Earlier this year Anton Thomas finished his Wild World map—a hand-drawn pictorial map of the natural world on the Natural Earth projection—and prints and posters have been shipping out. I’ve covered Wild World before on The Map Room, but this is news I somehow missed at the time.1 But this week Anton’s project has gotten some fairly significant news coverage: first from The New York Times (paywalled) and then from CBC Radio’s The Current (not).2
The latest in Randall Munroe’s Bad Map Projection series on xkcd is perhaps his most evil yet: it turns all longitudes positive—i.e., it turns west longitude into east longitude, putting Quebec somewhere in Kazakhstan and the Panama Canal off Sri Lanka.
Anything mashing up maps and typewriters is guaranteed to get my attention (I have 37 of the latter and rather a lot more of the former). So I have no choice but to share R. J. Andrews’s “Typewriter,” an elevation map of California created on a manual typewriter.
Created by layering combinations of nearly 2,500 keystrokes (I, H, X, and O) with a 1953 Royal Quiet De Luxe typewriter on Masa 77gsm paper from Japan. Based on a California Albers projection at approximately 1:5,000,000 scale.
Pierre Novat (1928-2007) was another painter of panoramic mountain and ski resort maps working with the same techniques as Henrich Berann and James Niehues. Novat actually predates Niehues, and even Niehues’s mentor Bill Brown: his career ran from the early 1960s until his retirement in 1999. He mainly focused on French ski resorts; for the 1992 Winter Olympics in Albertville he pained a panorama of all the Savoie venues. In March 1992, France 3 aired this profile of Novat that explored his process; the above video relates to a 2014 exposition of his work. (All links in French; see this 2014 blog post from the Ski Adventures blog for something in English.)
A 1952 pictorial map purporting to show the locations of lost mines and sunken treasures in the Americas led L. A. Times reporter Daniel Miller, who acquired a copy of said map a few years ago, down two separate rabbit holes: one in which he unburies the history of the mapmaker, John D. Lawrence, who was colourful in a very California way; the other in which modern-day treasure hunters are prospecting at one of the locations shown on Lawrence’s map: Mount Kokoweef. Miller speculates as to what Lawrence knew about the Kokoweef site; me, I’m always skeptical about reading too much into maps like this, which are often retellings of retellings of stories. Still a fascinating story.
The Leventhal Map Center looks at poems on maps. Not about maps, on maps. “It just so happens that many of the maps in our collection have poems inscribed on them, in legends, around borders, and hidden away in overlooked corners. We find them primarily on pictorial maps, and the poems are mainly by men from the 20th century literary canon, but the maps they are on cover a wide geographic range.”
Anton Thomas gives us an update on the map he’s been working on for the past two years: Wild World. “With much ocean ahead, and Antarctica, I think it’ll take another year to finish. But most of the land is done. And prints of certain continents are already available, so the map is going well. It’s just . . . more complex and detailed than I ever dreamed.”
“When looking at maps, we should always be mindful of the question: Who is mapping what and for what purpose?” A new exhibition at the Museum Volkskunde in Leiden, in collaboration with Leiden University Libraries, Kaarten: navigeren en manipuleren [Maps: Navigating and Manipulating], which opened last month, gathers together contemporary art and antique maps from their respective collections to explore the question of truth and perspective in maps. One example: a “serio-comic map” from the Crimean war (in Dutch). Another video, also in Dutch. Runs until 29 October 2023. Tickets 15€ or less.
Geofiction involves creating imaginary worlds through maps—maps of fictional places, but without the story attached—and David Nuttall has been at it since the age of five. He says he’s gotten better since then (his gallery, sorted by medium: see if he’s right). One of his maps is featured in the new (6th) volume of the NACIS Atlas of Design; Nat Case writes about it here:
David’s maps do wear the sorts of stylistic suits of clothes “regular” referential maps use. They studiously use stylesheets from particular eras and schools of cartography. And the “places” mapped, like most historical fiction, has strong roots in actual geographies. The patterns of settlement and transportation, the way landforms relate to one another: David knows his stuff. And so this map, “Kjempsavor Ayars,” looks like the Faeroes … and the Shetlands, the Outer Hebrides, or the islands of Norway. And the map artwork looks a lot like a kind of map-making from the early mid-20th century, where old schools of hand-lettering and drafting met an ever-more-engineered modern world. But, and this is such a puzzle to know what to do with: It’s not actually of anywhere. There’s no stories to back you up about this bridge or that ferry route, the Viking history of that settlement or the modern fishing industry at that port. It suggests there ought to be a history like that, but it unexpectedly leaves you with that job.
The Atlas of Design, vol. 6, costs $25 and can be bought here; David’s shop is here.
The notion expressed in Monday’s xkcd, particularly in the alt-text—
OpenStreetMap was always pretty good but is also now really good? And Apple Maps’s new zoomed-in design in certain cities like NYC and London is just gorgeous. It’s cool how there are all these good maps now!
—is unexpectedly more on point than not.
In 2013 I wrote a screed saying that all online maps sucked: that no one map platform had a monopoly on errors. At the time Exhibit A for the suckiness of online maps was Apple Maps; since then, and particularly since 2018, Apple has been putting in the work. Not that they’re done, but still: the product is fundamentally better now than it was then. And it’s not like the other platforms have been idle in the meantime. No one platform is going to achieve Cartography’s ideal of the universal and accurate Map—that’s inherently unachievable—but better? I’ll take better.
Uncharacteristically for xkcd’s Bad Map Projection series, the Madagascator is actually totally legitimate as a projection. Not that it’s any less mischievous, mind.
Update, 3 May: Turns out there was more to this xkcd cartoon. See Mercator: Extreme.
A 1952 pictorial map purporting to show the locations of lost mines and sunken treasures in the Americas 
Out today from 
The Quarantine Atlas