Fantasy cartographer Jonathan Roberts is profiled in a short, paywalled piece in Crain’s New York Business. (Winter Is Coming has a summary.) Roberts is, among other things, the artist behind The Lands of Ice and Fire, the boxed collection of 12 maps of George R. R. Martin’s Westeros. Things I did not know about him: he has a Ph.D. in physics, works as Dotdash’s chief innovation officer—and was given all of 12 weeks to complete the maps for The Lands of Ice and Fire. [Cartophilia]
Previously: A Q&A with Fantasy Cartographer Jonathan Roberts.
50 Fantasy States is Chris Engelsma’s ongoing project to create fantasy-style maps of all 50 U.S. states. Six have been completed so far, including the above fantasy map of Alaska.
This post describing how to make a fantasy map using macaroni has been making the rounds of Tumblr for a while—it was first posted in January 2014—but it just got picked up by Tor.com recently, so let’s talk about it. The point of the post is how quick and easy it is to make a good looking fantasy map:
LOOK AT THIS WONDERFUL PIECE OF SHIT IT TOOK ME LITERALLY TEN MINUTES TO MAKE TOPS AND NOW YOU JUST NEED TO FIGURE OUT WHERE TO PUT ALL YOUR DWARF-FUCKING ELVES AND LIZARD-PEOPLE WITH BOOBS
(All caps in the original. Yes, it’s like that throughout. Sorry about that.)
But it seems to me that its quick-and-easy appeal is also an indictment of the fantasy map making process—just like the Uncharted Atlas bot (previously), which demonstrates that fantasy map terrain can be algorithmically generated. They do not, in other words, require much in the way of human imagination.
Meanwhile, on the Atlas of Ice and Fire blog, Adam Whitehead has a look at the maps of the Malazan world. Originally co-created by Steven Erikson and Ian Cameron Esslemont as the basis of a role-playing campaign, the Malazan world is the setting for multi-volume fantasy series by both authors.
Once again, Tor.com is marking the publication of an upcoming fantasy novella, this time The Dream-Quest of Vellitt Boe by Kij Johnson, with an essay on how the book’s map, executed by artist Serena Malyon, came into being. Malyon takes us from the author’s own map through several iterations of what ended up as the final map. The end result is a unique take on the fantasy map style, marked by the use of watercolours and perspective, backgrounded by a constellation-filled sky. Amazon (Kindle) / iBooks
Previously: Mapping The Drowning Eyes.
Quartz’s Corinne Purtill has a Q&A with fantasy cartographer Jonathan Roberts, who drew the maps in The Lands of Ice and Fire (see my review). Roberts has a lot of interesting things to say about his work, the differences between the Game of Thrones TV show and the books, and fantasy map design in general. (I spoke to Purtill a few days ago while she was preparing this piece, and did my best to offer some background on fantasy maps in general.)
Jared Lando’s How to Draw Fantasy Art and RPG Maps (Impact, August 2015) is a step-by-step guide to fantasy cartography. That it professes to teach how to draw “authentic fantasy maps” is as clear evidence as any that fantasy maps have a clearly defined style that is difficult to deviate from. This is a book I need to track down, stat. Amazon, iBooks.
In a blog post, Bradley Beaulieu describes how he worked with artist Maxime Plasse on the map for his fantasy novel Twelve Kings in Sharakhai (published in the U.K. as Twelve Kings). “There’s been a lot of back and forth to get things from my very rough starting point to the final version, so I thought I’d share some of it to give you a sense for how the process typically works.” I am, as you know, a sucker for process; Beaulieu takes us from his own map, which he generated with Fractal Terrains and Campaign Cartographer, to Plasse’s final, full-colour map (above). [via]
Twelve Kings in Sharakhai: Amazon (Canada, U.K.) | iBooks (U.K. edition)
To mark the publication this week of a new fantasy novella, The Drowning Eyes by Emily Foster, the artist hired to create the map, Tim Paul, wrote an essay on how he did it. I’m struck by the lengths he took to “avoid making the map look too European” and by the careful consideration of what a map from that world should look like, which is almost unheard of in the fantasy map business, where maps invariably conform to a very specific style. The end result is a map that evokes portolan charts, replete with windrose lines and looking like it was drawn on vellum. As fantasy maps go, it’s one of the finer executions I’ve seen.
Amazon: paperback (Canada, U.K.), Kindle (Canada, U.K.) | iBooks
For the audiobook version (Amazon, iTunes), the publisher has taken the map and made it interactive: clicking on a location gives you an excerpt from the book. It might not quite be “[the] newest in map technology” but it’s a small and interesting innovation as far as fantasy maps are concerned.
This Book Riot piece on fantasy maps from last September touches on a number of subjects I can never get enough information on: the editorial decision on whether to include a map, how one becomes a fantasy map maker, what information from the author does the map maker have to work with, how the maps are created. Practical subjects, in other words. Includes quotes from two people in publishing and two map makers: Tim Paul and Rhys Davies. [via]
Previously: Robert Lazzaretti, Fantasy Mapmaker; Mapping An Ember in the Ashes; How to Make a Fantasy Map.