Hosted by Safe Software Wednesday, November 30, 2022 10:00am to 11:00am EST
FME Auto is a powerful add-on that connects the GIS data processing environment of FME Desktop to the cartographic design and publishing environment of MAPublisher and Adobe Illustrator. We’ll be appearing at this educational webinar hosted by Safe Software (creator of FME) about harnessing the power of this add-on to automate several of your cartographic processes. Nick Burchell from the Avenza team will be joining Hans van der Maarel from Red Geographics and Mark Ireland from Safe Software to demonstrate how FME shines as part of a high-end map production workflow. During the hour, you’ll be walked through:
An overview of MAPublisher’s extensive cartographic capabilities
An overview of FME and its basic cartographic capabilities, including the Illustrator format writer
How MAPublisher integrates FME with Adobe Illustrator directly
The power of automation to achieve faster map production
Sign up here if you are interested in learning more!
Hans van der Maarel has been a passionate cartographer for over 20 years. He works out of Zevenbergen, Netherlands where he operates his company, Red Geographics. To Hans, cartography is a passion that extends beyond the office, becoming more than just a career path. Through this passion, Hans has developed a level of expertise found only in the most dedicated of map-making professionals. As an expert MAPublisher user, Hans has been a frequent contributor to the Avenza Resources Blog. You can see some of his latest work through his Georeferencing Techniques Video tutorials released as part of Avenza’s Mapping Class blog series. To read more about Red Geographics, and see more of Hans’s work, visit redgeographics.com.
From a young age, Hans always had a keen interest in maps. His found himself drawn to old atlasses, spending hours looking at old maps, and geography was always his favourite subject in school. This interest persisted into high school, where at a job fair he found out you could actually study map-making as a career.
Continuing his studies, Hans pursued a program in Geo-Informatics at Hogeschool Utrecht (a four-year bachelor’s level course offering a mix of geodesy, GIS, and cartography). There he was introduced to various kinds of mapping and surveying, learning the techniques necessary to plan and design meaningful effective maps. During an internship at the National Spatial Planning Agency, he was first introduced to the MAPublisher plug-in for Adobe Illustrator. After graduation he started working for his local Avenza partner, doing tech support, training, consultancy, and commercial map production processes. This is also where he was introduced to Safe Software and their product for data transformation, also known as Feature Manipulation Engine (FME).
Hans developed a niche within the Dutch cartographic community that leveraged FME to prepare raw source data before using MAPublisher to visualize and create the final high-quality map products. This type of workflow, combining a mix of both FME and MAPublisher functionalities is now fully realized by the FME Auto add-on for MAPublisher.
“I was doing my first internship and was tasked to produce a poster-sized map of The Netherlands in Adobe Illustrator, but all the base data was in Shapefiles or ArcInfo coverages. Gathering base data and generalizing it was done in a traditional GIS, but getting that data into Illustrator and making a finished map required MAPublisher.”
In September 2004, Hans decided to continue on his own and founded Red Geographics. Working largely with Avenza products, two years later, he became an official Avenza partner and reseller. As his customer base expanded and more projects came in, Red Geographics developed a reputation of being “the one for the difficult projects”. Reflecting on the early years of Red Geographic’s operation, Hans mentioned some of his more memorable, fun, and eye-catching projects.
“There was the Oolaalaa Globe, a 5 ft diameter “beanbag” globe with beautiful maps printed on spandex. We received several custom orders of the globe map from other clients, including ones for Air France-KLM with the complete route networks of all their partners, and another from National Geographic Benelux and the City of Amsterdam, with a map of the city projected onto the globe.”
Also eye-catching, but for a completely different reason, were a series of simple basemaps created for Buienradar, the most popular Dutch weather website, and app. Millions of people have seen Hans’s maps when they checked the weather.
In the early years of Red Geographics, Hans became involved with the Cartotalk forum, first as an enthusiastic user, later on as a moderator, and finally an admin. Through Cartotalk, he also got involved with NACIS, the North American Cartographic Information Society. He attended their meeting in Salt Lake City in 2005 and he’s been to every meeting since. When NACIS took over Cartotalk, Hans became an ex-officio board member for several years before being formally elected a board member at large. He still serves on the board to this day and is currently in his 2nd term as secretary. Through NACIS, Hans was able to expand his network of international contacts, allowing him to contribute to several large-scale mapping and atlas projects. He created island maps that can be found in the Millennium House “Earth” atlas and more recently, several full-page maps for the 11th Edition National Geographic World Atlas released in 2019.
Building on the success of his earlier globe projects, Hans then created a new map whose design is displayed prominently on a new product called BalancePlanet, a globe-themed, fully functional yoga-ball that Hans considers a spiritual successor to the Oolaalaa globe bean bag chair.
In 2019, Hans expanded his team, adding two members to become a team of three. With more resources now available, Hans and his team can now tackle larger, more complex (mapping) projects. His team took on the momentous task of producing a nationwide 1:20,000 scale topographic base map of the entire country of Luxembourg. The finished results were used as a cartographic base for tourist maps showing hiking and cycling routes all over the country.
“The Avenza products have been a major factor in my development as a cartographer, as well as the development of my company,” says Hans. Many of his projects use a combination of FME and MAPublisher, and Hans has utilized the interoperability between these two programs to implement significant workflow automation. With a single base dataset, multiple maps can be made with the same style, and automating this process means he can produce a high volume of maps in just seconds, without needing to manually configure shared thematic elements.
“With automating some of the map production processes, I now only have to focus on the parts where my cartographic skills are most needed. MAPublisher allows me to do that. I want to find the right balance between quality and speed when it comes to producing maps, and with automating the data processes I have found just that.”
Aside from the traditional mapping products Hans has become known for, he enjoys working on smaller projects with interesting stories around them. “The maps I get the most joy out of these days are, interestingly enough, not those big ones. Over the past ten years or so I’ve been asked to produce greyscale maps for several academic publications, a lot of them focusing on the Arctic and Antarctic regions. Limited in terms of visual variables and often a need to show a lot of information on a small surface area, these kinds of maps are a very interesting challenge. One thing led to another, word-of-mouth is a great promotion tool, and we now find ourselves in the middle of producing about 30 maps for an upcoming publication by Cambridge University Press, chronicling the state of research in those areas. Wonderfully esoteric subjects which often lead me down a Wikipedia rabbit hole!”
Hans continues to use his cartography skill set to explore new ways of making maps more prominent in everyday life. Hans began introducing his colleague, Inge van Daelen, to the concepts of satellite imagery and Photoshop (using Tom Patterson’s great tutorial on how to process Landsat data). Branching off of this, they founded Blue Geographics, which originally started as a fun side-project but quickly grew into a full-fledged business. Through Blue Geographics, Hans designs and produces a range of sportswear and lifestyle items displaying beautiful satellite images derived from Landsat and Sentinel data.
“Looking ahead, I just want to make beautiful things,” says Hans, “One of my hobbies is photography, specifically cycling and cosplay. A few years ago, when I did a photoshoot with two cosplayers, I saw a sticker with that text in their workshop and it struck a chord with me. I’ve long had ‘doing awesome work for people I like’ as one of my goals and I want to keep on doing that. I also want to keep on challenging myself by trying out new techniques and new ways to map things. There’s still a lot to learn and I am very happy to know a lot of people in the cartographic community who are happy to share their knowledge and experiences.”
We are always looking for shortcuts to make work easier for our MAPublisher users. One way to simplify your workflow is by automating some of the routine tasks that are required to make maps using MAPublisher in Adobe Illustrator. Not everyone is familiar with software automation, or even knows that it’s available in MAPublisher but if you are curious to learn more, then keep reading!
Automation tools in MAPublisher help to make simple or repetitive tasks easier and faster. Automation can be run independently or in conjunction with the FME Auto MAPublisher Plug-in which allows more advanced automation. The Automation tool can be accessed from the automation button (lightning bolt) on the MAPublisher toolbar, or by clicking in the menu Object > MAPublisher > Automation.
There are several automation options available in MAPublisher. You can use automation to create MAP Grids, apply labels, apply applicable MAP Stylesheets, and even export to geospatial PDFs. An important point to note, to use automation on a MAPublisher document, the document must be active in Illustrator.
Automating Map Views
If you’re planning to use automation, you’ll have to enable the specific options you would like to automate. For example, to import data to a matching MAP View, simply enable the MAP Views option, and select from the dropdown list the tasks that you want MAPublisher to complete. Make sure that the coordinate system of data being imported matches a coordinate system of the existing MAP View, then select one of the four actions for your data.
Automating MAP Themes
If you’re a fan of MAP Stylesheets (we all know they make our lives easier) then you can have MAPublisher apply them using automation. Enable the option and MAPublisher will apply any MAP Themes that meet the criteria to the imported data. Don’t forget to set the ‘Auto-assign’ in the specific MAP Stylesheets themselves as well since you can’t link layers that haven’t been imported yet. If the ‘Auto-assign’ properties aren’t set correctly, your data will import but the stylesheet will not be applied.
Automating Grids & Graticules
For Grids & Graticules, you can set the extents for the grid bounds with either the MAP View or a layer that you’re going to import. If you’ve already created configuration files for your grid, then select either ‘All configuration files in this folder’ or ‘Only these configuration files’ if there is a need to use only certain configuration files.
Automating Labeling
When you enable labeling, choose either MAPublisher labeling or LabelPro. You’ll also have to choose a specific setting in the MAPublisher Preferences (Edit > MAPublisher Preferences > Import MAP Data). Uncheck ‘Append feature type as the suffix on imported layer names’ to be sure that your labels import properly.
To use the regular Label Features option, set the details such as the source layer, target layer, attribute, and the style. You can add as many layers as you need with the Add Layers button on the left, and remove as necessary. If you’re using LabelPro, simply load the .lps file.
Automating Export to Geospatial PDF
Last but not least, if need your document to be exported to a geospatial PDF as the last step of the automation process, enable the option and specify the location you’d like it saved in. Once you’ve selected all of your automation settings, import your data to watch your automation work!
Enabling automation in MAPublisher can speed up your map making process, and make your workflow easier. Save yourself extra steps when working with stylesheets and grids you’ve already created, and let automation do the work for you. Simple MAPublisher magic!
In this blog post we’ll look at how you can control the order of layers in MAPublisher when using FME Auto.
FME currently doesn’t provide a way to explicitly define the output order of Feature Types in a workspace. In the Navigator you can reorder Readers and Writers to control the order in which they are run, but unfortunately you cannot do the same with the Feature Types they read and write respectively.
By default when you write layers to MAPublisher from FME using FME Auto, the layers are arranged first by geometry (text first, then Points, Lines, Polygons and lastly Images), then alphabetically by layer name. This behaviour can be changed by unchecking the FME Auto Parameter “Sort Layers by Geometry”. Once this has been turned off, MAPublisher will display layers in the order they are received from FME. Using this behaviour, some FME transformers and a Feature Type fanout (or new to 2015.1, specifying the Feature Type name) we can control the order of the layers in MAPublisher for optimal cartographic output.
The first thing we want to do is to add some input Feature Types.
We will then create a template AttributeCreator Transformer to give each layer two attributes: MP_LayerName and MP_Order. MP_LayerName will define the name of the layer in MAPublisher and MP_Order will determine the order the layer is passed to MAPublisher; hence the order in which it is displayed.
Each Feature Type will be connected to a copy of the AttributeCreator Transformer and the values will be populated for that layer. The layer with an order of 1 will be on top with larger numbers descending below.
Layer Name
Order
Border
1
Graticules
2
Pacific Groupings
3
Tiny Countries
4
Coastline
5
Lakes
6
Countries
7
Rivers
8
Glaciated Areas
9
Land
10
Ocean
11
Once this is done, all the inputs can be connected to a Sorter Transformer. The Sorter will be set to numeric and ascending.
Finally, the MAPublisher writer is added. The Sort by Geometry parameter needs to be set to No and the Feature Type name should be set by the MP_LayerName attribute we created earlier. This replaces Feature Type fanouts and has slightly new behaviour at FME 2015.1. It is explained more fully (here).
Once we run the workspace, we’ll see the layers in the Adobe Illustrator Layers panel in the exact order we specified.
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.
Useful Resources
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
MAPublisher® FME Auto™ is a new add-on that connects the GIS data processing environment of FME Desktop to the cartographic design and publishing environment MAPublisher and Adobe Illustrator.
The MAPublisher FME Auto add-on was developed with Safe Software to support both FME Desktop and FFS (FME Feature Store) file format into Adobe Illustrator using MAPublisher. FME users can now effortlessly move their data from FME Desktop into the MAPublisher design environment to easily create stunning maps.
Visit our YouTube channel for more videos about the app and other Avenza products.