Argentina-based PixelDanc3r’s animated pixel art map of the United States evokes 16-bit console video games of a few decades ago. It isn’t their first rodeo either: see this pixel map of Argentina from last year. [Boing Boing]
The Guardian profiles the work of Berlin-based paper artist Katrin Rodegast, in particular a project she created for the corporate magazine of ETH Zürich: a series of human organs made from Zürich city maps. The most difficult part of which for Rodegast, according to the Guardian, was finding actual paper maps to use as raw material.
Earlier this year I told you about Barely Maps, the minimalist map project undertaken by Peter Gorman, who in a series of posters reduced maps to their most cryptic and abstract state. He’s been selling prints on Etsy, but now Peter has launched a Kickstarter campaign for the next phase of his project: a book that collects 100 of his minimalist maps, along with the stories behind their creation.
Peter sent me a proof copy of the book. The cover is as minimalist as you might expect from such a project. The maps are familiar if you’ve been following the Barely Maps project: here they take up an entire right-hand page, with a brief description on the facing page.
Peter is using offset printing to produce this book, which requires a 250-copy minimum print run. Supporting the Kickstarter starts at $39, which gets you one copy of the book and free U.S. shipping. Higher tiers add map prints to the cart. As I write this post, the Kickstarter is about 88 percent of the way to its $10,000 goal.
I can’t believe that, other than a brief mention in 2010, I’ve never written anything about the cartographic artist Heinrich C. Berann (1917-1992), whose work includes panoramic paintings for National Geographic and, in his later years, for the National Park Service. (To be honest, they remind me of Jim Niehues’s ski resort maps, but that surely should be the other way around.) He also worked with Marie Tharp and Bruce Heezen to turn their physiographic maps of the ocean floor into works of art.
Some links: Kottke looks at his panoramic paintings; so did All Over the Map last year. Also last year, The Map Designer has examples from Berann’s entire career. This site is maintained by one of Berann’s grandsons.
Keith Myrmel, a retired landscape architect from Minnesota, has produced two maps of the Boundary Waters region that are proving popular with hikers and canoers. The maps—one of the Superior Hiking Trail, the other of the North Country Trail and Arrowhead region—are large (26 by 40 inches) and intricately hand-drawn. The Twin Cities Pioneer Press covered Myrmel and his work last June:
“It’s fascinating how many people are map lovers,” Myrmel said. He has an extensive collection of Boundary Waters Wilderness maps dating back to the 1950s. “I said, if I’m going to do this, I’m going to do this old-school style. It’s all by hand.”
Using pencils, markers and watercolor paint, he put down information from books, maps, the internet and personal experience on a 2-by-13-foot map. The process took hundreds of hours, he said.
Map illustrations. Illustrated maps. Pictorial maps. Map art. There are many different names for a form of mapmaking that is, to appropriate a phrase, “not intended for navigation,” but rather for purposes such as advertising and promotion, political propoganda, decoration, or simply pure art. You may not be able to find your way home with such maps, but that’s not to say they don’t have a purpose.
I’ve reviewed books about maps in this general field before. Stephen J. Hornsby’s Picturing America (reviewed here) explores the rich pictorial map tradition in the United States during the early and mid-20th century. The Art of Map Illustration (reviewed here), on the other hand, is a focused, step-by-step guide to the how of modern-day map illustration.
The Art of Illustrated Maps: A Complete Guide to Creative Mapmaking’s History, Process and Inspiration (HOW Books, October 2015) falls somewhere in between. Written by John Roman, it’s a book that talks about the creative process in considerable detail, and gives many contemporary examples of map illustrations, but tries to place that process in the context of the history of map illustrations.
Tim Wallace has amassed a ridiculous collection of map-themed advertisements from the pages of Fortune magazine. Hundreds of them, running in chronological order from the 1930s to the 1960s (when he ran out of steam). On a single web page. (It will probably never finish loading in your browser.)
“An Anciente Mappe of Fairyland,” produced by Bernard Sleigh around 1917, is a marvellous conflation of classical myth and fairy tales. Nearly five feet wide, it was apparently designed to hang in nurseries. The echoes of its design elements can still be seen in later fantasy maps and children’s book illustrations, such as E. H. Shepard’s maps of the Hundred Acre Wood and Pauline Baynes’s maps of Narnia, though none of them are this vibrant.
It was making the rounds a month or two back, probably because a copy was being offered for sale: Atlas Obscura, Kottke. High-resolution digital versions are available via the Boston Public Library’s Leventhal Center, the British Library and the Library of Congress; the Leventhal’s reproduction is is much more brightly coloured and in the best shape. The map came with an accompanying booklet.
Previously: The British Library on Fantasy Maps.
The Festival of Personal Geographies explores the use of art in creating personalized maps. Running until March 19 at several venues in Ames, Iowa, the Festival consists of an exhibition (“‘Index to a Place,’ an exhibition of prints, drawings and paintings that use the graphical languages of maps as a starting point in their creation”) and four workshops on personalized mapmaking. The event is organized by local artist Tibi Chelcea and hosted by ISU’s Design on Main Gallery. Free admission, free registration.
Among artist Jake Berman’s many map-related projects are a series of retro transit maps—modern maps, in a modern style, of transit networks as they were in the past. Above is one example: Los Angeles’s long-defunct Pacific Electric streetcar network as it was in 1926. Other maps include San Francisco’s cable car network circa 1892, the Chicago L in 1921, the New York subway in 1939, and more. Posters, naturally, are available for sale. [Atlas Obscura]
With Barely Maps, Peter Gorman has reduced maps to their most minimalist, and their most cryptic: a grid of abstract shapes that represent the geometries of states, neighbourhoods, subway stops or intersections. Gorman started desigining them a few years ago as a side-gig, he writes. “Then, last year, my print ‘Intersections of Seattle’ went viral, and I decided to make the map-based art prints a full-time thing. Now, as I get close to 100 original maps, my next project is to compile a book of my designs, along with the stories that inspired them.” The maps are available for sale on Etsy; the book, he hopes, will be available by the end of 2019. [Kottke]
We’ve talked about James Niehues before: the legendary artist has painted hundreds of maps of ski resorts and recreational areas since the late 1980s. I was excited to learn that he’s producing a coffee table book that includes all of his maps. It’s being crowdfunded on Kickstarter. Pledging $75 or more gets you a copy of the book; other pledge levels get you a high-quality print. Clearly there’s some interest: at the moment the project has raised more than $223,000 from nearly 2,000 backers, 28 times its target of $8,000, with three weeks still to go. [Kottke]
Creative Cartography: Since 2014, students of Ellen Meissinger’s Art on Paper class at Arizona State University have taken discarded maps from ASU Library’s Map and Geospatial Hub and put them to use as raw material for art projects. Every year since then those projects have been the subject of an exhibition hosted by the Map and Geospatial Hub: this year’s exhibition, Place and Space, opened on 7 November and runs until the 26th. (That’s next Monday. Get a move on.) [WMS]
Running until 23 December at the George Washington University Museum, Eye of the Bird: Visions and Views of D.C.’s Past is an exhibition of bird’s-eye views of the U.S. capital. Two new paintings by Peter Waddell specially commissioned for the exhibition—large, delicately detailed oil-on-canvas paintings that took two years to finish—serve as its centrepiece; paintings and artist are the subject of this Washington Post piece. [WMS]
Previously: The Albert H. Small Washingtoniana Collection.