Istanbul

I did this map for the contents page of the special Istanbul issue of Das Magazin in Zurich. The art direction was by Christian Haas at Raffinerie. It's interesting to do a map of a place I've never been to in a language I've never been able to read. But it turned out rather well, I think. I especially like the letterforms I created, and the varied size and heft of them. I'd still love to visit sometime. I've read about the place enough, I think I'd know my way around.

My debut in Rolling Stone

Thirty years ago I sent an envelope full of xeroxes to the art department at Rolling Stone. They liked the art enough to publish quite a few of my little maps and squibs on the letters page in 1981 and 82. A nice gig, but I was never named gardening editor, never met Hunter Thompson. My style has evolved quite a lot since my salad days.

A Campus Map

Maps are usually contained inside rectangles, and over the years I've become adept at decorating those rectangles, but once in a while a map is needed for an odd shape. It's fun when this happens. It's especially challenging when the shape doesn't match the landscape being set into it. Distortion is a useful tool, one mapmakers use all the time; after all our continents are inscribed on a globe, not a flat sheet. Catalone Design needed a map to go on the inside of a fold-out box designed to contain Q&A cards. I thought it was interesting that the shape is cruciform; the client was a Jesuit school. There is a bit of Ludwig Bemelmans and Abe Birnbaum in the handling of the buildings and the patterning in the trees. A nice piece altogether, thanks to the art direction of Lisa Catalone.

Cartography and Beer

I did this map a few weeks ago for the Washington Post. It did not require traveling to all of the places noted or drinking all of the beers. (And, yes, I realize that Europe and America are not this close together, Europe is not this large, and Africa and South America do not overlap.)

The Geography of Christmas

I did this as a black and white map first. I published a black and white card line for several years, and still like doing plain, unelaborated line art. But Graphique de France asked me to do some cards for them and this was one that I thought would look good in color. I also did maps of London, Paris, New York, San Francisco and Los Angeles for them. The geography of Christmas required some invention. I especially like the town of Yes, Virginia. As in "Yes, Virginia, there is a Santa Claus." If any one is mystefied by anything I included, please ask. All details relate to something specific in the popular culture.

Roma

When I've spent time in a city it can be harder to illustrate a map of it. The things I remember, the places I liked, the cafés and piazzas I hung around in, insist on being included. Like the best stories, it's all about selection. And Rome is like a wonderful overstuffed museum, you step back to get a photo of a Baroque church and you stumble over a statue by Bernini. I walked Rome with a 1912 Baedeker in hand. A modern street map can tell you where you are but it doesn't capture the atmosphere of a place; it reduces the fabric of an ancient city to a soulless calculation.

Can You Diagram Creativity?

The question came up while I was working on a project for Xerox, and this was the result. Is a diagram the same thing as a map? Maybe someone could do a Venn Diagram explaining this. The key with this drawing, as with all mobile and changeable things, was to work quickly rather than meticulously. The same logic applies to mapping cities: old cities can be drawn more slowly than modern cities, with baroque details and decorative borders, but modern cities' elaborations are more volatile and hurried. Modern creativity creates experiences and apps rather than permanent things, which isn't necessarily a positive change. Or so I think. What I think about I diagram or write about.

An Old School, A New Map

Well, not exactly new. Newish. I was sorting through some old material and came across this. Maps have always been a specialty of mine. Partly because I insist on having a map whenever I'm reading about a place. If a map isn't provided I'll draw one. This was for a rather deluxe booklet Rutka Weadock did for Miss Porter's School. Tony Rutka did the wonderful color treatment and art directed.

Sportsman's Map of Manhattan

Illustrator John Held Jr. was famous for his 1920s depictions of flappers and their round-headed consorts. Less famously, he was the favorite social geographer of various top American magazines. He invented the mock-heroic phraseology I play with here. The "here there be monsters" legending that Columbus's mapmaker used to decorate the empty portions of the charts is replaced with sly japes. Instead of sea monsters and mermaids, I filled the waters off Manhattan with lox and sturgeon, and the woodlands of Midtown with wayward sporting types and their shooting boxes. There is (or used to be) a flytier's premises in or near Grand Central. All the clubs shown are real. The St. Moritz shown isn't the resort but a hotel. And Saks actually did have a ski school once. Ernie Blake, who founded Taos Ski Valley, worked there as a youth. I got my first (and only) Vanity Fair writing assignment after sending this map to Graydon Carter. I have done maps for the magazine since, as I also did for Spy, which Mr. Carter edited in a bygone decade.