Mapping Ditchling.

Ditchling is a pretty village, warm with half-timbered character, hugged by the Sussex Downs.  It has a long connection with the Arts and Crafts movement and was the home to printmaker Eric Gill in the early 20th century. I was very honoured to be asked to run a hand drawn mapping workshop at the award winning Ditchling Museum of  Art + Craft last weekend.

AEF238B2-A2BC-4D78-A209-23B43DC59225

As part of my workshop, I take my students outside to walk the territory of the location they are mapping (as far as is possible and weather permitting). How else can you understand where you are, unless you experience it personally? So, as preparation, I decided to walk the territory myself and hand draw my own map of Ditchling.

My initial sketches were rough. It’s hard to map on foot, especially in the rain. But what’s important is that the mapmaker marks the features he finds important, either by sketch, note or photograph. It doesn’t need to be perfect.

Back at the studio I hit more formal references, comparing my rough sketches with other paper and digital maps of Ditchling, including both OS and Google Satellite maps.  It’s always interesting to see where my maps differ from the others, and indeed, how they differ between themselves. It just goes to show that there is no such thing as the Truth.

Using all of the references, including my own, the map was drawn up using a gridding technique. It’s always at this stage that I, as the mapmaker, decide what features should appear in the map. The map is a personal understanding of a place, after all.

554BA71D-9CA4-4DC4-BD78-2A8B37F57077

For me, it was the black and white cottages and the jolly post office at the crossroads, the flinty church dating back to Saxon times with its rows of solemn trees and dark ancient yews. It was the Anne of Cleves House, slightly dishevelled; a ghost peering forlornly through the diamond paned windows. (She likes to keep doors open apparently.) It was the Bull Inn squatting confidently next to the car park and the rival White Horse, blustering it out manfully up the road. It was the Old Meeting House sitting amongst the haphazard gravestones of Quakers waiting for redemption, silent from centuries of peaceful prayer. And it was the Georgian brick house on the high street, once belonging to Eric Gill.

Who knew what sad and terrible things happened there…

4E046C21-F2D8-44A0-B10C-B19D23DAB50B

The Museum of Art + Craft was created to house some of Gill’s work and we were based in the studio there.  Although there was certainly no sinister atmosphere at all in either museum or village, his work and name seemed to be everywhere and I felt his presence permeated the place.  I still appreciate the simple beauty of his lettering and can’t quite connect the clean honesty of his work with his crimes. I wanted to echo something of his style in my map, nevertheless, and chose to do it by making the road system dark and picking out the lettering in white, as I had seen in some of his prints. But there, the similarity ends.

Cut to the workshop and each student had a different experience of Ditchling as we walked it’s green dampness. One took notes of bus stops and telephone boxes, of the shapes of fences and boundary lines, whilst another marked the signs of spring in the clumps of snowdrops and wild daffodils. Each eventually made a map of the Ditchling they alone had understood, felt and seen. Each map was stamped with their own personality. Very far from the industrialised digital maps that the Arts and Craft Movement would have railed against if it had existed today.

This slideshow requires JavaScript.

And so now, there exists 7 new maps of Ditchling, particular to an individual mapmaker and to a particular time. Although Eric Gill would have approved of a process founded on working by hand, I hope it was not his ghost who looked over us. I hope it was that other ghost, in the Anne of Cleves House,  perhaps slightly heartened that we had unlocked doors to get outside and walk the village. And heartened that we were firmly keeping the door open, not shut, on the craft of hand drawn mapmaking.

Advertisements

Book now for a place on my Hand Drawn Mapping workshop.

A very quick post to let you know that Wednesday is the last day you can book a place on my hand drawn mapping workshop at Ditchling Museum of Art + Craft on 10th March 2018. The workshop runs from 10.30 to 4 pm and includes refreshments and lunch. All materials will be provided.

AEF238B2-A2BC-4D78-A209-23B43DC59225

Hand drawn maps are a beautiful alchemy of form, fumction and artistry which express a view of a particular place at a particular time by a particular person. At the workshop you’ll learn :

– how to research your territory with notes and sketches
– simple gridding up techniques
– how to use negative space effectively with pattern, illustration or stories
– how to create decorative compass roses and cartouches
– how to design personalised feature icons and keys
– easy to draw but simply elegant hand lettering

74DBE8F3-69BB-4321-91A9-10439C3F0F5C.jpeg

Date: 10th March
Time: 10.30-4 pm
Address: Ditchling Museum of Art + Craft, Lodge Hill Lane, Ditchling, E Sussex, BN6 8SP
Telephone: 01273 844744
Email: enquiries@ditchlingmuseumartcraft.org.uk
Cost; £70.00 plus £2.58 booking fee. £70.00 if booking by phone.

Tickets: here.

 

 

 

A map to find your way through Valentine’s Day.

Valentine’s day comes but once a year, and love it or loathe it, you cannot avoid the commercial juggernaut that is the Valentine’s card, in the UK and US at least. Valentine’s cards have really only been around for a few hundred years but the sentiment of describing romantic love visually has been around for much longer… And sometimes through the (usually tongue in cheek) format of the map.

Our urge to understand the world through maps has been subverted to the concept of mapping emotional territory, skipping away from physical geography and heading, map in hand to the undulating but sometimes terrifying Lands of Love.

A_Map_of_Womans_Heart

This first map of ‘the Open Country of a Woman’s Heart’ was created in the USA some time in the 19th century by a ‘lady’. I have a suspicion though, that this was by a man with no high opinion of women. Clues lie in the geography of a place, ‘exhibiting … the dangers to travellers therein’.  Journeys need to be navigated through the frightening regions of Fickleness, Coquetry and Sentimentality. Oh – and there’s a steamboat that will take you from the Sea of Wealth to the Land of Selfishness.

John_Douw_Map_of_Matrimony_1827_Cornell_CUL_PJM_1043_01

The anonymous artist who created the next Map of Matrimony seems to have a more balanced view of relationships. Created in 1825, it looks like a genuine cartographical map at first sight but come closer, and you’ll see a land detailed with regions called The Vale of Gladness, the Region of Rejoicing and the Land of Promise. Don’t get too comfortable on your journey though, because you might also meet the Quicksands of Censure, the Coast of Desperation and the Mountains of Delay, inhabited by lawyers, apparently.

There are several other beautiful examples of these kind of maps and they were all inspiration for my own map of a heart. Mine is pure Romance with a heady dose of idealism. There is no cold cynicism here, despite an image based on a scientific diagram rather than the traditional icon. Yes, dear readers, that’s really what a map of my heart looks like. Even if I get grumpy when I’m hungry, I sure need a lot of sleep and I’ve got a thing about overhead lighting, the interior geography of my heart is still gentle. Perhaps a swim in the River of Realism might be refreshing as inhabiting those lands is never that easy.

a map of my heart200 cleaned up

So to all of the lovers out there, who cheerfully wander the ‘Meadows of Can’t Wait for the Next Time to Hold You’, I wish you safe travels.

But although my map may be idealistic, it was at least made with kindness so I send it as a Valentine’s card to those whose journey is harder. To those unrequited lovers who get caught in the ‘Rapids of Pining for the Unavailable’, to those with loves who are lost across metaphorical mountains, to those who have lost all hope and those who are simply working out if it’s OK to journey on their own. I wish you a very happy Valentine’s and an easy route to navigate whichever Land of Love you find yourself in.

Mapping the River Don.

One of the many projects that have come to me after Hand Drawn Maps hit the shops was a commission by The River Don Millowners’ Association. They needed a map of the River Don for a small publication about the history of the association and its philanthropic works. History and nature. Right up my street. Of course I said yes.

The River Don Millowners’ Association is a charitable organisation that was originally set up in the 19th century to protect the interests of local millowners. Although it closed in the mid ‘60s, its funds still existed. They were invested and the proceeds are now used for the benefit of the community, often for projects that celebrate industrial heritage.

So it was at the end of last year that I found myself poring over multiple OS maps of the River Don, stained by red brick industrial Sheffield, held at bay by the wilderness of the Peaks. Judging by the maps, it looked to be a beautiful place. Steep contours crossed the paper, occasionally interrupted by symbols for small woods and slashed by icy blue streams. Tiny villages clung to the windswept hillsides, their names hinting at the stories of the people who came before.

river don maps

I started by working out how my own map would fit on the page dimensions I’d been given, using the OS and Google satellite maps as a guide. Scale was an important issue. I used layout paper to roughly sketch the journey of the river, checking the features the client wanted were all included. There was a gutter going down the middle so I had to be careful that vital parts of the map didn’t disappear down the centrefold. A little creative mapping was called for because of this – some of the river tributaries became longer than they are in reality and allowed for the lettering to be read easily.

Eventually after a fair number of mis-tries, I had a workable map model and the drawing was transferred to my usual heavyweight watercolour paper.

Next came some research into the main features mentioned in the book; the mills and wheels, the bridges and smoking chimneys. I chose to show these in tiny oval vignettes – this format would pick them out against the background colour and allow for a variety of scales and viewpoints to look consistent. I loved reading about the history of the mills and looking at old photographs of both rural and industrial heritage.

More secondary features like the houses of Sheffield and the many trees were kept simple. I wanted there to be a hint of mid Victorian folk art about them so shapes are clear and perspective is flat.

One of the joys of hand drawn maps is being creative about the map ‘furniture’- the compass, the neatlines and the cartouche. I researched 19th century graphic design for some inspiration. Old metal signs found on industrial bridges gave me an idea for the shape of and lettering on the cartouche. Old printed pamphlets gave me ideas about the neatline corner decoration. These details were pared down from the usual Victorian decorative extravagance to match the simple feel of the rest of the map.

Once drawn out, the map was finally painted mainly using gouache. I like the blockiness that gouache gives me and hopefully it adds something to the flat, unnuanced naïve feel. Colours were chosen to reflect the greens, greys and blues of the Peaks combined with the reds, ochres and dusty tans of the settlements. The creamy paint was given free rein over the wide moors and details of windows, leaves and lettering were painted with a fine brush and a magnifying glass.

This was a very satisfying project to be involved in and gave me full-on permission to indulge my inner geek. I enjoyed learning something new about industrial history in Yorkshire and also how an association, built on the drive for commercial success and often battling with local communities over resources, slowly developed into a philanthropic organisation with the community at its heart. ‘Power and Philanthropy,  the story of the River Don Millowners’ Association’ by Anthony Swift is a fascinating read and is available to buy from Kelham Island Museum in Sheffield.

7BA82FC9-C5F7-41C5-9831-F8F3E96C2F66

A map of the stars – an early Christmas present.

Winter is upon us.  There’s frost in the morning, the light is a soft blue in the daytime. In the evening, the moon shines hard and white.  If you are lucky (and live somewhere in the wilds), on a clear night you can see the stars.  One of the highlights of my year so far was to see the Milky Way. I was lying on a sunlounger at midnight in the middle of the Dorset countryside looking up at the constellations and trying to remember their names. It really got me thinking about a map of the stars.

Man has documented the stars since the stone age but the age of the enlightenment saw a boom in astronomy maps.  I love how the traditional constellation forms were described through illustration  – no cold Scientific digital maps here.

 

V0025744 Astronomy: a star map of the night sky in the northern hemis

This historical astronomical map comes from the Wellcome Library.


My most recent map honours the historic tradition of charting the constellations and how they all fit together in the skies using not only notes as usual but images as well.

A Map of the Winter Constellations in the Northern Hemisphere (or Winter Star Map for short) is a circular map on midnight blue mount board.  It’s drawn in white ink and the original has been handfinished with genuine silver leaf to pick out the stars themselves (NB : the prints available are simple blue and white).  The notes tell some of the legends behind the constellations which vary from culture to culture.  What we see as the Great Bear can be understood as a wagon, a skunk, a canoe, a camel, a shark and even a coffin by other peoples for example.  Other notations include folk beliefs associated with the constellations and interesting facts about the history of astronomy and contemporary astronomical thinking.  Belief and the idea of the ‘fact’ is constantly changing as time gallops forward.

Giclee prints can be bought exclusively from ONCA Gallery in Brighton in person or online for £65.00.  They’re printed in archival ink on heavyweight paper and measure 40x40cms unframed, meaning they can fit into a standard off the shelf frame easily.

I’m pretty sure they’d make a great wintery Christmas present for someone forever wondering about the stars and the legends behind them.

TEDx, a Map of Brighton and more about Babies and Colour Science.

When I’m looking for some intellectual stimulation or inspiration, I often listen to TED Talks online, delving into subjects like Creativity or Motivation for example. TED was originally set up as a design and technology conference in 1984 but has now grown into an online media giant, freely flowing with talks on science, culture and any academic subject you can think of under the banner of ‘Ideas worth Spreading’. So it was with great honour to find one of my maps has made it to a TEDx talk.  TEDx helps independent organizers to create a TED-like event in their own community in order to ‘spread the ideas’ too. Smaller in scale but in an age of sharing, size doesn’t matter so much anymore.

This particular TEDx talk was held at the ISM University of Management and Economics in Vilnius, Lithuania this October.  The theme was “Question The Expected” and asked the 500 strong audience to be curious about their choices, beliefs and perceptions of the world.

IMG_3330

You may remember my involvement in September with the Baby Lab at the University of Sussex. In connection with that, the talk was given by Doctoral Researcher, Alice Skelton, who works there. Her research is particularly about colour perception in babies and how humans develop the use of language to talk about colour.
One of the largest projects Alice has taken part in is the Categories project, which looks at how infants below 6 months categorise colour. And by categories, I mean grouping colours into ‘red’, ‘blue’, ‘green’, ‘yellow’, ‘brown’ or ‘pink’ etc. There is a huge difference between a rich dark wine red and a bright perky pillar box red but in our culture we still group them together or categorise them, as ‘red’. In the study, babies were tested to see if they could tell the difference between colours without having the words for them, if they were categorising them and how they did it. The results will ultimately tell us how we talk about colour as adults.

It turns out that pre-language babies in the study could naturally distinguish 5 different colour categories. The suggestion is that distinguishing any further subtleties or disregarding some subtleties must come after language is learnt. Different languages divide up the spectrum differently- so some languages only have 5 main categories they group colours in but others use 6 or 7 or 8… English has 11 and Greek and Russian for example both have 12 categories.  The environment you are born into (and therefore what your community labels as important) teaches you names for colours, in which groups they are categorised and the subtleties in colours you are most able to distinguish.

The ability to see in colour is a skill that humans enjoy very much. It’s what allows us to appreciate great art.  But it’s a practical tool in our box too. We can find things at a distance more easily;  distinguish between objects (are you about to eat a carrot or a parsnip?); or highlight important features in a simple way.  And this is where my map popped up as an example on the TEDx presentation screen…

This map of Brighton (from Hand Drawn Maps) is designed as a sensory map. Instead of focussing on physical features in the town, I have mapped the smells you might encounter using simple coloured icons. Brown for the beer smell wafting heavily outside the many bars, pale yellow-green for the lemongrass smell lingering outside the Thai Restaurants and a dirty lilac for the smell hovering over the rubbish bins in the less brightly lit corners. The intensity of the smell is shown by the intensity of the colour. Sometimes the smells combine, shown by the colours lapping over each other.

Without being able to distinguish the subtleties of the colours I’ve used and categorise them, (as a red or a brown, for example), the map would be much harder to understand. Being able to distinguish those subtleties relies on your language and culture. So although it’s a fairly decorative art-map, leaning more on illustrative aesthetics than pinpoint accurate geography, you can only read it easily if you have the right words and your culture has taught you how to.

And that, my friends, is not art but science.

A BIG talk about illustration (and life).

The following is adapted from a 10 minute talk I gave to Brighton Illustrators Group (BIG) in July alongside 5 other illustrators and designers. I was asked to talk about something inspirational or what inspired me. BIG was established 22 years ago and exists to support and advise illustrators living and working in the Brighton area. It aims to promote the work of member illustrators, share professional advice and create a space to network. It’s a brilliant Brighton institution so it was an honour to be asked to speak. 

I’ve been illustrating for over 10 years now and work almost exclusively by hand in the field of children’s books and map making plus I have a developing hand lettering practice too. I occasionally use photoshop to clean up or remedy mistakes but in general have made a choice not to work digitally as a whole. I just prefer ‘slow illustration’ – the physicality of painting and drawing, getting messy, the jeopardy of making raw marks that might not be easily erased with the click of a button. And the mental discipline of planning and committing to colour before you put it on paper; you certainly need to be confident in your mark and colour choices.  And I like the feeling of having a physical object at the end of a project. Something tactile that changes subtly depending on the angle and lighting of your viewpoint.

This way of working isn’t fashionable, and doesn’t make it easier or faster but I’d prefer to make a living working by hand rather than a lifetime spent in front of a screen.

IMG_2570

A double page spread from ‘Seasons of Wonder’ by Julia Key.

Building draughtsmanship confidence has meant practising regularly. I go to life drawing sessions…

IMG_2583

… and also meet ups, drawing in pubs – observing and documenting the punters and barmen where stillness is no prerequisite and your subject can move at any moment. This has trained me to capture likenesses quickly and without self consciousness in a public place. I chose the next illustration to say how important it is to focus on your strengths and understand how they can be adapted for your business.

IMG_1098
I often post drawings on social media and, supported by my images on Twitter, I was contacted by a designer working for the prop department at the BBC. They needed some life drawings and also someone to act as a hand double for a costume drama. One of the actors played an artist and footage was needed of her hand sketching – which was where I came into it. My ability to draw portraits quickly in crowded places (in pubs or on set) was very useful. Privately, this commission became known as ‘The BBC Hand Job’….
This image was one of the results – a portrait of Anna Chancellor, well known for playing the character of ‘Duckface’ in the film ‘Four Weddings and a Funeral’ starring here in the drama ‘Mapp and Lucia’.

Since then, I have been asked to provide more drawings for the BBC’s adaptation of ‘Howard’s End’ which will be aired later in the year.

Another way to use drawing is lettering. I love typography of all kinds, especially if it’s been done by hand. The personality of the artist can be caught in the tiny imperfections and quirks of each letter, unfiltered by a font package. It really doesn’t matter if it’s not perfect.

IMG_2631
This envelope was made as part of a mail shot campaign sending promotional work to children’s book publishers. I’ve done this a few years running now – every envelope is different, takes some time and there’s not much room for error. But  I learn something new from each one and it allows me to be creative while doing a fairly mundane task. It’s important to keep broadening my skills and working out ways to make my strengths an advantage.  I’ve just finished creating another prop – a map – this time for a high profile Hollywood film. Unfortunately I’m not able to talk about it yet but it screens in the Summer of 2018. Notably, the designer specifically wanted something hand lettered and had looked at the lettering on my website before briefing.

Which leads me to the ultimate in hand lettering – signwriting. As I said, I try to keep adding to my skill set and recently went on a course in traditional signwriting in London. Although not strictly illustration, an understanding of graphic design is necessary. You need a good eye, a steady hand and it’s a very physical job. But it’s the physicality I love – the smell of the paint, the feel of brush on surface, the satisfaction of creating a beautiful straight line or perfect curve by the downward swoop of an arm. And again it provides a hint of risk, in that you can’t just nuke it with Photoshop if it goes wrong.

10331D42-374D-453B-A4A8-200614FFE25B

These are some circus style letters I painted on mdf as practice.

I recently created a window installation using hand painted and lettered signs for an exhibition. On the strength of the window display, I was contacted by the brand manager of a well known chain of restaurants asking to quote for some similar signs. Nothing came of it in the end but it’s serves as an example of how working to your strengths and thinking outside the box has the potential to lead to multiple diverse streams of work.

IMG_2890

I find challenges inspiring. When I first left university, I got a job in an antique print shop. I was a disaster and lasted about 3 weeks before I got sacked. But I came away totally inspired by early 17th century road maps – beautifully hand drawn and engraved with personality and soul. Fast forward some years later and during the last recession, I had a period of unemployment. I started to make my own maps to fill the time. They were never printed – just a vehicle for self expression which I saw as fine art and started to show in galleries. Each map was filled with notes about the place and sometimes line illustrations. They were all done by hand, sometimes directly onto the surface in ink.

IMG_1352

This map is part of a triptych I made as a result of going on an artist’s residency on a ship. I sailed for the best part of a month as part of the crew 1300 miles across the North Atlantic documenting whale sightings. This was certainly challenging for me because I thought I was going to die. Genuinely.

However, the challenge sparked creative ideas.  I couldn’t draw much due to the motion of the ship so I collected overheard stories and travellers’ tales. They became the basis for the maps alongside notes and drawings on how whales have been seen historically and how they have been mythologised and hunted.

As a result of my fine art mapping practice, I was commissioned to write a book on how to draw hand drawn maps, published in June by Thames and Hudson. The challenge here was whether I could both write and illustrate a 17,000 word book for adults within an super tight timeframe of 4 months. I loved every minute – especially the writing – but it did mean no social life over that time. At all. I had to write 500 words a day, every day, and complete an illustration every day and a half.  So much for ‘slow’ illustration.

IMG_2753

In summing up, I think it’s important to understand and cherish your strongest skills. Even if fashion dictates something else.  I believe in thinking outside the box in how you put those skills to use.  Learning and adding to your skill set, focussing on your strengths, is vital.  Accept challenges too and get out of your comfort zone, realising that they can be truly inspirational. Doing all these things can demonstrably lead to new work.

But most important of all, figure out what it is that gives you joy and is creatively stimulating in your work. Then find as many different ways as possible to keep doing it. It’s as simple as that.

I guess that counts for life in general.

 

 

The Making of an Exhibition Part 2

So my exhibition of Hand Drawn Maps has now come down and I thought I’d add a quick postscript with some pictures of the show and the private view. Over 65 people came on the night, there were a lovely number of sales and I think everyone had a great time!

IMG_2882

The window installation going up.

IMG_2890

The window installation in all its glory…

 

More photos of the window installation.

IMG_2888

The Gallery in the quiet  before the storm.

IMG_2885

Prints from the ‘Hand Drawn Maps’ book and an early visitor.

 

 

This slideshow requires JavaScript.

And the private view and launch in full flow…

 

 

 

The Making of an Exhibition.

It’s been a long hard slog of a month but finally the exhibition (my first solo show and book launch) of ‘Hand Drawn Maps’ is coming together…

I started planning the window display in late May. I wanted something to stand out, advertise the exhibition and get visitors in as the show only lasts for a few days….

These were the thumbnail prototypes for the window display:

 

I then chose a design in consultation with the gallery and created a very basic mock up on Photoshop…

A mock up of the window installation for the gallery using Photoshop.

Most of the signs had already been created but I had some hand lettering to do and some tweaking…

Red arrow looking slightly wonky before it got a strong and stable backing…

 

A ‘hand’ sign done by hand…

A sign I gave up on because of it’s illegibility….

That’s better. Something a little cleaner…

Next a few hours moving signs around till I got the best arrangement. It took longer than I expected and taking into account the gallery framing system, I used some easels and a wooden box….

Planning how the window installation will look in the studio…

Paperwork needed to be sent to the Gallery including a price list and my artist’s blurb. All done along with the poster and invite, also designed in late May. The latter were sent out to my mailing list and to free online listing sites locally alongside Facebook, Instagram (@helencannart) and Twitter (@helen_cann) in early June.

From this, I got featured in a lovely preview piece written by Peter James Field for the Brighton Source.

Prints had to be printed and framed images protectd with bubble wrap. Some trusty friends were organised to help me carry my framed pictures, prints and window installation signs to the gallery. They were amazing and on one of the hottest days of the year…

Trusty friends…

So now it’s two days before the exhibition. Advertising – check. Marketing – check. Delivery of artwork to the gallery – check. Paperwork to the Gallery – check. Beer bought for friends – check.

Fingers crossed that the show goes fine and is a fitting launch for ‘Hand Drawn Maps’. And hopefully more beer will be enjoyed in celebration.

Hand Drawn Maps

22nd-25th June

O N C A Gallery, 14 St George’s Place, Brighton, BN1 4GB

www.onca.org.uk

 

Pre-order ‘Hand Drawn Maps’ Now!

 

Back in the days of long hot summers, cold wars and leg warmers, there was a girl who loved to spend her time drawing, painting and making things. She created theatre back drops and put on plays; cut out paper dolls, designing wardrobes for queens and nuns (for some reason…); made tiny illustrated books carefully sewn down the middle with white cotton. She pricked her fingers, splashed paints and drew and drew and drew, absorbed for hours at a time. She used her hands.
She grew up and became an illustrator. The job she had dreamed about when she was little. Painting and drawing and making things for a living. It was the best job in the world and she knew she was lucky, despite the sacrifices made and the poor wages earned.
Time dialled forward. Times changed. Painting and drawing was not what the markets demanded. Do what you do but use a computer. Do it fast. Keep it clean. Vectors and clones and infills and pixels. No longer that rusted tin palette of paints, each colour once perfectly wrapped in silver paper. No more the pleasure of opening that box of coloured pencils and making curls of vermillion or aqua fall floorwards as you sharpen them. Gone, the collecting and prizing of patterned paper from all the edges of the world, cutting them neatly to shape and nudging them perfectly into place on a picture.
The girl stuck her heels in the ground and her chin in the air and said she was having none of it. She continued to make work the slow way – even if that meant she couldn’t turn ’em out quick and stack ’em high. She didn’t need to conquer the world and no use pretending that she would do as good a job on a computer as she could do by hand. Her illustrations were made traditionally, drawn out and painted on paper with an expert eye and using the highest quality materials. She cared about the finish of each one and made sure they were made to last and were beautiful objects in their own right. And she took her time, creating images with individuality and soul that would be hard to replicate in other ways.


And so the story dials right round to now. Finally, I have the advance copies of my latest book ‘Hand Drawn Maps- a guide for creatives’ in my possession. Publishing on June 8th by Thames and Hudson in the U.K. (European and American publishers to be announced…) , it celebrates the art and history of maps and explains the process of drawing a multitude of maps by hand. Each illustration has been made using paint, pencil, ballpoint or ink – materials that can be afforded by everyone and that give pleasure in the playing with. If you manage to get hold of a copy, I hope, like me, you can lose yourself in creating something beautiful by hand. Take your time, add some heart and know that it will last till the time dials round once again.

This slideshow requires JavaScript.

 

Copies can be ordered from Amazon now.