“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.
I’m impressed by the work of fantasy mapmaker Priscilla Spencer, whose maps have illustrated novels by Seanan McGuire, Myke Cole, Jim Butcher and Saladin Ahmed, among others. Spencer’s maps push the boundaries of the default fantasy map style: some of them appear as they would in-universe, others adopt elements appropriate to the culture of the world being mapped. Making a note for future reference.
New from me on Tor.com this morning: “What Does a Fantasy Map Look Like?” This is the first of several planned pieces that will take a deep dive into the look and feel of fantasy maps: their design and aesthetic, their origins and inspirations, and where they may be going in the future. In this piece, I start by trying to describe a baseline fantasy map style—which, though it’s well recognized and often imitated, has not often been spelled out.
Edited by the historian of exploration Huw Lewis-Jones, The Writer’s Map is a collection of essays and maps that explore the relationship between maps and stories; the essays are written both by the creators of those stories—Cressida Cowell, Lev Grossman, Frances Hardinge, David Mitchell and Philip Pullman make appearances—and by the mapmakers who were inspired by those stories, such as Roland Chambers, Daniel Reeve and others. It also draws an important connection between travel and adventure stories of the past and modern fantasy, and explains why “here be dragons” is as much an attractant as it is a warning. Read my review.
Atlas Obscura is looking for your Dungeons and Dragons maps. “Not unlike the maps found in many fantasy novels, DIY D&D maps act as blueprints to imaginary spaces. Usually, once a campaign is complete, these maps get tossed out or put up on a shelf somewhere, but it doesn’t have to be this way! We want to help share your dungeon maps with the world.” There’s a form at the link, and instructions on how to share your map; they’ll post their favourites in an upcoming article.
If you missed Worlds Imagined, the imaginary maps exhibition at Texas A&M University last year, fear not. The 100-page exhibition catalogue is still available for download (if no longer in print), and while it doesn’t always show the entire map, it’s a hell of a reference, equal in scope and comprehensiveness to J. B. Post’s 1979 Atlas of Fantasy, only more up to date. The exhibition curators also put together a video tour: the full version (above) is 25 minutes long; there’s a three-minute quick tour as well.
Another excerpt from the forthcoming book The Writer’s Map, this time in the Guardian, in which three authors talk about their favourite literary maps: Robert Macfarlane on the map in Robert Louis Stevenson’s Treasure Island, Frances Hardinge on the map of Tove Jansson’s Moominland, and Miraphora Mina on the Harry Potter Marauder’s Map. In each case the maps are points of departure: Macfarlane gets all scholarly and theoretical, Hardinge and Mina more personal.
But computer mapping may be about to overtake hand-drawn illustration. John M. Nelson has created an ArcGIS style that does the very thing Dan Bell does by hand: emulate the maps of Middle-earth executed by Christopher Tolkien and Pauline Baynes. The style is called, naturally, My Precious: John explains it here and here, and demonstrates the style with this map of the Americas.
There are, of course, some flaws in this method: a mechanical representation of a hand-drawn style risks falling into the uncanny valley’s cartographic equivalent, especially when mountain and forest signs are clone-stamped over large areas. And to be honest I’m not a fan of the Aniron font: those letterforms were used in the Lord of the Rings movies, but never the books’ maps, and now they’re found on damn near every Tolkien-style map, and we hates it, precious, we hates it forever. But Nelson is basically emulating modern fantasy map practice: modern fantasy maps are invariably done in Illustrator, labels are computer generated rather than hand-drawn, and hill signs are clone stamped. Applying it to real-world maps, and GIS software, is new, but a difference in degree.
The Cartographers’ Guild, that online community of fantasy map makers, announced the 2018 winners of their Atlas Awards, which honour the best maps made by their members. It’s the second year of the Awards’ existence. Winners were named in eight categories, including best world, regional, city/town, hand-drawn, space, and structure and gaming maps; most original; and best overall map, for which there was a three-way tie between maps by Filippo Vanzo, John Stevenson and Katarina Božanić (see above). Click through to see the other winners and finalists: there is some extremely adept work on display there.
Last year Callum Ogden started making real-world maps in the style of fantasy maps; his most recent is this map of North America, which is very much in the post-Lord of the Rings-movies style of things. In this Medium post he talks about the process of making it.