December 10, 2013
We’re excited to announce the release of our new website (on our new website)! Much has been simmering since the first release of the Atlas of Design in October 2012. As you may be aware, our editorial team has taken on a new look with the inclusion of Sam Matthews and Marty Elmer as Editor and Assistant Editor, joined by the stalwart Daniel Huffman.
The past few months have proven to be challenging, as the Atlas moves toward the beginning of Volume II. Taking a look at the website we found ourselves struggling to provide deserved attribution for our Volume I authors while being able to focus on the upcoming edition. After many evenings of deliberation and procrastination we decided our previous website did not satisfy our needs moving forward.
With this, our new website was created. Now we are running a completely custom website that we can alter to our every need as we turn our focus on to future volumes. Creating the website, to be honest, has not been as challenging as most. How can it be with all these great maps?! Our content is completely driven by the beauty that was Volume I. Our subtle greyscale theme relies on the color and originality of the authors that made the first edition possible. Notice our newly-created Volume I contributor page, which attributes every author and map in the first edition. Soon, we’ll be announcing our Call for Submissions for the second volume, which will be completely integrated with our website to make it as easy as possible for you and your friends to submit your maps. Moving forward, this website will be host to some of the most inspiring maps around the world.
Thank you, everyone, for your continued support and interest in the Atlas of Design. Here’s to a big next step!
September 24, 2013
The Atlas of Design will be available for purchase at the NACIS 2013 Annual Meeting in Greenville, SC! To make sure we don’t sell out before you have a chance to grab a copy, send an email to email@example.com with your name and the number of copies you’d like, and we’ll reserve your order. By purchasing at the conference, you’ll save on shipping costs, and NACIS members also receive 25% off the cover price (regular $35).
If you’ve never been to NACIS, we highly recommend it. It’s a really fun time, with great people and great presentations on all aspects of mapping. We’ll see you there.
July 12, 2013
Friends of the Atlas,
As preparations get under way for the 2014 edition of our project, we wanted to let you know that we’ve had some staffing changes here at AoD headquarters:
- Tim Wallace has decided to step away from his role as Editor of the Atlas of Design. He took this project on in its infancy and carried it from an idea to a beautiful finished volume. We are all enriched by the results of his hard work and vision, and we thank him heartily for all of his efforts in bringing the project this far.
- Sam Matthews, formerly the project’s Assistant Editor, has agreed to take on the role of Editor, joining Daniel Huffman as the co-head of the 2014 edition of the Atlas. Sam’s enthusiasm, creative skills, and organizational abilities are already paying dividends, and we are very fortunate to have him aboard.
- Marty Elmer joins us as our new Assistant Editor. An illustrator, cartographer, and all-around great designer, Marty brings a strong and thoughtful creative vision to the team. His skills are going to help us build a better Atlas, and we’re excited to see what it will look like.
If you’d like to learn a little more about the folks behind the Atlas of Design, visit our Staff page.
July 1, 2013
Fellow map enthusiasts, the Atlas of Design needs your help! We’re looking for volunteer translators to help take our project to the next level, putting it squarely in front of a global audience.
The 2012 edition of the Atlas of Design, our bold little experiment, has been a great success. Our initial print run sold out quickly, and we brought it back for a second printing by popular demand. Now, as the remaining copies of the second printing sell out, we are starting to turn our attention toward 2014, when we begin the cycle again. Another edition, with all new maps representing the latest and greatest cartographic work from around the world. This time, we want more emphasis on that last part: the world.
We want to get the word out beyond the English-speaking world for the 2014 edition. We want more submissions from more countries, and we want to truly represent the global cartographic scene. But we need your help to do that. The Atlas is put together primarily by a small group of English-speaking volunteers based in the United States. We don’t have the language skills to reach out beyond the Anglosphere. If you’re fluent in both English and another language, we ask you to consider helping spread our message around the world.
We’re looking for volunteers who would be willing to put in some time over the course of several months doing the following:
- Translate the Call for Submissions into another language
- Help us handle any non-English email traffic. This includes when people write to us with questions about how to submit, when we expect to print and sell the book, and other random inquiries. It may also include more extensive correspondence with someone who’s been accepted to the book but who does not speak English. In that case we’ll need to work with them to get their final artwork submitted, get their permission to publish it, finalize credits, and get them to write an essay on their work.
- If a non-English-speaking creator’s work makes it into the final volume, translate their essay (~200-300 words) into English for the final publication.
- Help us spread the word about the project in other languages — short blurbs we can Tweet, post to Facebook, etc.
- Translate the sales site into another language
It’s difficult to predict the amount of work needed, since we’ve never done this before. This is a fairly small operation, though, and we’re not expecting that this is going to require a massive effort from our translators. We are not, at this time, planning on translating the entire final book into another language. We will continue to publish in English.
We’ve had a great response from a number of volunteers already, and we’ve presently got people to cover Dutch, Italian, Spanish, Bengali, Chinese, Romanian, French, German, Finnish, Japanese, Portuguese, Ukrainian, and Russian.
If you’d be willing to put in some volunteer time, beginning late this year and continuing through the fall of 2014, we’d love to hear from you. Please contact us firstname.lastname@example.org!
April 23, 2013
Back by popular demand, a second printing of the Atlas of Design is now available for purchase. Order yours today.
And tell everyone you know.
October 11, 2012
We’re honored to be featured on the Huffington Post Books page today. If you’re looking to read part of the book before you purchase, they’ve got an excerpt from the opening essay, and previews of several of the featured maps. Check it out!
October 8, 2012
For the third in our series of short interviews with Atlas of Design contributors, we bring you Cameron Booth, brilliant designer, transit map nerd and cartographer of U.S. Numbered Highways as a Subway Map. Cameron is a graphic designer, photographer and (d’uh) map-maker. He is a jack-of-all-design-trades, with experience in logo design, typography, and web design. He can be found on the web here, or if you are like us, you can just cut to the chase and follow him on Twitter.
Atlas of Design: We’ve reanimated Harry Beck’s corpse and he’s coming toward your house now. What will you guys say to each other?
Cameron: I’d tell him that I think his London Underground diagram is one of the foremost and influential pieces of informational graphic design ever, and is still in use today, adopted the world over by almost every transit agency and budding map designer. He’d just say “BRAAAIINNNSSS!” and then things would get a little awkward.
Click to preview pages 10-13.
AoD: Are transit directions on our phones making us better or worse as navigators?
Cameron: Judging by the outcry over the removal of transit directions from iOS6, it’s made us far, far worse. Apparently, we are now absolutely incapable of catching a train or bus – something that humans had been doing for almost a century before the iPhone – without a little gizmo to show us the way. Personally, I’ve successfully navigated many transit systems in the US and Europe using only printed maps and my own sense of direction, so I’m not actually all that upset about the loss of transit directions on my phone.
AoD: Where is D.B. Cooper?
Cameron: I’d tell you, but he said that I wouldn’t get my share of the cash if I did.
Yes, there will be more interviews as we count down to the official release of the Atlas! To keep up to date, subscribe by email or RSS using the links to the right, or follow us on Twitter and Facebook.
September 27, 2012
For the second in our series of short interviews with Atlas of Design contributors, we bring you Adam Wilbert, the mastermind behind Oyster Appellations of the Pacific Northwest, Sheet 2 of 4: Northern Puget Sound. Adam is a cartographer, photographer, teacher (check him out on Lynda!) and principal of cartoGaia. After seeing his work here and in the book, you will surely want to follow him on Twitter.
Atlas of Design: After the inevitable robot takeover, you are hired to teach cartography to our new digital masters. What is their first lesson?
You read that right. Stop doing that. I would instruct the robots to bring in more tactile emotion mixed with a helping of heart. Then I would point and laugh and increase my fees.
Click to preview pages 52-54
AoD: Why did you put this map on ice for a time?
Adam: I’m sure it’s the same with most cartographers—and freelance designers in general—that you always have some pet projects in the mix when a big priority and time-sensitive gig jumps the queue. So in part, this project got bumped because of that. On this map it actually gave me more time to work on new techniques involving actual real life brushes and ink washes and—gasp—paper. Real paper. Everything was eventually scanned into the computer and composited on screen through various opacity masks and overlays, but there is a human’s touch at the core of these maps, which is why I think they’ve been received so well.
AoD: This map was made to hang in an oyster bar you frequent. Are you planning on making maps for other kinds of food you eat?
Adam: I am actually really interested in the geography of food. At one level are the distribution channels that bring ingredients from the farm to our tables. Unfortunately, it feels like people are only interested in where their food comes from when there is a contamination event and it suddenly becomes very important to know exactly where your cantaloupe came from. One pet project I’ve been kicking around is to map the assembly of a hamburger, and look at how those patterns shift for various locations around the country.
At another level, the geography of food encompasses the French concept of terroir, or the “taste of place,” which I find equally fascinating. The idea is that unique combinations of temperature and soil chemistry and rainfall and all of the other elements that go into growing or raising food are expressed in the subtle variations of the end product. With oysters, these factors include the depth and temperature of the water, direction of the current, whether the oysters are raised entirely at depth, or if they spend a time in shallows. Resource constraints didn’t allow me to explore that with the oyster maps, (ultimately, the maps weren’t supposed to stand alone anyway as the servers at the Oyster Bar will use the maps to discuss growing conditions and how it affects the variety with their guests) but it’s something I’d like to incorporate into a future revision of the series.
Even more interviews are on the way as we count down to the official release of the Atlas! To keep up to date, subscribe by email or RSS using the links to the right, or follow us on Twitter and Facebook.
September 21, 2012
To give you all a chance to learn a little bit more about the brilliant folks whose works fill the Atlas of Design, we’re kicking off a series of three-question interviews with some of our contributors. Ben Sheesley, one of the minds behind Axis Maps, was kind enough to agree to be our first subject. Axis’ typographic map of Washington, D.C., is the first map featured in the Atlas, and you can see a preview below.
Atlas of Design: “Axis Maps” — isn’t that kind of a sinister company name?
Ben Sheesley: Yeah, but we always try to use our powers for good, not evil. The name really just comes from the mathematical and geometrical use of that word, as in ‘the earth revolves on its axis.’ We’ve always been more interested in cool maps than world dominance.
Click to preview pages 4-7
AoD: Myriad Pro — defend your typeface choice!
Ben: Narrow and condensed fonts are great for typographic maps because they allow us to squeeze more letters on a line (or in an area). This makes for a nice, dense overall look and feel, but perhaps more importantly makes it easier to read all those short streets with really long names. Myriad Pro is a huge family with a number of condensed and semi-condensed variants. I’ve also always appreciated its friendly yet professional personality.
AoD: When are you guys going to make some shaded relief maps with type?
Ben: I’ve toyed with the idea of a typographic shaded relief map but so far have been focused mainly on streets. Mapping colored numbers like this has some real possibilities, I think. At one point, I wondered if a hachuring-type of representation would be another approach, with heavier, denser labeling in the steeper areas. There’s probably other ways to think about it, too. I’d love to see someone make an attempt!
More interviews are on the way as we count down to the official release of the Atlas! To keep up to date, subscribe by email or RSS using the links to the right, or follow us on Twitter and Facebook.
September 18, 2012
So, a few weeks ago we announced the final selections for the Atlas of Design. Twenty-seven great examples of some of the world’s great cartography. Today we want to talk about how those selections were made.