If you’re interested in maps as art, you probably already have copies of books like You Are Here and The Map as Art, excellent collections of map art curated by Katharine Harmon (if you don’t have these books and you’re interested, now you know; off you go). If, on the other hand, you’re a crafty sort and are interested in making art with maps—whether as raw material or as theme—then a new book by Jill K. Berry, Personal Geographies: Explorations in Mixed-Media Mapmaking, may be worth your attention.
Personal Geographies is a short guide to making maps about personal subjects using the techniques of mixed-media artwork. Let me unpack that a bit. Mixed media involves combining several different art forms: paint, pen and ink, photography, collage; different materials and textures. Berry, lists as supplies a number of different kinds of paper and cardstock; pencils, crayons and paints; adhesives; tools; and embellishments like ribbons.
These are the raw materials. Berry chooses as her theme so-called personal geographies, broken up into three chapters: maps of the self, in which the personal is mapped to pictures of the head, the hand, the heart or the body; maps of personal experiences, such as trips; and art pieces made from real and fictional maps. Each lavishly illustrated chapter gives sample projects with step-by-step instructions; each chapter also collects map projects from a number of different artists to show you what else might be possible.
I received an electronic review copy of this book.
Last week I received in the mail a review copy of Derek Hayes’s latest book, the Historical Atlas of Washington and Oregon. Now, except for a day trip to Mount Baker in 1993, I haven’t so much as visited either state, so my review is not as informed as a local’s could be. What I can say is that this is the latest in a series of historical atlases by Hayes, whose previous works include historical atlases of North American railroads, California and the U.S. in general, among others. It’s an attractive and reasonably priced hardcover, densely packed with contemporary maps.
On that point: Hayes uses actual, contemporary maps to describe the period. This differs from what I usually expect from historical atlases, which use modern cartography to display historical information. I’m not entirely convinced of Hayes’s method: contemporary maps may not necessarily be accurate; and they’re frequently reproduced at a scale too small to be of any informative use; and the map needed to tell a story may not always be available. But when considered as a thematically and chronologically organized collection of antique maps, it works very well indeed, though I think several subjects, such as the period before European (or as Hayes puts it, “EuroAmerican”) contact, get short shrift.
Still, I cannot emphasize enough the wealth of cartography on display here (Seattle, Tacoma, Portland and the Pacific Northwest rail lines get particularly lavish treatment); this is the sort of thing that would do well as an iPad app or enhanced ebook, where you could zoom in to a full-scale reproduction of all these maps.
Maphead isn’t really (or just) a book about maps; rather, it’s a book about the people who obsess about matters geographical, including maps. The subject is pretty broadly defined. He begins straightforwardly enough. After a chapter on spatial awareness, Jennings looks at the scandal that erupted when a University of Miami professor discovered his students couldn’t locate anything on a map, and at map literacy in general. There’s a chapter on borders and placenames. But things really get cooking when Jennings turns to things people do. A chapter on map collecting. On maps of imaginary places. The National Geographic Bee. Roadgeeking. Geocaching. Even the Degree Confluence Project.
In its cheerful enthusiasm for all things map, Maphead reads a lot like Mike Parker’s Map Addict (which I reviewed in 2009). This is a good thing. Like Map Addict, Maphead covers a lot of what for me is very familiar ground: I sometimes felt like I was reading my own blog archives, which is something I felt while reading Map Addict. But then Jennings goes and finds something I didn’t know, like the fact that Borges’s “On Exactitude in Science” was not the only work to play with the idea of a 1:1 scale map: Lewis Carroll and Umberto Eco did it too. Ken Jennings has managed to pull off a minor miracle: a profoundly erudite, well-researched book, written in a breezy, accessible and downright witty manner that is invariably entertaining. A pleasant book that you should look at, if you have any interest in maps.