OUGD502: Contacting Map Designers

Throughout the year I have found myself growing more and more interested in map design, particularly how a map is created for accurate use and representation. I have incorporated maps into two projects now (Mancuria Ans artwork and the Paris/Madrid/Tokyo zine collection), possibly inspired by Paula Scherr, and want to improve my skills and knowledge around this topic. I remembered a peer in Level 4 mentioned how her parents were map designers so I managed to get the email address of two professionals, who use to work in the field of map curation. I've learnt that often 'its not what you know, its who you know', so decided to utilise these contacts.

I contacted Ruth and Paul Johns from Surry via email, introducing myself and asking for advice on how to solve this problem to improve my work in the future. The advice given was really useful, related to 'cartography' (the act or science of drawing maps). I wanted to see their experience from a traditional practice point of view, informing my own understanding of how cartography has developed throughout the age of digital means, and how these rules could be broken to create postmodern aesthetics.

I tried to keep the emails friendly and upbeat, introducing myself professionally and outlining a commonality- Hannah, hoping this would increase their chance of response. It's been clear from listening to professionals that they love having their ego's stroked, so interest and bit of flattery is sometimes key in securing a honest connection and then a reliable contact.

History

Ruth outlined her experience at the Department of Environment, starting with a 6 month training course, learning techniques, history, types and styles of mapping and printing methods. In the late 1978/79, Ruth and Paul produced maps for new road proposals, showing river pollution, change of boundaries, planning applications, conservation areas. Ruth also had a hand in the production of an extremely detailed geology map and later produced maps of the north sea for oil and gas companies to show potential areas of oil stikes. 

Ruth discussed how graphs, charts and diagrams were used to illustrate white and green parliamentary papers, which were all calculated into % of 100 and then the % of 360 degrees. (Not just pressing a button like nowadays). This aspect of ratio control is something I'll need to investigate more as maths is definitely not my strong point, and with the emphasis being on numeric proportions it is imperative the numbers make sense. 

Ruth & Paul worked at small and large scale (1:50, 1:10,560 and Ruth's favourite ratio up to 1:250,000.) Ruth also discussed OS maps, which were often used as a base when recreating new map designs.

They used maps and the concept of these proportions to illustrate census information, but "by the time we had created them were probably out of date!, I think these are the thematic mapping you were referring to." (Thematic being having or relating to subjects or a particular subject, much like product range distribution).

Later in her career Ruth opened up a private firm where she learnt to scribe, using various width chisel points in a Cartograph (a tripod with a flowing movement to get flowing lines). The chisels were also in pairs so various road widths could be ‘drawn’. If the chisel was not used correctly the lines were not parallel highlighting the importance of accuracy. 

The Traditionalist Cartography Process

- Drawing with Rotring technical pens, on matt plastic surface to create the maps using graphos and mapping pens. This is where ink is applied between two nib surfaces, and constantly reapplied. Very dense black perfectly uniform line work was required to create the maps for The Dept of Environment. 

Ruth discussed how "right angles meticulously scratched back with scalpels under an eye glass or linen testers" to achieve the perfect 90degree angle.

- From the positive outlines of road, rail, buildings and height contours, this then went to our photography department where a negative image was created. Each of the above mapping elements would be finally printed in a different colour so each element was drawn on a separate sheet and a separate negative was produced for the printer. Registration was therefore very important. Ruth said how they used a Kodak pin register system, which had 2 small and one elongated pin for improved accuracy. In todays world, surely there must be a digital tool for this, or simply using guide maps on Adobe Illustrator.

-  Text was mainly done using Letarset or Mecanorma, despite access to a type setting machine (not letterpress) which allowed Ruth to choose from a limited font style and point sizes. Ruth said how the text came on a "very thin plastic surface with wax and mounted on a thicker plastic backing". This was then cut using surgeons scalpels and placed in position on the plastic sheet. Other ways of applying typography was using the Leroy stencil lettering system, so cartographers had to have a good judgement of typographic design principles such as kerning and leading, as well as great attention to detail.

- Tones and patterning could be added with the above companies sticky backed screen products. 

- Architectural elements, stripes for shading and different dots were added say to give the gradations of contour heights.

- For areas of colour the pen lines or scribed sheet were sent to the photo department to produce a 'peel coat'. A separate peel coat was required for each colour and was simply peeled off, yet was terribly expensive to use. Alternatives to this also remain through colour separations and RIP functions on Photoshop. Through traditional processes, instructions to the printer would be a % dot screen at either 30, 50 or 70 degree angles. If the incorrect angle was used a moiré pattern occurred and had the potential to ruin the map.

- Maps were also obtained by the use of Photogrammetry, where the use of photography is surveying and mapping to ascertain measurements between objects. To use this technique, the designer needed to view 2 aerial photos through the photogrammetry machine, which allowed the photogrammetrist to trace a line of equal height to obtain accurate contours. Ruth guessed this was developed from the military and is probably still used today.


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The brief history of Cartography was really useful as it allowed me a greater understanding and wider knowledge about map creation and what aspects of accuracy I need to focus on in the future. I plan to stay in touch with Mr & Mrs Johns for further advice and feedback when venturing on more map related problems, I emailed them back to thank them for the information, maintaining a friendly personality to professional contacts. I have learnt from this that the traditionalist process is very long winded, yet the elements of accuracy are extremely important. I do enjoy hand rendered processes, yet going through the steps of scribing and individually coating lines seems unnecessary with Adobe Illustrator, reducing this process time. I am interested in how typography is integrated within map process, previously relaying on Letraset or Letter press selections. Incorporating Paula Scherr's thought process maps can be used to convey inaccuracy as well, but it is interesting to learn the rules in order to break them (just like modernism/postmodernism).