as appearance modifications at the layer level. Trying to work out why you cannot adjust the style of your paths because you are getting Mixed Appearance in the Appearance panel can be frustrating.
The easiest method to fix this is to use the Clear appearance button in the Appearance panel. Keep in mind that this will totally remove any appearance formatting that you have applied to your layers or objects, so it is worth creating Graphic Styles of the appearances you want to retain. Just like changing appearances, this button works at both the object and layer levels.
An example of how layer and object appearances can get confused is multiple white strokes applied to different text objects in different ways. The user has created several text objects labelling fields and added strokes to them in various different ways. However, he’d like to remove the strokes from all the text now. You can see that the different labels all have black fills and white strokes, but are subtly different.
The first thing to do is check the Layers panel. We can see that the target indicator for the Field Labels layer is raised. This indicates that an appearance has been applied to this layer.
Once we click on this we can use the Appearance panel to remove it with the “Clear Appearance” button.
That has removed the stroke from the layer and one of the text objects now has no stroke, but some of them still do.
If you expand the Field Labels layer in the layers panel you will see that some of the objects on the layer also have appearances applied directly to them.
You can select these objects and use the Appearance panel to remove its strokes as well by clicking the Clear Appearance button.
This leaves us with one final label down in the bottom right corner that still has a stroke, but has not had its appearance modified via the Appearance panel.
The easiest way to remove the stroke from this object is just to make sure the stroke is in front of the fill at the bottom of the main toolbar and click on the “None” option. Now all our field labels have a simple style.
How MAPublisher works
MAPublisher styling tools all work on an object level. This is because MAPublisher has the ability to independently style objects by attributes they possess. For example you can create a new MAP Theme for the Fields layer based on an attribute called “crop”. This will style each field differently using depending upon its crop type.
Objects will be styled using standard fills and strokes, rather than using the Appearance panel.
The MAPublisher FME Auto add-on connects the analysis and processing capabilities of Safe Software’s FME Desktop with the cartographic design and publishing environment of MAPublisherand Adobe Illustrator. Since MAPublisher 9.5, it has been possible to import georeferenced raster layers as well as vector data. This adds an extra layer of power and convenience to the FME and MAPublisher integration. The ETL (Extract, Transform, Load) power of FME can be used to pre-process raster images and load them into MAPublisher where they can be overlaid with cartographically styled vector layers.
Several components are needed to load a raster from FME into Adobe Illustrator. This example uses a generic reader for the input features. It then gets the bounding box coordinates and sends them to a second workspace that connects to a Web Map Service (WMS) and downloads Toronto imagery. The information necessary to run the second workspace is stored as attributes that are passed to published parameters in the second workspace. This imagery is stored in an intermediate GeoTIFF, which is then read by the first workspace and sent to the MAPublisher writer along with the original data. The WMS source and working coordinate system are already set, but can be modified if the study area is in a different location.
Several of the key parameters for executing the workspace are exposed as published parameters to make running the workspace easier. The user can set the desired pixel size and the pixel dimensions for the WMS request are automatically calculated. The bounding box can be buffered if required to provide extra imagery around the input data.
MAPublisher MAP Themes are stored in an Adobe Illustrator file that the MAPublisher writer uses as a template. In this case, these MAP Themes are linked to the names of the layers stored in the input data. More flexible themes could be created that bases its symbology on geometry or attribute values.
The example FME workspaces, input data and template illustrator document are attached below in the useful resources section.
WMS provided by the City of Toronto here
Primary FME Workspace: Download
Secondary FME Workspace: Download
Input Data: Download
Template Illustrator Document: Download
Example completed Illustrator Document: Download
Drawing inspiration from this Safe software blog post we have developed an FME workflow that allows the user to update multiple MAPublisher templates with additional layers using two workspaces and a workspacerunner transformer.
The folder structure for the project follows one possible standard arrangement. A data folder contains the shapefile that is being added to the existing .ai files. An output folder gathers the intermediate .ffs files generated by FME that pass the data to MAPublisher. The templates folder contains the .ai files that will have the layer added to them. Finally the workspaces folder contains the two workspaces required for the transformation.
The runner workspace uses a path reader to get the filenames and paths of the .ai files. A filter is applied to make sure only files with the extension “.ai” are read. After the path reader an attribute creator adds the path for the output .ffs files as an attribute. This is dynamically calculated based on the filenames of the input .ai files.
The full paths to the template files and the paths to the output ffs files are passed as published parameters to the worker workspace. Two published parameters have been created in the worker workspace and linked to parameters in the MAPublisher writer. This allows the writer to take the values passed from the runner workspace. The worker workspace is run once for every file that is in the folder of ai files, and these published parameters update dynamically for each one.
The worker workspace has a shapefile reader that reads in the layer that is going to be added to each template. At this point multiple readers or other transformers could be added to increase the complexity of the transformation.
When the runner workspace is launched each template is opened up, the shapefile is read and added to a new MAPView in the MAPublisher document. Equally it could be added to an existing MAPView with a matching coordinate system. These documents can be left open as shown here, or with the addition of another published parameter new output .ai files could also be specified.
Creating multiple maps that share cartographic styling is a common requirement for MAPublisher users. The most effective way to accomplish this is the use of MAP Themes. MAP Themes are a collection of thematic cartography tools designed to increase productivity by automating how styles and symbols are applied. Creating a number of MAP Themes based on regularly used layers with standard attribute schemas can greatly reduce the amount of time spent styling maps.
This guide will walk through creating and setting up MAP Themes to automatically apply to the appropriate layers upon import. If done correctly, rather than seeing this:
You will see this when importing data to MAPublisher:
1. Data Source
The data used in this guide comes from the publically available CanVec+ topographic database. CanVec+ contains a comprehensive set of layers optimized for display at 1:50,000 that are perfect for topographic mapping. In fact, many of these layers are used in the construction of the CanTopo Topographic mapping series available here.
The layers you receive from the CanVec+ download service will vary depending on what features are present in the extent chosen. The Geogratis Geospatial Data Extraction tool is the most convenient method to retrieve CanVec+ data. This guide uses a selection of CanVec+ layers styled similarly to the CanTopo maps.
All vector data was downloaded in an unprojected geodetic coordinate system and projected into a UTM projection MAP View.
The map shown above contains 12 vector layers and one raster layer, but we will only discuss the styling and configuration of three layers as the process is similar for the rest. You can download the Adobe Illustrator file at the bottom of the page if you want to examine the different layers, their graphic styles and MAP Themes.
MAP Themes are the primary method for applying attribute based cartographic symbology. A powerful feature is the ability to automatically do this on layer import based on geometry type or file name. By defining one or many graphic styles and a MAP Theme for each layer the layers can be automatically styled on import.
CanVec+ themes have a consistent naming scheme that makes them especially suitable for this sort of automated styling. Because each style is always named the same, it is simple to set up the MAP Themes to automatically apply when the layers are imported. The theme names are consistent but somewhat obscure, as are some of the attribute names and values. Luckily there is a specifications document that provides a guide to the various themes, datasets and attributes that are available. A link is provided in the useful resources section below. While the style guide is helpful, it can be difficult to navigate, so it has also been translated into a more easily readable Excel spreadsheet, which also available in the useful resources.
A CanTopo symbology guide is available for download and was used to help define the styles for the different layers used in this map. A link is available in the useful resources section at the bottom. The University of Toronto also hosts an old specifications guide, but as it is almost 14 years old it should not be assumed to be accurate. If you are looking for inspiration though, it is useful.
2. Example A: Building point locations
2a. Building Point Symbol
The Graphic style for the building symbols is a black square rotated to match the value in an orientation attribute. Using the CanTopo symbology guide a correctly sized square was created and then added to the symbol library.
2b. MAP Theme
A new Point Stylesheet MAP Theme was created called Buildings. The appropriate layer “bs_2010009_0” was added to the Theme and a rule was created named “All” as it will apply to all the building point locations. The Rule Expression is set to apply the Theme to all artwork as we want all the building points to look the same.
The Visual Properties tab was used to determine how the buildings would appear. The Symbol property was set to use the Building black square symbol created and added to the Symbol library earlier. The Rotation property was set to use the “orientatio” attribute. This ensures the buildings are oriented correctly.
Finally, and most importantly for the MAP Theme automation, the Auto-assign option was set so that any layer that matches the filename of the imported shapefile would automatically be styled using this theme.
3. Example B: Contours
3a. Contours Graphic Style
Two Graphic styles were created for the contours: one for the regular contours and one for the index contours at intervals of 100m. Both are grey, with the index contours slightly thicker (although it is hard to tell in the Graphic Styles panel.)
3b. MAP Theme
A Line Stylesheet MAP Theme was created called Contours. The layer “fo_1030009_1” was assigned to the MAP Theme. Two rules were created, one for index contours and one for regular contours. For the index contours, the Advanced Rule Expression builder is used to select any contour where the elevation is a multiple of 100, and the converse for the regular contours.
The Modulo (MOD) function makes this simple. For the index contours, the expression built as: “MOD(elevation,100)=0”. For the regular contours, the expression is “MOD(elevation,100)!=0”. The != operator means not equal to.
The Modulo function will be available with a future release of MAPublisher. If you are using an earlier version of MAPublisher, the same result for index contours can be had with this expression:
If you do try and apply this MAP Theme with an earlier version of MAPublisher without changing the equations, it will not work and you will get errors.
Each rule is assigned the appropriate graphic style applied in the Visual Properties. Creating Graphic Styles in advance is much easier than trying to remember specific stroke/colour combinations and makes them re-usable.
It is worthwhile organizing them in the Graphic Styles panel and naming the Graphic Styles appropriately so you can easily remember which is which later.
The layer is then set as auto-assigned so that when it is imported in the future this MAP Theme will automatically be applied.
4. Example C: Roads
4a. Graphic Style
The Roads layer is the most complex as there are multiple different classes of roads, that are then broken down into sealed and unsealed surfaces, and can be at grade, tunnels or bridges. Several of the road classes are assigned the same Graphic Style, so each style was named after a representative road class and assigned to several MAP Theme Rules.
4b. MAP Theme
There are defined styles of roads in the CanTopo specifications, but these do not map directly to the attributes that are present in the CanVec roads dataset. There are several attributes that hold information about the composition of the road, but the ones that were used to define the MAP Theme Rules were:
- roadclass: a heirachy of road types
- structype: defines if the road is a road, a bridge or a tunnels
- pavstatus: contains information on the road surface, if it is paved or unpaved.
A Line Stylesheet Theme was created called Roads. The layer tr_1760009_1 was assigned to this Theme. Each road class has its own rule. The rule expression determine what class of road it is, if it is a bridge or a tunnel, and if it is paved or unpaved. An example of this is “Arterial: Paved: Bridge” with the expression:
roadclass=3 AND pavstatus=1 AND (structype =1 OR structype =2 OR structype =3 OR structype =4)
which simply says select art that is an Arterial Road (roadclass=3) is paved (pavstatus=1) and one of four different types of bridge (structype 1 through 4).
As in previous examples, each rule is assigned a Graphic Style in the Visual Properties tab.
The layer is set to auto apply on import.
Once rules are created and applied to all the imported layers the end result looks like this:
In addition to vector data, the GeoGratis portal has raster terrain data available for download. There are digital elevation models, digital surface models, and a variety of derived products such as slope and aspect. For this map we downloaded a hillshade and adjusted the opacity so it would blend with the map style. The forest cover layer and the built up areas layer also had their blending modes adjusted so the hillshade would show through.
The hillshade was downloaded in an unprojected geodetic coordinate system and Geographic Imager was used to transform it into the UTM projection used for this map.
6. Final words
In order for the defined MAP Themes to be automatically applied to any imported data, the imported layer filenames must match those defined in the MAP Theme Rules as discussed above. If you would like to try it out with your own CanVec data extract, do the following:
- Download the “Canvec_Data_Themes.ai” file linked below for the version of Illustrator you are using. Have a look at the data structure, layer names and MAP View properties of this document.
- Also download the appropriate “Canvec_Data_Themes_Empty.ai” file to use as a template.
- Download an extract of CanVec data as shapefiles.
- Use the Advanced Import functionality to import the shapefiles into the empty document. Reproject the map if desired.
- The imported data have the styles applied automatically. However, you will probably have a few layers that have no style. Use the methods detailed above to create new styles for those layers.
7. Useful resources
CanVec Demo. (Created with MAPublisher 9.5.3, AI CC2014) – File Download
CanVec Demo – No Layers. (Created with MAPublisher 9.5.3, AI CC2014) – File Download
CanVec Demo. (Created with MAPublisher 9.5.3, AI CS6) – File Download
CanVec Demo – No Layers. (Created with MAPublisher 9.5.3, AI CS6) – File Download
CanVec Style Guide for Adobe Illustrator – File Download
CanVec Feature Catalog
CanVec feature Catalog Spreadsheet (Unofficial, non-maintained. For information only.) – File Download
University of Toronto Topographic Cartographic Symbols Archive
Ever have the problem that you want to make a map and you are waiting on the final extent or scale, but you want to get started adding data and working on the layout? Here are a couple of tips to make your life easier.
1. Move artboards around without moving your data
Geographic features in Adobe Illustrator are generally referenced to a known coordinate system. This coordinate system is mapped to Adobe Illustrator’s “Global Coordinate System” which has its origin at the top-left corner of the first artboard in a document. What this implies is that artboards can be moved around within this reference system in order to show different geographic data on the page. However, by default, moving an artboard moves any art that overlaps it as well. Obviously moving any referenced data around is going to ruin its spatial accuracy so this is something we want to avoid. Luckily there are two ways of doing this.
The first is to select the Artboard tool and click the Move/Copy artwork with artboard button to the right of the artboard name in the control panel above the document window.
With this option turned off, you are free to move the artboard around without disturbing any of the geographic data.
There is one downside to this though: you may have map elements such as titles, legends, grids, masks etc. that you want to stay locked in place on the artboard while you move it around the geographic data. The easiest way to do this is to simply lock any layers that contain geographic features, unlock the map elements, and activate the Move/Copy art with artboard option.
When the artboard is repositioned, your data will stay in the correct geographic location and your map elements will move with the artboard, keeping the same relative position.
2. Set up a clipping mask in conjunction with a grid
The previous example used a white polygon with a hole in the middle as a mask to provide whitespace around the edge of the map. Another way to achieve this is to use a clipping mask to hide geographic features outside the extent of the mask. This works well by itself, or when combined with a grid or graticule layer.
We have taken the previous example, deleted the mask and adjusted the colour of the background polygons slightly. We have also added an AOI polygon that will serve as the clipping mask extent.
To create a clipping mask, the first thing we’ll make a new layer called Clipped. Make sure that it is a non-MAP layer (verify this in the MAP View panel).
Next, drag both the AOI layer and layers that contain geographic data into the Clipped layer making sure that the AOI rectangle is above the layer holding the geographic features.
Now if we select the Clipped layer and click on the Make/Release Clipping Mask button (Second from the left at the bottom of the panel) we should see the AOI rectangle become invisible and the MAP layer is visible within the extent of this path.
We can now add a grid over the top of the clipped area using the Grids & Graticules tool. You will find that the default extent of the grid is the same as the spatial data. You will need to resize the grid to match the clipping mask.
If you want to change the spatial extent of the map you have to adjust both the clipping polygon and the grid. It would be nice to group them and resize it together, but Adobe Illustrator doesn’t allow groups to span multiple layers. One way around this is to use a saved selection. To do this, select the clipping mask and the MAPublisher Grids, then choose Select | Save Selection. Give the selection a name like Grids and Clipping Mask.
Now if you need to adjust the spatial extent of the map you can quickly choose the saved selection and resize the clipping mask and grid or move them both around the artboard simultaneously.
Have you ever imported data that doesn’t quite line up how you’d expect? It may be that you’ve fallen victim to a common workflow error when importing GIS data. Some file types such as CSV can be used for GIS data but don’t contain coordinate system information. When you are importing data from this format, you first have to define the correct coordinate system.
In this example, we’re going to look at the common mistakes people make and how to avoid them. We’ll start with a world map in the Robinson projection.
We have a CSV file containing points for large cities that we’d like to add to the map. We know from our data source that the CSV uses the WGS84 coordinate system. After selecting the file for import, the MAPublisher Import dialog box helpfully notifies us that some required settings are missing. We’ll click the blue ‘Required settings are missing’ link to continue.
Setting up the import, the coordinate column settings are easy since we have an X_COLUMN and a Y_COLUMN, but we can’t forget to check that the format is correct. The default is Projected units, but we know the file uses WGS84, and can tell by the numbers in the column that the coordinates are in decimal degrees, so we’ll change the format to reflect this information and click OK.
Back at the import window, we see the message ‘Data loaded successfully’. Great! Let’s click OK and add the large cities to the map.
The data has been imported but the result isn’t what we expected. The new layer has been added to a new MAP View, so let’s try dragging it into the Robinson MAP View with the world map.
We get a prompt saying that there isn’t any coordinate system information. We want it to be in Robinson like the rest of the map so we’re going to leave the default setting of Same as: Robinson.
The data has moved, but it still doesn’t look like we were expecting. Where did we go wrong here?
There are actually two places in the workflow where we could have avoided this common mistake. When we dragged the point layer into the Robinson MAP View, the pop-up dialog box prompted that a coordinate system wasn’t specified. We specified Same as: Robinson, thinking this was the correct choice, but we had already determined during import that the CSV was in WGS84. What we should have done here was to specify the coordinate system as WGS84.
The other place where we could have avoided this error was right after setting up the CSV file for import. In MAPublisher 9.4, there’s a new button on the Import dialog box that allows you to see more detailed information about files being imported. By clicking the Advanced button in the Import dialog box, we would have noticed that there was no coordinate system specified.
Even here, it might have been tempting to choose Same as: Robinson to add it to the Robinson MAP View, but this would import the points exactly the same as before – all in one location in the middle of the map. Instead, what we want to do is click the blue ‘No Coordinate System Specified’ link and choose WGS84. After this is set up, we’ll click OK to add the data to the map.
The data still isn’t quite right – it looks the same as when we first imported it. But again we notice that it has been imported into a new MAP View, so we’re going to drag the layer into the Robinson MAP View and see what happens.
Perfect! By assigning the correct coordinate system to the data during import, the points have been imported correctly!
Mistakes during data import are common amongst GIS users, especially those who are just starting out. In the first scenario, when we imported the CSV and added the data directly to the Robinson MAP View, we thought we were telling MAPublisher that we’d like it to match up with the map. What we really did was tell MAPublisher that the data was already in the Robinson projection, even though we knew it was in WGS84. What we should have done first was to define the projection by telling MAPublisher what coordinate system the data is already using. Once MAPublisher knows what system the data is starting in, we can then ask it to project or transform the data into the coordinate system that we’d like to use.
When working with data that doesn’t have coordinate systems already defined, it is very important to follow the workflow in the correct order to avoid frustration when the data doesn’t line up as expected. Always check your sources when using data that isn’t defined, and make sure you’re assigning the correct coordinate system before performing any transformations or projections.
Do you have pictures and images you want to insert as an attribute in MAPublisher?
MAPublisher 9.4 introduces a new data type called Image. To work with the Image data type, you’ll have to take a look in the MAP Attributes panel. The Image data type can be used in the same way as the other data types in the MAP Attributes panel. Use the Edit Schema dialog box to edit or create the Image data type as an attribute.
For this example, we have a point layer called “Point of Interests”. Let’s create a new attribute column with Image data type called “Picture”.
We added a fourth attribute to this point layer (existing attributes were PlaceName, Note, and PhoneNumber).
Let’s insert an image into the attribute cell. Click the “No image…” hyperlink in the attribute cell. It will open the Edit Picture dialog box. Click to browse for an image to add to the attribute cell. Once the image is added, a preview of the image will be visible in the Edit Picture dialog box.
There are other controls in this dialog box.
|Select and insert an image to the attribute cell. Use this button to replace the existing image to something else. You can insert jpg or png file.|
|Export image as jpg or png|
|Remove image from the attribute cell|
|Navigation control – zoom to fit|
|Navigation control – zoom to actual size|
|Navigation control – zoom in|
|Navigation control – zoom out|
|Change the name of the image|
After clicking OK, the image will be listed in the attribute cell. The cell shows the file name of the image (it will be the file name of the image by default but you can change the name of the image to anything else). Also, hovering the mouse pointer over the image name in the attribute cell will show a quick preview of it.
The Image attribute type also supports images exported from PDF Maps (in KML format) and images exported to Google (in KML format).
In MAPublisher, the grid bound is the visual extent of the grid or graticule. The grid constraint is the geographic extent of the grid or graticule. It may be a little confusing since both grid bound and grid constraint are defined by coordinate values. In terms of hierarchy, think of the grid bound as the overall container of the grid and the constraint as being contained within the bound.
These examples may help you better understand it.
1. In this example, the grid bounds are specified as the lower-left and upper-right of the artboard corners. Notice that the graticule extends all the way to the edge of the artboard (as specified). This is a very typical way to use a grid or graticule.
2. Here, the grid bounds are still the lower-left and upper-right of the artboard. The grid constraint is based on the minimum and maximum longitude and latitude values of the specified MAP Locations. Notice that the rectangular black border of the grid bound is at the edge of the artboard. This is also a common way to use a grid or graticule, especially for larger scale maps.
3. In this example, the grid constraints were disabled and, instead, the two MAP Locations are used to define the grid bounds. Notice that the rectangular black border of the grid bound is defined by two MAP Locations.
4. When both grid bound and grid constraint are set to the same coordinates (in this case, MAP Locations) you can see the result here. The grid bounds are clipping the grid constraints. This would not be an ideal situation to use grid constraints, but it is definitely possible to use it in this fashion.
MAPublisher Grids & Graticules are highly customizable and we’ll be blogging more about its features.