Graphic Fix: Change Background Color of Text Box in Illustrator

Problem: My Kentucky Ave label overlaps with objects below it, resulting in a cluttered appearance. Turns out, there is a super easy fix for something like this!

1.Create the Area Text (text box).
2. Select the Area Text with the Direct Selection Tool (white arrow). 
3. In the Appearance panel select desired background fill color and adjust Transparency to your heart’s content.  Your labels should now look like the Western Ave label on the picture. 
4. With the text frame selected, drag and drop the new Fill onto the Graphic Styles panel to re-use it later. 

——

Transit Maps says:

This is a great tip for people who use Area Text in Illustrator — that is, dragging out a text box for type to fit into, rather than just clicking once to use Point Type. The crux of this tip is using the Direct Selection tool to select the text frame only, otherwise Illustrator wants to apply the fill to the type contained within it. Silly old Illustrator!

If you’re like me, and you don’t like to use the Area Type tool, you can always position a new frame beneath your type and apply the required fill/transparency to that instead.

An alternative way to separate your type from an object that it overlaps would be to apply a stroke to your text, which I covered in this post back in November.

Tutorial: Harnessing the Power of Illustrator’s “Symbols” Feature in Transit Map Design
Imagine this scenario: you’ve been working for months on a complex transit map — lots of interchanges and routes — for a big-city transit agency and you’re presenting it to their management team for approval. They love it, except they’d like the circular interchange markers you’ve used to be square with rounded edges instead. And they’d like to see the revised version in an hour.
If you’ve used standard Illustrator artwork for each of your interchanges, then you’ve got a frantic afternoon of finding, deleting and replacing every interchange marker on the map ahead of you. However, if you’d used Illustrator’s Symbols feature, then this request would be an absolute breeze.
Symbols were quietly introduced into Illustrator way back when Adobe acquired Macromedia, and are a feature lifted directly from Flash. Put simply, the feature allows you to define Illustrator artwork as a “symbol”: every duplicate of that symbol is linked to that original artwork. Which means that when you edit the symbol’s artwork, it instantly updates all the duplicates (or “instances”, as Adobe likes to call them). Super powerful and not used nearly enough by most.
STEP ONE: Defining a symbol couldn’t be easier, as seem in the first image above. With the Symbols palette open (Window menu > Symbols or Shift-Cmd/Ctrl-F11), simply select your artwork and choose “New Symbol…” or click on the “New Symbol” icon at the bottom of the palette. In the resulting dialog box, give your symbol a descriptive name, and choose a registration point. For an interchange symbol, the centre point is best. If you’re creating a symbol for a “tick” mark, then use a registration point that matches where you’d like the tick to attach to its route line. 
Click “OK” and you’re done!
STEP TWO: Picture 2 shows the Symbols palette with three different station marker symbols set up and ready to use. If you are using “ticks” or other markers that are colour-coded to the route lines, you’ll have to make symbols for each colour and variation needed. To make more instances of a symbol, you can drag one out of the Symbols palette onto your artboard, or you can simply duplicate one that already exists. Symbols are readily distinguishable from normal artwork: they have a little bounding box and a little “+” marker that corresponds to the registration point you defined in Step 1. For a symbol where the registration point doesn’t actually align with anything useful, like the double interchange marker, you can still see and use the centre points from the original artwork to align things properly.
STEP THREE: The third picture shows the solution to our problem and the real benefit of using Symbols. I’ve created new artwork for the interchange marker — a square with rounded edges, just as the client requested. With that artwork selected, click on the “Interchange” symbol in the Symbols palette and choose “Redefine Symbol” from the flyout menu. Instantly, every instance of that symbol takes on the new appearance! You can also double-click on any instance of a symbol to edit it, but I find this “Redefine” method easier when completely changing the look of a symbol. Tutorial: Harnessing the Power of Illustrator’s “Symbols” Feature in Transit Map Design
Imagine this scenario: you’ve been working for months on a complex transit map — lots of interchanges and routes — for a big-city transit agency and you’re presenting it to their management team for approval. They love it, except they’d like the circular interchange markers you’ve used to be square with rounded edges instead. And they’d like to see the revised version in an hour.
If you’ve used standard Illustrator artwork for each of your interchanges, then you’ve got a frantic afternoon of finding, deleting and replacing every interchange marker on the map ahead of you. However, if you’d used Illustrator’s Symbols feature, then this request would be an absolute breeze.
Symbols were quietly introduced into Illustrator way back when Adobe acquired Macromedia, and are a feature lifted directly from Flash. Put simply, the feature allows you to define Illustrator artwork as a “symbol”: every duplicate of that symbol is linked to that original artwork. Which means that when you edit the symbol’s artwork, it instantly updates all the duplicates (or “instances”, as Adobe likes to call them). Super powerful and not used nearly enough by most.
STEP ONE: Defining a symbol couldn’t be easier, as seem in the first image above. With the Symbols palette open (Window menu > Symbols or Shift-Cmd/Ctrl-F11), simply select your artwork and choose “New Symbol…” or click on the “New Symbol” icon at the bottom of the palette. In the resulting dialog box, give your symbol a descriptive name, and choose a registration point. For an interchange symbol, the centre point is best. If you’re creating a symbol for a “tick” mark, then use a registration point that matches where you’d like the tick to attach to its route line. 
Click “OK” and you’re done!
STEP TWO: Picture 2 shows the Symbols palette with three different station marker symbols set up and ready to use. If you are using “ticks” or other markers that are colour-coded to the route lines, you’ll have to make symbols for each colour and variation needed. To make more instances of a symbol, you can drag one out of the Symbols palette onto your artboard, or you can simply duplicate one that already exists. Symbols are readily distinguishable from normal artwork: they have a little bounding box and a little “+” marker that corresponds to the registration point you defined in Step 1. For a symbol where the registration point doesn’t actually align with anything useful, like the double interchange marker, you can still see and use the centre points from the original artwork to align things properly.
STEP THREE: The third picture shows the solution to our problem and the real benefit of using Symbols. I’ve created new artwork for the interchange marker — a square with rounded edges, just as the client requested. With that artwork selected, click on the “Interchange” symbol in the Symbols palette and choose “Redefine Symbol” from the flyout menu. Instantly, every instance of that symbol takes on the new appearance! You can also double-click on any instance of a symbol to edit it, but I find this “Redefine” method easier when completely changing the look of a symbol. Tutorial: Harnessing the Power of Illustrator’s “Symbols” Feature in Transit Map Design
Imagine this scenario: you’ve been working for months on a complex transit map — lots of interchanges and routes — for a big-city transit agency and you’re presenting it to their management team for approval. They love it, except they’d like the circular interchange markers you’ve used to be square with rounded edges instead. And they’d like to see the revised version in an hour.
If you’ve used standard Illustrator artwork for each of your interchanges, then you’ve got a frantic afternoon of finding, deleting and replacing every interchange marker on the map ahead of you. However, if you’d used Illustrator’s Symbols feature, then this request would be an absolute breeze.
Symbols were quietly introduced into Illustrator way back when Adobe acquired Macromedia, and are a feature lifted directly from Flash. Put simply, the feature allows you to define Illustrator artwork as a “symbol”: every duplicate of that symbol is linked to that original artwork. Which means that when you edit the symbol’s artwork, it instantly updates all the duplicates (or “instances”, as Adobe likes to call them). Super powerful and not used nearly enough by most.
STEP ONE: Defining a symbol couldn’t be easier, as seem in the first image above. With the Symbols palette open (Window menu > Symbols or Shift-Cmd/Ctrl-F11), simply select your artwork and choose “New Symbol…” or click on the “New Symbol” icon at the bottom of the palette. In the resulting dialog box, give your symbol a descriptive name, and choose a registration point. For an interchange symbol, the centre point is best. If you’re creating a symbol for a “tick” mark, then use a registration point that matches where you’d like the tick to attach to its route line. 
Click “OK” and you’re done!
STEP TWO: Picture 2 shows the Symbols palette with three different station marker symbols set up and ready to use. If you are using “ticks” or other markers that are colour-coded to the route lines, you’ll have to make symbols for each colour and variation needed. To make more instances of a symbol, you can drag one out of the Symbols palette onto your artboard, or you can simply duplicate one that already exists. Symbols are readily distinguishable from normal artwork: they have a little bounding box and a little “+” marker that corresponds to the registration point you defined in Step 1. For a symbol where the registration point doesn’t actually align with anything useful, like the double interchange marker, you can still see and use the centre points from the original artwork to align things properly.
STEP THREE: The third picture shows the solution to our problem and the real benefit of using Symbols. I’ve created new artwork for the interchange marker — a square with rounded edges, just as the client requested. With that artwork selected, click on the “Interchange” symbol in the Symbols palette and choose “Redefine Symbol” from the flyout menu. Instantly, every instance of that symbol takes on the new appearance! You can also double-click on any instance of a symbol to edit it, but I find this “Redefine” method easier when completely changing the look of a symbol.

Tutorial: Harnessing the Power of Illustrator’s “Symbols” Feature in Transit Map Design

Imagine this scenario: you’ve been working for months on a complex transit map — lots of interchanges and routes — for a big-city transit agency and you’re presenting it to their management team for approval. They love it, except they’d like the circular interchange markers you’ve used to be square with rounded edges instead. And they’d like to see the revised version in an hour.

If you’ve used standard Illustrator artwork for each of your interchanges, then you’ve got a frantic afternoon of finding, deleting and replacing every interchange marker on the map ahead of you. However, if you’d used Illustrator’s Symbols feature, then this request would be an absolute breeze.

Symbols were quietly introduced into Illustrator way back when Adobe acquired Macromedia, and are a feature lifted directly from Flash. Put simply, the feature allows you to define Illustrator artwork as a “symbol”: every duplicate of that symbol is linked to that original artwork. Which means that when you edit the symbol’s artwork, it instantly updates all the duplicates (or “instances”, as Adobe likes to call them). Super powerful and not used nearly enough by most.

STEP ONE: Defining a symbol couldn’t be easier, as seem in the first image above. With the Symbols palette open (Window menu > Symbols or Shift-Cmd/Ctrl-F11), simply select your artwork and choose “New Symbol…” or click on the “New Symbol” icon at the bottom of the palette. In the resulting dialog box, give your symbol a descriptive name, and choose a registration point. For an interchange symbol, the centre point is best. If you’re creating a symbol for a “tick” mark, then use a registration point that matches where you’d like the tick to attach to its route line. 

Click “OK” and you’re done!

STEP TWO: Picture 2 shows the Symbols palette with three different station marker symbols set up and ready to use. If you are using “ticks” or other markers that are colour-coded to the route lines, you’ll have to make symbols for each colour and variation needed. To make more instances of a symbol, you can drag one out of the Symbols palette onto your artboard, or you can simply duplicate one that already exists. Symbols are readily distinguishable from normal artwork: they have a little bounding box and a little “+” marker that corresponds to the registration point you defined in Step 1. For a symbol where the registration point doesn’t actually align with anything useful, like the double interchange marker, you can still see and use the centre points from the original artwork to align things properly.

STEP THREE: The third picture shows the solution to our problem and the real benefit of using Symbols. I’ve created new artwork for the interchange marker — a square with rounded edges, just as the client requested. With that artwork selected, click on the “Interchange” symbol in the Symbols palette and choose “Redefine Symbol” from the flyout menu. Instantly, every instance of that symbol takes on the new appearance! You can also double-click on any instance of a symbol to edit it, but I find this “Redefine” method easier when completely changing the look of a symbol.

Tutorial: Creating Multiple Parallel Route Lines using Art Brushes
Last week’s tip about using the Offset Path command in Illustrator to create multiple parallel paths was very well received, but reader Leah left a comment saying that she finds using Art Brushes quicker and easier. If nothing else, it’s good to be reminded that there are always different ways to achieve the same result! 
Setting up an Art Brush for what we want to do is actually pretty simple. Simply create a short section of the setup you’d like to use as a brush — in the first picture, I’ve got three parallel 8-point lines, spaced 10 points apart (exactly the same as last week’s example).
With these three paths selected, simply choose “New Brush” from the Brush palette’s flyout menu, or click on the “New Brush” icon at the bottom of the palette. When Illustrator asks you what type of brush you’d like to create, choose “Art Brush”.
In the resulting dialog box, give your new brush a descriptive name, and make sure the Brush Scale Option is set to “Stretch to Fit Stroke Length”. Finally make sure that the arrow that’s overlaid on your artwork in the little preview window runs along the length of your lines. Click “OK” and your Art Brush is ready to go!
Applying it to your path couldn’t be easier, as shown in the second image. Simply select your path, click on your newly-created brush in the Brushes palette and — hey presto! Note, however, that this is still one path that is styled with the Art Brush to look like multiple paths. To make three separate editable paths (which you’ll almost certainly have to do, as the routes will eventually go in different directions), you’ll need to select the path and choose Object menu > Expand Appearance. And this is where my (minor) problem with this technique lies.
As the last image shows, the original path had just three anchor points: one at each end, and one in the middle. When I offset this path in last week’s tutorial, the new paths also had just three anchor points — nice, clean, easily editable artwork. When we expand the Art Brush-styled path, it creates a lot of extra anchor points — over 20 on each path in  my example! This is not my idea of clean artwork, even though it looks much the same as the offset paths.
In the end, the two techniques produce very similar results — offsetting paths takes a little longer, but (in my opinion) makes cleaner finished art. The Art Brush technique is easier to set up and allows you to have an arsenal of brushes at hand for different numbers of parallel route lines, but it makes a bit of a mess behind the scenes. Both are valid approaches to the problem: it’s up to you to decide which suits your needs best! Tutorial: Creating Multiple Parallel Route Lines using Art Brushes
Last week’s tip about using the Offset Path command in Illustrator to create multiple parallel paths was very well received, but reader Leah left a comment saying that she finds using Art Brushes quicker and easier. If nothing else, it’s good to be reminded that there are always different ways to achieve the same result! 
Setting up an Art Brush for what we want to do is actually pretty simple. Simply create a short section of the setup you’d like to use as a brush — in the first picture, I’ve got three parallel 8-point lines, spaced 10 points apart (exactly the same as last week’s example).
With these three paths selected, simply choose “New Brush” from the Brush palette’s flyout menu, or click on the “New Brush” icon at the bottom of the palette. When Illustrator asks you what type of brush you’d like to create, choose “Art Brush”.
In the resulting dialog box, give your new brush a descriptive name, and make sure the Brush Scale Option is set to “Stretch to Fit Stroke Length”. Finally make sure that the arrow that’s overlaid on your artwork in the little preview window runs along the length of your lines. Click “OK” and your Art Brush is ready to go!
Applying it to your path couldn’t be easier, as shown in the second image. Simply select your path, click on your newly-created brush in the Brushes palette and — hey presto! Note, however, that this is still one path that is styled with the Art Brush to look like multiple paths. To make three separate editable paths (which you’ll almost certainly have to do, as the routes will eventually go in different directions), you’ll need to select the path and choose Object menu > Expand Appearance. And this is where my (minor) problem with this technique lies.
As the last image shows, the original path had just three anchor points: one at each end, and one in the middle. When I offset this path in last week’s tutorial, the new paths also had just three anchor points — nice, clean, easily editable artwork. When we expand the Art Brush-styled path, it creates a lot of extra anchor points — over 20 on each path in  my example! This is not my idea of clean artwork, even though it looks much the same as the offset paths.
In the end, the two techniques produce very similar results — offsetting paths takes a little longer, but (in my opinion) makes cleaner finished art. The Art Brush technique is easier to set up and allows you to have an arsenal of brushes at hand for different numbers of parallel route lines, but it makes a bit of a mess behind the scenes. Both are valid approaches to the problem: it’s up to you to decide which suits your needs best! Tutorial: Creating Multiple Parallel Route Lines using Art Brushes
Last week’s tip about using the Offset Path command in Illustrator to create multiple parallel paths was very well received, but reader Leah left a comment saying that she finds using Art Brushes quicker and easier. If nothing else, it’s good to be reminded that there are always different ways to achieve the same result! 
Setting up an Art Brush for what we want to do is actually pretty simple. Simply create a short section of the setup you’d like to use as a brush — in the first picture, I’ve got three parallel 8-point lines, spaced 10 points apart (exactly the same as last week’s example).
With these three paths selected, simply choose “New Brush” from the Brush palette’s flyout menu, or click on the “New Brush” icon at the bottom of the palette. When Illustrator asks you what type of brush you’d like to create, choose “Art Brush”.
In the resulting dialog box, give your new brush a descriptive name, and make sure the Brush Scale Option is set to “Stretch to Fit Stroke Length”. Finally make sure that the arrow that’s overlaid on your artwork in the little preview window runs along the length of your lines. Click “OK” and your Art Brush is ready to go!
Applying it to your path couldn’t be easier, as shown in the second image. Simply select your path, click on your newly-created brush in the Brushes palette and — hey presto! Note, however, that this is still one path that is styled with the Art Brush to look like multiple paths. To make three separate editable paths (which you’ll almost certainly have to do, as the routes will eventually go in different directions), you’ll need to select the path and choose Object menu > Expand Appearance. And this is where my (minor) problem with this technique lies.
As the last image shows, the original path had just three anchor points: one at each end, and one in the middle. When I offset this path in last week’s tutorial, the new paths also had just three anchor points — nice, clean, easily editable artwork. When we expand the Art Brush-styled path, it creates a lot of extra anchor points — over 20 on each path in  my example! This is not my idea of clean artwork, even though it looks much the same as the offset paths.
In the end, the two techniques produce very similar results — offsetting paths takes a little longer, but (in my opinion) makes cleaner finished art. The Art Brush technique is easier to set up and allows you to have an arsenal of brushes at hand for different numbers of parallel route lines, but it makes a bit of a mess behind the scenes. Both are valid approaches to the problem: it’s up to you to decide which suits your needs best!

Tutorial: Creating Multiple Parallel Route Lines using Art Brushes

Last week’s tip about using the Offset Path command in Illustrator to create multiple parallel paths was very well received, but reader Leah left a comment saying that she finds using Art Brushes quicker and easier. If nothing else, it’s good to be reminded that there are always different ways to achieve the same result! 

Setting up an Art Brush for what we want to do is actually pretty simple. Simply create a short section of the setup you’d like to use as a brush — in the first picture, I’ve got three parallel 8-point lines, spaced 10 points apart (exactly the same as last week’s example).

With these three paths selected, simply choose “New Brush” from the Brush palette’s flyout menu, or click on the “New Brush” icon at the bottom of the palette. When Illustrator asks you what type of brush you’d like to create, choose “Art Brush”.

In the resulting dialog box, give your new brush a descriptive name, and make sure the Brush Scale Option is set to “Stretch to Fit Stroke Length”. Finally make sure that the arrow that’s overlaid on your artwork in the little preview window runs along the length of your lines. Click “OK” and your Art Brush is ready to go!

Applying it to your path couldn’t be easier, as shown in the second image. Simply select your path, click on your newly-created brush in the Brushes palette and — hey presto! Note, however, that this is still one path that is styled with the Art Brush to look like multiple paths. To make three separate editable paths (which you’ll almost certainly have to do, as the routes will eventually go in different directions), you’ll need to select the path and choose Object menu > Expand Appearance. And this is where my (minor) problem with this technique lies.

As the last image shows, the original path had just three anchor points: one at each end, and one in the middle. When I offset this path in last week’s tutorial, the new paths also had just three anchor points — nice, clean, easily editable artwork. When we expand the Art Brush-styled path, it creates a lot of extra anchor points — over 20 on each path in  my example! This is not my idea of clean artwork, even though it looks much the same as the offset paths.

In the end, the two techniques produce very similar results — offsetting paths takes a little longer, but (in my opinion) makes cleaner finished art. The Art Brush technique is easier to set up and allows you to have an arsenal of brushes at hand for different numbers of parallel route lines, but it makes a bit of a mess behind the scenes. Both are valid approaches to the problem: it’s up to you to decide which suits your needs best!

Tutorial: Creating Multiple Parallel Route Lines
Today’s tutorial comes from an anonymous question that I received in my Tumblr Inbox, which asked:
I design a bus transit map using a street layer. But how can i align correctly multiple lines on a street without overlap?
This is a great question. You’d be amazed how often I see people attempting to draw multiple parallel route lines manually, which is absolutely the most difficult way of doing things. You might be able to get away with it on a rectilinear transit map, but it’s almost impossible to get right when your route lines are overlaid on a standard road map — there are always curves and twists in the road that make it nigh-on impossible to manually draw adjacent route lines without things looking terrible.
For an example of a very poor attempt at drawing parallel route lines individually, you need look no further than the light rail map for Denver, Colorado (April 2013, 2 stars).
The most frustrating thing about seeing it done the wrong way is that there’s a tool in Adobe Illustrator that makes this task almost effortless.
Object Menu > Path > Offset Path…
The images above demonstrate how to offset route lines correctly — the first image shows how it’s done with an odd number of route lines; the second illustrates how to do it for an even number of route lines.
If you’ve drawn the street layer on your map yourself, then you’ve probably already got the first thing you need — a path that follows the centre of your street. Copy it and then Paste in Front (Cmd/Ctrl-F) so it sits exactly on top of the original. Then move it to its own layer above the street layer and stroke it the way you want your route lines to look. In my example, we’ve got an 8-point wide red route line. 
If you’re drawing your route lines on top of an aerial photo or Google Maps image, then you’re going to have to draw your own central route line. Be as accurate as possible while also using as few bezier points as you can. Again, put it on its own layer and make it look the way you want. Now the fun starts.
IF YOU NEED THREE ADJACENT ROUTE LINES (First image), then you’re going to use the central route line you already have, and use the Offset Path function to create a new route line on both sides at once. Select the path, then invoke the Offset Path command. In the resultant dialog box, enter the amount of offset you want, which is the desired distance between the paths. Here, I want a little gap to show between my 8-point route lines, so I entered 10 points. The middle part of the first image shows the results: Illustrator will offset your path to both sides of the line, so it’s basically done all the hard work for us. Now you just need to use the Scissor tool (C) to cut and then delete the pesky little joining lines that are created at the top and bottom (circled in blue in the image). From there, simply colour the route lines as required. If you need five, or seven, or more route lines, simply keep offsetting the outermost route lines by 10 points and then cutting the resulting new lines to only keep the outermost section each time.
IF YOU NEED TWO ADJACENT ROUTE LINES (Second Image), the process is almost the same, except that when you select and offset the original path, you only use half the required distance between route lines (in my example, 5 points). Then you can delete the original route line, keeping only the new offset paths, which now sit neatly on either side of the centre of the road. To create four, or six, or more route lines, continue to offset the outermost paths by 10 points as in the first example. Tutorial: Creating Multiple Parallel Route Lines
Today’s tutorial comes from an anonymous question that I received in my Tumblr Inbox, which asked:
I design a bus transit map using a street layer. But how can i align correctly multiple lines on a street without overlap?
This is a great question. You’d be amazed how often I see people attempting to draw multiple parallel route lines manually, which is absolutely the most difficult way of doing things. You might be able to get away with it on a rectilinear transit map, but it’s almost impossible to get right when your route lines are overlaid on a standard road map — there are always curves and twists in the road that make it nigh-on impossible to manually draw adjacent route lines without things looking terrible.
For an example of a very poor attempt at drawing parallel route lines individually, you need look no further than the light rail map for Denver, Colorado (April 2013, 2 stars).
The most frustrating thing about seeing it done the wrong way is that there’s a tool in Adobe Illustrator that makes this task almost effortless.
Object Menu > Path > Offset Path…
The images above demonstrate how to offset route lines correctly — the first image shows how it’s done with an odd number of route lines; the second illustrates how to do it for an even number of route lines.
If you’ve drawn the street layer on your map yourself, then you’ve probably already got the first thing you need — a path that follows the centre of your street. Copy it and then Paste in Front (Cmd/Ctrl-F) so it sits exactly on top of the original. Then move it to its own layer above the street layer and stroke it the way you want your route lines to look. In my example, we’ve got an 8-point wide red route line. 
If you’re drawing your route lines on top of an aerial photo or Google Maps image, then you’re going to have to draw your own central route line. Be as accurate as possible while also using as few bezier points as you can. Again, put it on its own layer and make it look the way you want. Now the fun starts.
IF YOU NEED THREE ADJACENT ROUTE LINES (First image), then you’re going to use the central route line you already have, and use the Offset Path function to create a new route line on both sides at once. Select the path, then invoke the Offset Path command. In the resultant dialog box, enter the amount of offset you want, which is the desired distance between the paths. Here, I want a little gap to show between my 8-point route lines, so I entered 10 points. The middle part of the first image shows the results: Illustrator will offset your path to both sides of the line, so it’s basically done all the hard work for us. Now you just need to use the Scissor tool (C) to cut and then delete the pesky little joining lines that are created at the top and bottom (circled in blue in the image). From there, simply colour the route lines as required. If you need five, or seven, or more route lines, simply keep offsetting the outermost route lines by 10 points and then cutting the resulting new lines to only keep the outermost section each time.
IF YOU NEED TWO ADJACENT ROUTE LINES (Second Image), the process is almost the same, except that when you select and offset the original path, you only use half the required distance between route lines (in my example, 5 points). Then you can delete the original route line, keeping only the new offset paths, which now sit neatly on either side of the centre of the road. To create four, or six, or more route lines, continue to offset the outermost paths by 10 points as in the first example.

Tutorial: Creating Multiple Parallel Route Lines

Today’s tutorial comes from an anonymous question that I received in my Tumblr Inbox, which asked:

I design a bus transit map using a street layer. But how can i align correctly multiple lines on a street without overlap?

This is a great question. You’d be amazed how often I see people attempting to draw multiple parallel route lines manually, which is absolutely the most difficult way of doing things. You might be able to get away with it on a rectilinear transit map, but it’s almost impossible to get right when your route lines are overlaid on a standard road map — there are always curves and twists in the road that make it nigh-on impossible to manually draw adjacent route lines without things looking terrible.

For an example of a very poor attempt at drawing parallel route lines individually, you need look no further than the light rail map for Denver, Colorado (April 2013, 2 stars).

The most frustrating thing about seeing it done the wrong way is that there’s a tool in Adobe Illustrator that makes this task almost effortless.

Object Menu > Path > Offset Path…

The images above demonstrate how to offset route lines correctly — the first image shows how it’s done with an odd number of route lines; the second illustrates how to do it for an even number of route lines.

If you’ve drawn the street layer on your map yourself, then you’ve probably already got the first thing you need — a path that follows the centre of your street. Copy it and then Paste in Front (Cmd/Ctrl-F) so it sits exactly on top of the original. Then move it to its own layer above the street layer and stroke it the way you want your route lines to look. In my example, we’ve got an 8-point wide red route line. 

If you’re drawing your route lines on top of an aerial photo or Google Maps image, then you’re going to have to draw your own central route line. Be as accurate as possible while also using as few bezier points as you can. Again, put it on its own layer and make it look the way you want. Now the fun starts.

IF YOU NEED THREE ADJACENT ROUTE LINES (First image), then you’re going to use the central route line you already have, and use the Offset Path function to create a new route line on both sides at once. Select the path, then invoke the Offset Path command. In the resultant dialog box, enter the amount of offset you want, which is the desired distance between the paths. Here, I want a little gap to show between my 8-point route lines, so I entered 10 points. The middle part of the first image shows the results: Illustrator will offset your path to both sides of the line, so it’s basically done all the hard work for us. Now you just need to use the Scissor tool (C) to cut and then delete the pesky little joining lines that are created at the top and bottom (circled in blue in the image). From there, simply colour the route lines as required. If you need five, or seven, or more route lines, simply keep offsetting the outermost route lines by 10 points and then cutting the resulting new lines to only keep the outermost section each time.

IF YOU NEED TWO ADJACENT ROUTE LINES (Second Image), the process is almost the same, except that when you select and offset the original path, you only use half the required distance between route lines (in my example, 5 points). Then you can delete the original route line, keeping only the new offset paths, which now sit neatly on either side of the centre of the road. To create four, or six, or more route lines, continue to offset the outermost paths by 10 points as in the first example.

Tutorial: Station Labels Using the “Core Type Area” - Part 4: Intersecting Route Lines

Here’s the last of my tutorials regarding station label placement – what to do when route lines intersect each other. There are three standard ways that orthogonal route lines can cross each other, each illustrated above.

Horizontal and Vertical Lines: The simplest intersection to deal with. Simply keep the same distance from the side and top/bottom of your label for consistent results.

Vertical Line Intersecting an Angled Line (or a Horizontal Line/Angled Line): This one’s a little trickier and a lot of it comes down to personal design preference. In the example shown, keep labels the standard distance away from the vertical route line, but move the labels down or up to nestle them into the 135-degree angle created by the intersecting lines better. I’ve used the intersection point of the two lines to create a guide to align the distance guide to, and it works well. Experiment and see what works for you. If we were dealing with a horizontal line intersecting an angled line, we’d keep the standard distance to the top/bottom and move the labels left/right to get the right visual spacing.

Two Angled Lines Intersecting: This is probably my least favoured label type, because it simply has to break the spacing conventions that I normally use. Because you need adequate space between the top and bottom of the Core Type Area and the angled route lines, you have to move the type at least twice as far away from the route lines as you normally would. It still looks visually correct most of the time, but be wary of overusing this type of label.

Tutorial: Station Labels Using the “Core Type Area” - Part 3: Angled Labels
While it’s true that I don’t really like the use of station labels that are angled — being very much in the Erik Spiekermann camp that believes horizontal labels aid comprehension and create a cleaner looking map — I do realise that there are times when their use is necessary.
If you do use angled labels, then I strongly advise that you keep the number of angles used to the absolute minimum required — type that reads from many different directions is always going to cause headaches. This is one thing that the Sydney rail network map (both the new version and the previous one) has done well: it only uses labels angled in one direction, reading from the bottom left to the top right.
Once you’ve decided that you absolutely have to use angled labels, the rules for their placement are exactly the same as in the previous two tutorials, except that you rotate everything 45 degrees around, using the placement rules that used to apply to one type of route line to the other.
The first image shows what it looks like if you take labels that were used for a route line angled at 45 degrees from top left to lower right and rotate the lot another 45 degrees counter-clockwise. Use the corners of the Core Type Area to determine positioning. It’s pretty easy to see how this would also work if your labels were angled the other direction. The same technique would also apply to a vertical route line, but exercise common sense here — there’s even less reason to angle a label on a vertical route line!
The second image shows a vertical route line that’s been rotated 45 degrees clockwise to show how angled labels for a 45-degree route line should look. Use the edges of the Core Type Area in these cases.
One more post in this series to come: labels where route lines intersect! Tutorial: Station Labels Using the “Core Type Area” - Part 3: Angled Labels
While it’s true that I don’t really like the use of station labels that are angled — being very much in the Erik Spiekermann camp that believes horizontal labels aid comprehension and create a cleaner looking map — I do realise that there are times when their use is necessary.
If you do use angled labels, then I strongly advise that you keep the number of angles used to the absolute minimum required — type that reads from many different directions is always going to cause headaches. This is one thing that the Sydney rail network map (both the new version and the previous one) has done well: it only uses labels angled in one direction, reading from the bottom left to the top right.
Once you’ve decided that you absolutely have to use angled labels, the rules for their placement are exactly the same as in the previous two tutorials, except that you rotate everything 45 degrees around, using the placement rules that used to apply to one type of route line to the other.
The first image shows what it looks like if you take labels that were used for a route line angled at 45 degrees from top left to lower right and rotate the lot another 45 degrees counter-clockwise. Use the corners of the Core Type Area to determine positioning. It’s pretty easy to see how this would also work if your labels were angled the other direction. The same technique would also apply to a vertical route line, but exercise common sense here — there’s even less reason to angle a label on a vertical route line!
The second image shows a vertical route line that’s been rotated 45 degrees clockwise to show how angled labels for a 45-degree route line should look. Use the edges of the Core Type Area in these cases.
One more post in this series to come: labels where route lines intersect!

Tutorial: Station Labels Using the “Core Type Area” - Part 3: Angled Labels

While it’s true that I don’t really like the use of station labels that are angled — being very much in the Erik Spiekermann camp that believes horizontal labels aid comprehension and create a cleaner looking map — I do realise that there are times when their use is necessary.

If you do use angled labels, then I strongly advise that you keep the number of angles used to the absolute minimum required — type that reads from many different directions is always going to cause headaches. This is one thing that the Sydney rail network map (both the new version and the previous one) has done well: it only uses labels angled in one direction, reading from the bottom left to the top right.

Once you’ve decided that you absolutely have to use angled labels, the rules for their placement are exactly the same as in the previous two tutorials, except that you rotate everything 45 degrees around, using the placement rules that used to apply to one type of route line to the other.

The first image shows what it looks like if you take labels that were used for a route line angled at 45 degrees from top left to lower right and rotate the lot another 45 degrees counter-clockwise. Use the corners of the Core Type Area to determine positioning. It’s pretty easy to see how this would also work if your labels were angled the other direction. The same technique would also apply to a vertical route line, but exercise common sense here — there’s even less reason to angle a label on a vertical route line!

The second image shows a vertical route line that’s been rotated 45 degrees clockwise to show how angled labels for a 45-degree route line should look. Use the edges of the Core Type Area in these cases.

One more post in this series to come: labels where route lines intersect!

Tutorial: Station Labels Using the “Core Type Area” - Part 2: 45-Degree Angled Route Lines
Following on from last week’s tutorial, here’s how to use the Core Type Area to make your station labels align perfectly and consistently when you’re applying them to 45-degree angled route lines.
If you use the edges of the Core Type Area when you’re aligning labels to horizontal and vertical route lines, then it should make perfect sense that you use the corners of it when you’re labelling angled stations. The first GIF shows the defining setup — using the bottom right corner for labels above and to the left of the route line and the top left corner for labels below and to the right of the route line. I’ve shown this setup first because it always looks right: there’s always a capital letter in the former, and the bottom right edge of a lower-case letter in the latter.
The second image shows what happens when you apply the same rules to the opposite angle. That is, using the top right corner for names to the left and below the route line, and the bottom left corner for names above and to the right. When the route line is angled like this, it can be harder to see that you’ve got the placement right, because the letterforms are more varied.
In the first instance, the last letter of a word could be an “n” (as we have here) or a “d”. We need to allow space for the “d” to fit comfortably, hence the use of the Core Type Area, which shows us exactly that. Whatever you do, don’t nudge labels without a final ascender up until that letter aligns with the station marker: this is what leads to uneven and inconsistent baselines as seen on the recent Sydney Trains map redesign.
Labels to the right and above aren’t quite as bad, but there’s still some variance: the first letter could be a “T”, “B”, or “W”, all of which have a different visual relationship to that bottom left corner. Remember to use the Core Type Area — the box that defines the maximum size the label could take up — and not the letterforms themselves to align text to markers and you should always be okay.
The last image shows a mistake I see quite often when designers try to align their labels to 45-degree lines by simply moving the label sideways from the marker, instead of across and up/down an even amount. I personally prefer not to do this, as I think it creates uneven spacing, but it can look effective and interesting when done right.
However, be aware that labels that sit on the lower side of the route line need to hang from the top of the Core Type Area (by their cap height) or they’ll end up being too close to the route line, as shown in the image. Type that sits on the higher side of the route line can sit on its baseline. Tutorial: Station Labels Using the “Core Type Area” - Part 2: 45-Degree Angled Route Lines
Following on from last week’s tutorial, here’s how to use the Core Type Area to make your station labels align perfectly and consistently when you’re applying them to 45-degree angled route lines.
If you use the edges of the Core Type Area when you’re aligning labels to horizontal and vertical route lines, then it should make perfect sense that you use the corners of it when you’re labelling angled stations. The first GIF shows the defining setup — using the bottom right corner for labels above and to the left of the route line and the top left corner for labels below and to the right of the route line. I’ve shown this setup first because it always looks right: there’s always a capital letter in the former, and the bottom right edge of a lower-case letter in the latter.
The second image shows what happens when you apply the same rules to the opposite angle. That is, using the top right corner for names to the left and below the route line, and the bottom left corner for names above and to the right. When the route line is angled like this, it can be harder to see that you’ve got the placement right, because the letterforms are more varied.
In the first instance, the last letter of a word could be an “n” (as we have here) or a “d”. We need to allow space for the “d” to fit comfortably, hence the use of the Core Type Area, which shows us exactly that. Whatever you do, don’t nudge labels without a final ascender up until that letter aligns with the station marker: this is what leads to uneven and inconsistent baselines as seen on the recent Sydney Trains map redesign.
Labels to the right and above aren’t quite as bad, but there’s still some variance: the first letter could be a “T”, “B”, or “W”, all of which have a different visual relationship to that bottom left corner. Remember to use the Core Type Area — the box that defines the maximum size the label could take up — and not the letterforms themselves to align text to markers and you should always be okay.
The last image shows a mistake I see quite often when designers try to align their labels to 45-degree lines by simply moving the label sideways from the marker, instead of across and up/down an even amount. I personally prefer not to do this, as I think it creates uneven spacing, but it can look effective and interesting when done right.
However, be aware that labels that sit on the lower side of the route line need to hang from the top of the Core Type Area (by their cap height) or they’ll end up being too close to the route line, as shown in the image. Type that sits on the higher side of the route line can sit on its baseline. Tutorial: Station Labels Using the “Core Type Area” - Part 2: 45-Degree Angled Route Lines
Following on from last week’s tutorial, here’s how to use the Core Type Area to make your station labels align perfectly and consistently when you’re applying them to 45-degree angled route lines.
If you use the edges of the Core Type Area when you’re aligning labels to horizontal and vertical route lines, then it should make perfect sense that you use the corners of it when you’re labelling angled stations. The first GIF shows the defining setup — using the bottom right corner for labels above and to the left of the route line and the top left corner for labels below and to the right of the route line. I’ve shown this setup first because it always looks right: there’s always a capital letter in the former, and the bottom right edge of a lower-case letter in the latter.
The second image shows what happens when you apply the same rules to the opposite angle. That is, using the top right corner for names to the left and below the route line, and the bottom left corner for names above and to the right. When the route line is angled like this, it can be harder to see that you’ve got the placement right, because the letterforms are more varied.
In the first instance, the last letter of a word could be an “n” (as we have here) or a “d”. We need to allow space for the “d” to fit comfortably, hence the use of the Core Type Area, which shows us exactly that. Whatever you do, don’t nudge labels without a final ascender up until that letter aligns with the station marker: this is what leads to uneven and inconsistent baselines as seen on the recent Sydney Trains map redesign.
Labels to the right and above aren’t quite as bad, but there’s still some variance: the first letter could be a “T”, “B”, or “W”, all of which have a different visual relationship to that bottom left corner. Remember to use the Core Type Area — the box that defines the maximum size the label could take up — and not the letterforms themselves to align text to markers and you should always be okay.
The last image shows a mistake I see quite often when designers try to align their labels to 45-degree lines by simply moving the label sideways from the marker, instead of across and up/down an even amount. I personally prefer not to do this, as I think it creates uneven spacing, but it can look effective and interesting when done right.
However, be aware that labels that sit on the lower side of the route line need to hang from the top of the Core Type Area (by their cap height) or they’ll end up being too close to the route line, as shown in the image. Type that sits on the higher side of the route line can sit on its baseline.

Tutorial: Station Labels Using the “Core Type Area” - Part 2: 45-Degree Angled Route Lines

Following on from last week’s tutorial, here’s how to use the Core Type Area to make your station labels align perfectly and consistently when you’re applying them to 45-degree angled route lines.

If you use the edges of the Core Type Area when you’re aligning labels to horizontal and vertical route lines, then it should make perfect sense that you use the corners of it when you’re labelling angled stations. The first GIF shows the defining setup — using the bottom right corner for labels above and to the left of the route line and the top left corner for labels below and to the right of the route line. I’ve shown this setup first because it always looks right: there’s always a capital letter in the former, and the bottom right edge of a lower-case letter in the latter.

The second image shows what happens when you apply the same rules to the opposite angle. That is, using the top right corner for names to the left and below the route line, and the bottom left corner for names above and to the right. When the route line is angled like this, it can be harder to see that you’ve got the placement right, because the letterforms are more varied.

In the first instance, the last letter of a word could be an “n” (as we have here) or a “d”. We need to allow space for the “d” to fit comfortably, hence the use of the Core Type Area, which shows us exactly that. Whatever you do, don’t nudge labels without a final ascender up until that letter aligns with the station marker: this is what leads to uneven and inconsistent baselines as seen on the recent Sydney Trains map redesign.

Labels to the right and above aren’t quite as bad, but there’s still some variance: the first letter could be a “T”, “B”, or “W”, all of which have a different visual relationship to that bottom left corner. Remember to use the Core Type Area — the box that defines the maximum size the label could take up — and not the letterforms themselves to align text to markers and you should always be okay.

The last image shows a mistake I see quite often when designers try to align their labels to 45-degree lines by simply moving the label sideways from the marker, instead of across and up/down an even amount. I personally prefer not to do this, as I think it creates uneven spacing, but it can look effective and interesting when done right.

However, be aware that labels that sit on the lower side of the route line need to hang from the top of the Core Type Area (by their cap height) or they’ll end up being too close to the route line, as shown in the image. Type that sits on the higher side of the route line can sit on its baseline.

Tutorial: Station Labels Using the “Core Type Area” - Part 1: Horizontal and Vertical Route Lines
A lot of transit maps that I’ve seen and reviewed on this blog are badly let down by their labelling. Sometimes it seems that the labels have been applied without much forethought or planning, or just slapped on at the end and placed wherever they will fit. But labels are arguably one of the most important parts of a transit map: it should always be immediately apparent which station marker a label belongs to, and labels should be applied according to a consistent set of rules.
My first common rule is to make sure that there’s enough space between the route line or station marker and the text: I see way too many maps where the labels are jammed right up to the line (often in a vain effort to save a little bit of space).
That said, let’s take a look at how I like to approach labels on my maps. The first image shows a sample label: I chose the name “Washington” simply because it has a good mix of letters that work well as an example: importantly, it has both ascending and descending letters. I’ve marked out the four main vertical typographical elements: these are the cap height, the x-height, the text’s baseline and the descender line.
Behind this, I’ve shaded an area in pink that I like to call the “Core Type Area” — the height from the baseline up to the cap height. I use this Core Type Area to determine how to align labels to other elements of the map. I discount the height of the letters below the baseline simply because sometimes a word doesn’t have any descending letters at all. This becomes important when setting up labels that sit above a horizontal route line, as we’ll see below.
The second image is an animated GIF that shows two different ways to align labels to station markers on a vertical route line. It shows magenta guides indicating the Core Type Area and thicker cyan guides that simply indicate that all the labels are a consistent difference away from their station marker. I’ve shown the two most common types of station marker: dots and ticks.
The first and third sets of labels centre the type vertically using the baseline and the x-height, while the second and fourth use the height of the Core Type Area. Both of these approaches produce good results, although I personally believe that the Core Type Area method looks slightly better regardless of whether the label is to the left or the right of the line.
The last GIF shows how using the Core Type Area gives consistent results when placing labels above and below a horizontal route line. As you can see, the cyan guides are the same length each time, but though we align labels beneath the route line to the cap height (the top of the Core Type Area), we align labels that are above the route line to the type’s baseline (the bottom of the Core Type Area), not the descender line. That’s because a lot of words don’t have any descenders in them: in these cases, the label would look as if they were too far away from the station marker in comparison to labels that are below the line. The trick here is to make sure you’ve got enough space between the descender line and your station marker/route line to ensure that they don’t touch or overlap.
Next time, we’ll tackle labels on diagonal route lines. Tutorial: Station Labels Using the “Core Type Area” - Part 1: Horizontal and Vertical Route Lines
A lot of transit maps that I’ve seen and reviewed on this blog are badly let down by their labelling. Sometimes it seems that the labels have been applied without much forethought or planning, or just slapped on at the end and placed wherever they will fit. But labels are arguably one of the most important parts of a transit map: it should always be immediately apparent which station marker a label belongs to, and labels should be applied according to a consistent set of rules.
My first common rule is to make sure that there’s enough space between the route line or station marker and the text: I see way too many maps where the labels are jammed right up to the line (often in a vain effort to save a little bit of space).
That said, let’s take a look at how I like to approach labels on my maps. The first image shows a sample label: I chose the name “Washington” simply because it has a good mix of letters that work well as an example: importantly, it has both ascending and descending letters. I’ve marked out the four main vertical typographical elements: these are the cap height, the x-height, the text’s baseline and the descender line.
Behind this, I’ve shaded an area in pink that I like to call the “Core Type Area” — the height from the baseline up to the cap height. I use this Core Type Area to determine how to align labels to other elements of the map. I discount the height of the letters below the baseline simply because sometimes a word doesn’t have any descending letters at all. This becomes important when setting up labels that sit above a horizontal route line, as we’ll see below.
The second image is an animated GIF that shows two different ways to align labels to station markers on a vertical route line. It shows magenta guides indicating the Core Type Area and thicker cyan guides that simply indicate that all the labels are a consistent difference away from their station marker. I’ve shown the two most common types of station marker: dots and ticks.
The first and third sets of labels centre the type vertically using the baseline and the x-height, while the second and fourth use the height of the Core Type Area. Both of these approaches produce good results, although I personally believe that the Core Type Area method looks slightly better regardless of whether the label is to the left or the right of the line.
The last GIF shows how using the Core Type Area gives consistent results when placing labels above and below a horizontal route line. As you can see, the cyan guides are the same length each time, but though we align labels beneath the route line to the cap height (the top of the Core Type Area), we align labels that are above the route line to the type’s baseline (the bottom of the Core Type Area), not the descender line. That’s because a lot of words don’t have any descenders in them: in these cases, the label would look as if they were too far away from the station marker in comparison to labels that are below the line. The trick here is to make sure you’ve got enough space between the descender line and your station marker/route line to ensure that they don’t touch or overlap.
Next time, we’ll tackle labels on diagonal route lines. Tutorial: Station Labels Using the “Core Type Area” - Part 1: Horizontal and Vertical Route Lines
A lot of transit maps that I’ve seen and reviewed on this blog are badly let down by their labelling. Sometimes it seems that the labels have been applied without much forethought or planning, or just slapped on at the end and placed wherever they will fit. But labels are arguably one of the most important parts of a transit map: it should always be immediately apparent which station marker a label belongs to, and labels should be applied according to a consistent set of rules.
My first common rule is to make sure that there’s enough space between the route line or station marker and the text: I see way too many maps where the labels are jammed right up to the line (often in a vain effort to save a little bit of space).
That said, let’s take a look at how I like to approach labels on my maps. The first image shows a sample label: I chose the name “Washington” simply because it has a good mix of letters that work well as an example: importantly, it has both ascending and descending letters. I’ve marked out the four main vertical typographical elements: these are the cap height, the x-height, the text’s baseline and the descender line.
Behind this, I’ve shaded an area in pink that I like to call the “Core Type Area” — the height from the baseline up to the cap height. I use this Core Type Area to determine how to align labels to other elements of the map. I discount the height of the letters below the baseline simply because sometimes a word doesn’t have any descending letters at all. This becomes important when setting up labels that sit above a horizontal route line, as we’ll see below.
The second image is an animated GIF that shows two different ways to align labels to station markers on a vertical route line. It shows magenta guides indicating the Core Type Area and thicker cyan guides that simply indicate that all the labels are a consistent difference away from their station marker. I’ve shown the two most common types of station marker: dots and ticks.
The first and third sets of labels centre the type vertically using the baseline and the x-height, while the second and fourth use the height of the Core Type Area. Both of these approaches produce good results, although I personally believe that the Core Type Area method looks slightly better regardless of whether the label is to the left or the right of the line.
The last GIF shows how using the Core Type Area gives consistent results when placing labels above and below a horizontal route line. As you can see, the cyan guides are the same length each time, but though we align labels beneath the route line to the cap height (the top of the Core Type Area), we align labels that are above the route line to the type’s baseline (the bottom of the Core Type Area), not the descender line. That’s because a lot of words don’t have any descenders in them: in these cases, the label would look as if they were too far away from the station marker in comparison to labels that are below the line. The trick here is to make sure you’ve got enough space between the descender line and your station marker/route line to ensure that they don’t touch or overlap.
Next time, we’ll tackle labels on diagonal route lines.

Tutorial: Station Labels Using the “Core Type Area” - Part 1: Horizontal and Vertical Route Lines

A lot of transit maps that I’ve seen and reviewed on this blog are badly let down by their labelling. Sometimes it seems that the labels have been applied without much forethought or planning, or just slapped on at the end and placed wherever they will fit. But labels are arguably one of the most important parts of a transit map: it should always be immediately apparent which station marker a label belongs to, and labels should be applied according to a consistent set of rules.

My first common rule is to make sure that there’s enough space between the route line or station marker and the text: I see way too many maps where the labels are jammed right up to the line (often in a vain effort to save a little bit of space).

That said, let’s take a look at how I like to approach labels on my maps. The first image shows a sample label: I chose the name “Washington” simply because it has a good mix of letters that work well as an example: importantly, it has both ascending and descending letters. I’ve marked out the four main vertical typographical elements: these are the cap height, the x-height, the text’s baseline and the descender line.

Behind this, I’ve shaded an area in pink that I like to call the “Core Type Area” — the height from the baseline up to the cap height. I use this Core Type Area to determine how to align labels to other elements of the map. I discount the height of the letters below the baseline simply because sometimes a word doesn’t have any descending letters at all. This becomes important when setting up labels that sit above a horizontal route line, as we’ll see below.

The second image is an animated GIF that shows two different ways to align labels to station markers on a vertical route line. It shows magenta guides indicating the Core Type Area and thicker cyan guides that simply indicate that all the labels are a consistent difference away from their station marker. I’ve shown the two most common types of station marker: dots and ticks.

The first and third sets of labels centre the type vertically using the baseline and the x-height, while the second and fourth use the height of the Core Type Area. Both of these approaches produce good results, although I personally believe that the Core Type Area method looks slightly better regardless of whether the label is to the left or the right of the line.

The last GIF shows how using the Core Type Area gives consistent results when placing labels above and below a horizontal route line. As you can see, the cyan guides are the same length each time, but though we align labels beneath the route line to the cap height (the top of the Core Type Area), we align labels that are above the route line to the type’s baseline (the bottom of the Core Type Area), not the descender line. That’s because a lot of words don’t have any descenders in them: in these cases, the label would look as if they were too far away from the station marker in comparison to labels that are below the line. The trick here is to make sure you’ve got enough space between the descender line and your station marker/route line to ensure that they don’t touch or overlap.

Next time, we’ll tackle labels on diagonal route lines.

Tutorial: Multiple Strokes on One Path

This little tip is thanks to RG, who left a comment on the site asking:

Can you comment on how you make the 2pt of white space between lines show when you have lines cross over each other?”

On most transit maps, route lines will cross over each other at various points. Most of the time, an interchange station exists at that point and the symbol for that covers up the lines as they cross. However, sometimes the route lines will cross without any interaction between them — maybe there’s a bridge, or the lines are in separate tunnels — and it’s a good idea to visually separate them to make that as clear as possible.

STEP 1 above shows the set up: the Red and Blue lines cross over the Yellow and Green lines. As in the last tutorial, these are 8-point-thick lines set on a 10-point grid: I’ll use this a lot, just because it makes the maths easier to follow.

As you can see, the resulting 2pt gap between the Red and Blue lines allows the Yellow and Green lines to butt right up to them and show through the gap — neither of which is desirable. The quick and dirty approach to this problem might be to copy the Red and Blue lines, Paste in Back (Cmd/Ctrl-B), change the stroke colour to white and make these new strokes thicker. This does work, but it’s not the best approach in my eyes. It makes moving or editing those paths further down the track a two-step process (move the coloured route lines, then move the white lines that were underneath them), or a very fiddly single step: selecting objects behind other ones can be a real pain.

So I like to take advantage of a little-used feature of Adobe Illustrator — the fact that one path can have multiple strokes applied to it.

In STEP ONE, I’ve selected the Blue Line and made the Appearance palette visible (Window menu > Appearance or Shift-F6). To add a second stroke to the existing Blue one, simply click and drag that stroke down to the “Duplicate Selected Item” icon at he bottom of the palette as indicated. You can also just click on the stroke, then click on the icon, but I find it more satisfying to drag for some reason. If you really want, you can use the little flyout menu at the top right of the palette and choose “Add New Stroke” or “Duplicate Item” while you have the stroke selected in the main palette.

Bingo! The path now has two strokes, both of which are identical. Fortunately, the palette gives you everything you need to change the new stroke, as shown in STEP TWO. Use the little colour selector to change the second stroke in the palette (which is the stroke that’s behind the other one: the palette displays the stacking order of the path’s elements) to white, then change its stroke width.

The maximum amount you can increase the stroke by is twice the gap between your route lines — in this case, that’s four points (twice two), for a maximum width of 12 points. Any more than this, and the white stroke would start overlapping the Red line next to it. Normally, this amount is exactly what we’re after, so it’s not really a concern.

STEP THREE simply shows the result of performing the same steps on the Red line. Done! The advantage of this technique is that both strokes — being on the same path — can be moved or edited at the same time: there’s no need to fiddle around with two separate paths, one on top of the other.

And if you’re really smart, you’ll make Graphic Styles of these double-stroked lines, so that you can apply them again in the future with just one click.

Tutorial: Working with 45-Degree Curves in Adobe Illustrator

I got an request from an anon last week which asked: 

"Hey! Could you do a video tutorial on how to bypass Illustrator’s annoying round corners effect in case of 45 degrees? It would be a lifesaver!"

Now, while you’re not going to get a video tut out of me — I don’t have the resources, time or know-how to produce one of those — I can and will share my battle-tested personal approach to this problem.

As our anonymous friend says, the “Round Corners” effect in Adobe Illustrator is essentially broken when it comes to making transit maps. Because of the way it measures the “radius” of curves, it produces unexpected (and useless) results on curves that aren’t a bog-standard 90 degrees. I wrote in depth about this problem on my design blog a while back: I suggest you head over and read the article if you want to fully understand the issue at hand here.

The other problem with the effect is that it applies the same radius to every curve along the entire length of the path, which isn’t always what you want: a route line might be the outside line (a larger radius) at one corner, but the inside curve at another (a smaller radius).

So I’ve long since given up trying to fight the inadequacies of the “Round Corners” filter, and instead generate all my curves manually from a “master set” of curves that I create at the beginning of a project.

STEP 1 above shows a pretty standard initial set-up: four concentric circles that are aligned to the grid that’s being used by the map. Here, we’ve got a 10-point grid, and the four circles have radiuses of 10, 20, 30 and 40 points. The line thickness is 8pt, so there’s a nice 2pt gap between each route line. When you’re setting up your master curves, be sure to create enough circles to account for the maximum number of adjacent route lines you’ll have on your map. Often, it’s only two or three, but for my map of TGV Routes in France, I had to set up a staggering eighteen!

STEP 2: From here, it’s a simple matter to use Illustrator’s Scissor tool (shortcut: “C” key) on the existing anchor points in each circle to split them up into four 90-degree segments. I’ve moved one set of 90-degree curves away from the others so you can see what you should have. Keep this set for when you need 90-degree curves, then duplicate it so we can use what we’ve already created to create a new 45-degree set.

STEP 3: Draw a line using the Line Segment Tool (shortcut: “" key) that passes through the centre point of all the circles and crosses all the paths at a 45-degree angle. (Hint: start at the centre point and hold down the Option/Alt key — to extend the line equally in each direction from that point — and the Shift key — to constrain the line to 45-degree angles).

Use the Rotate tool to make a duplicate of this line that’s rotated 90 degrees. Select both lines and press Cmd/Ctrl-5 to turn them into guides. Make your guides visible (Cmd/Ctrl-;) and turn on Illustrator’s Smart Guides (Cmd/Ctrl-U). Then use the Scissor tool to cut each of your route lines where it crosses these new guide lines. The Smart Guides will help a lot by giving you feedback when you’re positioned correctly over the guides: a little “intersect” tool-tip (just visible in the STEP 3 screenshot at top right) will appear near the cursor. Click to cut when you see this and you’ll be golden. Repeat for each line you need to cut. You don’t need to have any paths selected to cut, just position your cursor, click and Illustrator is clever enough to work out what you need. You only need to cut these 45-degree points because we already cut the 90-degree points in STEP 2.

STEP 4 show the result. Again, I’ve moved one set of curves away from the others to show you what you should have: eight complete sets of 45-degree curves, ready for use on your map!

STEP 5 shows a common scenario where three separate routes go around a 45-degree curve together. Draw them so the separate segments for each line touch, but there’s absolutely no need to join the lines at this stage.

A note: If Illustrator took a leaf out of CAD software and included a “Fillet” effect, we could forego this entire workaround. You’d simply select each segment of a route line, invoke the filter, set a curve radius (an actual, proper radius!), and the software would then create the curve accurately and join the lines seamlessly for you, each and every time. After 17 versions of Illustrator, I’m really not holding out hope for this functionality any time soon, however…

Another note: decide which of your curve radiuses represents a “standard” curve and always use that curve when a single route goes around a corner. Then, decide what happens when you have two curves: do you use the next size up or down for that curve? And so on for each combination of curves. Always apply your curves according to the rules you set here — this is what gives your map consistency and visual flow. Don’t cheat and use a smaller or non-standard curve to make things fit!

Here, I’ve decided to use the three largest curves for my three route lines (I often feel that the smallest radius can be a bit tight and look ungainly, so I only use it when I really have to), and I’ve pasted in the appropriate curves from my master set (I’ve changed their colour to magenta to make them easier to see and place correctly).

STEP 6: It’s always easier to align the curves to the horizontal or vertical line segment first. Again, this is easier if you have Illustrator’s Smart Guides on. Drag the curves over by one of the left points, holding down the Cmd/Ctrl key as you do. This ensures that Illustrator provides you with the correct visual feedback that things have aligned properly. Be warned: sometimes, Illustrator reports that things are aligned when they’re not. Be sure to zoom in enough and check things out if you suspect things aren’t quite right.

STEP 7: Now align the right points of the curves with the 45-degree segment, by holding down the Cmd/Ctrl key and the Shift key (to constrain the movement) as you drag across. Again, Smart Guides will give you feedback when things are aligned.

STEP 8: Now that the curves are in the right place, you simply have to align the end points of all the line segments with the end points of the curves, then join everything together. Fortunately, Illustrator’s Join command s a lot less finicky than it used to be. You can now just use the “black arrow” Selection tool to select each segment and hit Cmd/Ctrl-J to join them all together in a logical progression. You used to have to select individual end points, two at a time, and tell Illustrator to join just those segments!

An approach I like to use is to leave all this curve work until the routes are substantially laid out. Then I place all my curves, delete the original straight line segments, and simply join all the remaining curves together. Because they’re positioned accurately, you know you’re going to get nice straight lines between each and every one of them! And it saves having to tediously move end points around until things line up before you join things together.

That’s it! If anything’s unclear, drop me a line or leave a comment and I’ll try to clear things up for you.

STEP 9 shows the finished result: beautifully nested 45-degree curves with no unnecessary additional points. Perfectly executed and reproducible across the entire map! 

——

UPDATE: January 2014: The latest update to Adobe Illustrator CC (version 17.1) basically makes this tip redundant through the introduction of “Live Corners”. If you’re making transit maps with Illustrator, this alone is a reason to upgrade to CC. Read my post about using Live Corners here.