#cartographie_manuelle

Start with the Map: David Mitchell on Imaginary Cartography | The New Yorker

▻https://www.newyorker.com/books/page-turner/start-with-the-map

https://media.newyorker.com/photos/5b93042ebc66792cd5fab55d/master/w_774,c_limit/Mitchell_Imaginary_Cartographynotebooks_003.jpg https://media.newyorker.com/photos/5b93042f01fe0d4c650956cb/16:9/w_1200,h_630,c_limit/Mitchell_Imaginary_Cartography_Hereford-mappamundi-whole-digitally-restored.jpg

The book that first set me on my way was “Watership Down,” by Richard Adams. I was nine years old when I read it. Basking in its afterglow, I plotted an epic novel about a small group of fugitive otters—one of whom was clairvoyant—who get driven from their home by the ravages of building work, and swim up the River Severn to its source, in Wales, where they establish an egalitarian community called Ottertopia.

As any child author can testify, you can’t begin until you’ve got the map right. So I traced the course of the River Severn from my dad’s road atlas onto Sellotaped-together sheets of A4. Along the looping river, I drew woods, hills, and marshes in the style of the maps in “The Lord of the Rings”: blobs with sticks for trees, bumps for hills, and tufts for marshes. What about toponyms, though? Should I use existing human names, or make up Otterese words for places like Worcester or Upton-upon-Severn? Would otters have words for motorways or factories or bridges? Why would they? Why wouldn’t they? Never mind, I’ll sort that out later. I spent hours on that map, plotting the otters’ progress with a dotted red line and enjoying how nonchalant I’d be at school the day after my unprecedented Booker Prize victory. I’m sure I managed at least half a page of the novel before I got distracted.

#cartographie #esquisses #recherche #cartographie_manuelle #cartographie_imaginaire #imaginaire

The incredible #Bollmann map workshop (1) – Infographics for the People

▻http://www.johngrimwade.com/blog/2017/03/27/the-incredible-bollmann-map-workshop-part-1

http://www.johngrimwade.com/blog/wp-content/uploads/2017/03/köln_detail.jpg https://i2.wp.com/www.johngrimwade.com/blog/wp-content/uploads/2017/03/jan.jpg?w=1200

On the 18th of November last year, I stepped into a time tunnel, and stepped out into the offices of Bollmann Maps in Braunschweig, Germany. And I mean that in the best possible way. These cartographers produce all of their maps with the same methods that have been in use since 1963. Everything is hand-crafted. The production process is completely analogue. They use pen and ink on overlay film, photograph it with a classic 1950s line art camera, and print on their own 1965 printing press. (Bollmann Maps: www.bollmann-bildkarten.de)

#cartographie #cartographie_manuelle #dessin #illustration #visualisation

Manual Shaded Relief of the World

▻http://shadedrelief.com/manual_relief

This page describes a generalized shaded relief that I drew, intended for making small-scale maps of the world and continents. The relief image registers with Natural Earth vector data. It is available as a grayscale GeoTIFF (10,800 x 5,400 pixels) in the Geographic projection. The shaded relief is without the blue drainages and water bodies shown in the examples above.

Where to get it

Go to the Natural Earth website.

Why manual shaded relief?

Automated relief shading methods do not produce acceptable shaded relief at very small map scales. The problem is generalization. High-resolution elevation data when rendered yield shaded relief with excessive detail—at small scales mountain ranges look like gritty “sandpaper” textures

#cartographie #relief #visualmisation #cartographie_manuelle :)