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.
Holy cow—if you like fantasy maps, spend some time looking at New Orleans. WHAT IS EVEN GOING ON WITH THIS CITY?! If this came in from a freelancer, there are half a dozen things that would raise my eyebrows. pic.twitter.com/ApqYYWlE8d
It had never occurred to me to draw a map. I had written a story that wasn’t an epic, high-fantasy journey across nations. Why would I draw a map? Maps are for bigger stories, right? How does one go about drawing a map? I stayed up that night googling cartography. My search was not fruitful. I tucked that particular insecurity into the part of my brain where I catalogue all my shortcomings as a writer, and I did my best to forget about it.
Imagine, then, my abject horror when my River of Teeth editor, Justin Landon, sent me the following message: “oh hey, btw, do you have a rough map you’ve done for RoT?”
I said no, and he asked me to put something together. I hedged heavily, hoping that if I said “I will probably do a bad job” enough times, my editor might say “oh, ha ha, just kidding, I would never make you do something this hard! Please, go enjoy a cocktail.”
Reader, he made me do a map. I gritted my teeth, grabbed a piece of paper and an existing map of Louisiana, and braced myself for despair. You’ll never believe what happened next.
Landmarks: Maps as Literary Illustration, an exhibition of literary and fantasy maps at Harvard’s Houghton Library, is free to the public and runs through 14 April 2018. “Presented in conjunction with the bicentenary of the Harvard Map Collection, this exhibition brings together over 60 landmark literary maps, from the 200-mile-wide island in Thomas More’s Utopia to the supercontinent called the Stillness in N. K. Jemisin’s The Fifth Season. Visitors will traverse literary geographies from William Faulkner’s Yoknapatawpha County to Nuruddin Farah’s besieged Somalia; or perhaps escape the world’s bothers in Pooh’s Hundred Acre Wood.” Atlas Obscura has more on the exhibition, along with a selection of some of the maps it presents. [Tony Campbell]
Maps of real places done up in the style of fantasy maps are a thing, as those who have been following along will know by now. I’m planning a dedicated page on the subject in the Fantasy Maps section. That page will have to include Dan Bell’s maps of the Lake District—maps, he says, “that resemble the iconic style of J. R. R. Tolkien.” His maps have suddenly got a bit of media attention, which is atypical for this sort of project: BBC News, The Westmoreland Gazette. They resemble more the maps done for the Lord of the Rings movies than the maps created by Christopher Tolkien or Pauline Baynes: one tell is the triple-dot diacritic above the a, which is used in the movie maps and comes from Tolkien’s Elvish script. Bell, a 25-year-old “ordinary guy” from the Lake District, is selling prints of the maps online. [Kenneth Field]
Cat Rambo livetweeted some of the good bits from the online class on creating fantasy maps she taught with Alex Acks and Paul Weimer earlier this month (see previous entry), using the #mappingfantasy hashtag. Most of those good bits were common sense worldbuilding advice; by and large the intended audience is authors creating their fantasy worlds. They’re the ones who benefit most from basic geological or geographical advice, such as:
I’ve said it before, and I’ll say it again. If fantasy map generators can produce a map that is at least credible in comparison to the human-made product, what does that say about that human-made product in terms of the imagination and creativity that went into it?
On Obsidian Wings, a post on why I need maps in fantasy novels: “Two books I recently read made me realize that I don’t just like maps, they’re part of how my mind works. For me, a map is a type of memory palace, linking up all kinds of information for easy retrieval. Without one, I don’t just feel lost, I feel dumb—because my memories are disorganized and harder to recall.” An interesting take on the usefulness of fantasy maps. [Skiffy and Fanty]
Join Alex Acks and Paul Weimer as they talk about fantasy maps in order to give you the tools you need to create and map your world. Topics include basic geologic principles, common mistakes, forms maps can take, how maps reflect world view, and how maps change over time.