The New York Times is collecting several maps on two web pages. The first page deals with subjects like rainfall, river level, current and historical hurricane tracks, damage reports, and cities and counties under evacuation orders. Maps on the second page look at Harvey’s impact on the Houston area.
Kenneth Field critiques the National Weather Service’s decision to add more colours to their precipitation maps (see above). “Simply adding colours to the end of an already poor colour scheme and then making the class representing the largest magnitude the very lightest colour is weak symbology. But then, they’ve already used all the colours of the rainbow so they’re out of options!”
NASA’s page on Hurricane Harvey has been updated many times, sometimes several times a day, since Harvey began its life as Tropical Depression 9 on 17 August. It includes plenty of satellite imagery of the storm, as well as temperature and rainfall maps.
I was three years old when this map was released. When I was at Moore Elementary (home of the fighting Armadillos!) in the late 1980s, and early 1990s, I specifically remembered this map because it was huge! The Natural Heritage Map of Texas is 4-feet by 4-feet, and it hung in the school cafeteria, to the left of the stage where so many school assemblies had occurred. The map is colorful, big and filled with animals. To be honest, at the time, the animals are what drew my attention, but the map always stuck in my mind because it was the first large wall map I had ever seen. More than anything, though, there was an ocelot in my face, and in the face of every other elementary student in the building who walked up to look at this map. At the time, I thought an ocelot was kind of like a mix between a house cat and a lion or a tiger, and a lion or tiger was really cool. I was hooked! I would always look at the ocelot, as well as the other animals, and the map, and think about what it all meant.
Texas Monthly has a piece about Christopher Alan Smith, who for the past decade has been creating original maps, mostly of Texas and Texas-related subjects. It’s been his full-time gig since 2008. Smith uses a mixture of pen-and-ink and acrylic paints:
I tend to follow the style of postage stamps and currency. I use a pen-and-ink stipple technique, which is a series of dots that create the illusion of halftones. Cross-hatching is another method, using lines instead of dots. I’ve also started using engraved wood to give the maps a layered, 3-D look. For example, on my Thirteen Colonies map, I illustrated the coastline on two layers of hardboard.
Running from 29 April to 5 September 2016 at the Witte Museum in San Antonio, Texas, Mapping Texas: From Frontier to the Lone Star State “is a once-in-a-generation, collaborative exhibition covering nearly three hundred years of Texas mapping. The maps, dating from the sixteenth through the nineteenth centuries, document the birth of Texas, the evolution of the physical and political boundaries of the state and the rise of the Alamo and San Antonio Missions.” [WMS]
A copy of an 1853 map of Texas by Jacob de Cordova found in a $10 box of ragtime sheet music sold at auction last weekend for $10,000. The map, once owned by surveyor James M. Manning, who died in 1872, was bought, along with a related letter, by Texas A&M University—Corpus Christi, whose library houses the Manning papers. [via]