Mapping The Imagination

Maps are a subject I keep returning to again and again and for good reason. Ever since I was a child I’ve held a deep fascination for atlas’s, globes, maps and cartography in general. The mystery of distant countries with exotic names, far flung foreign lands, strange topographic features or intricate maps of fictional worlds have always captivated my imagination and I know I’m not alone in this passion. Maps, particularly when used in fiction, are more popular today than they’ve ever been.

Check out my previous map inspired posts: For the love of maps! & Mapping your fantasy

In literary terms, the first map I’m aware of studying was probably E.H. Shepherd’s beautifully illustrated ‘100 Acre Wood’ for A.A. Milne’s glorious Winnie The Pooh, that was quickly followed by the maps in Tolkien’s The Hobbit, Tove Jansson’s wonderful map of Moomin Valley and CS Lewis’s Narnia map.

As all lovers of good fantasy fiction know, there is nothing as pleasurable as poring over a map of your favourite fantasy world, whether it be George RR Martin’s Westeros at the heart of his phenomenal Games of Thrones (Song of Ice & Fire) series, JRR Tolkien’s Middle-Earth in his Lord of The Rings trilogy, Ursula Le Guin’s Earthsea or Robert Jordan’s Wheel of Time series.

 

Now, as an illustrator and author, I create my own detailed hand-drawn fantasy maps for my books and for other authors and publishers. I’ve only illustrated 9 books to date so far but have several projects in the pipeline, and would like to share with you, my fellow map lovers, how I created my latest commission for fabulous fantasy writer, Juliet McKenna and her awesome new River Kingdom series.

Firstly, I cannot tell you what fun it is creating these beautiful objects – “The literal and visual distillation of an author’s imagination through graphite, pen & ink and paint.” It is true that not every great fantasy novel needs a map and some authors like NK Jemisin were initially not keen on them, but for me I love them as I think they create a tangible geographical point of reference from which the story weaves its magic. Funnily enough, Joe Abercromie who apparently wasn’t keen on fantasy maps for his First Law series then included 5 of them in The Heroes (to represent the battle movements)!

At the end of July I was approached by Juliet McKenna who was looking for someone to do a map for her latest fantasy series, the River Kingdom. That started a really interesting month of creative exploration. Juliet, much like me, is a stickler for detail, which I love. The devil’s in the detail they say and that is particularly true when creating fantasy maps, the more information the better!

The first thing I loved, is that her River Kingdom is landlocked i.e. set in the middle of a continent, much like my Fendellin map (see left), and avoids the over used cliché of a coastline and seas. This makes total sense to me – as much as I love coastlines, not every land is going to be coastal and yet if you follow the vast majority of fantasy maps they are all either islands or coastal regions! River Kingdom is inland and is all about the rivers and the regions and peoples they dominate.

For a starting point Juliet emailed me a few pages of notes about her fabulous River Kingdom world, the main rivers (Tane and Dore) in her kingdom, what they are like (winding? straight? navigable? deep? shallow? rapids? maelstroms? etc), how they flow, the settlements and communities along their banks, the different administrative ruling centres and fiefdoms, what the Hill Country was like and forests, a description of the Nilgeh Mire, how the land lies and towns relate to each other, etc. It was obvious from the beginning that this was going to be something rather special, as so few authors really fully imagine and realise the worlds they create down to the everyday detail.

From this, we started a wonderful creative collaboration, back and forth. To ensure that my clients are 110% with the artwork they receive, I’m a great believer in asking questions rather than guessing, that way you are able to really crystalize what the author/client wants and are far more likely to deliver it.

More questions and details followed, the colour of the waters of the main rivers, their tributaries, what happens when the two great rivers meet, adding wharfs and quays for river folk to travel and ferries, the types of trees in the forest areas, how high are the mountains, how to represent the towns with different allegiances, motifs to be used to represent the Grainland and Grassland areas and lovely nuances like adding subtle terraces to some of the Downland hills and what the geology and terrain was of drier areas like the High Plateau. Discussions about the lovely maps of 15thC cartographer, John Speed and the red colour of towns depicted etc.

Then, after the graphite and then inking stages were finished, a whole new conversation took place about colours and tones for the finished painted map. Mountainous regions in reality, vary hugely, another reason why I prefer to hand draw everything rather than using computer programs which just replicate the same mountain shape again and again, some smaller some bigger but none with any individuality. Were the mountainous regions alpine in nature, snow capped and grey granite or like the dry peaks of parts of the Andes or more like the Cairngorms and Snowdonia, greener lower peaks?

What about the woodland areas?

Most forests depicted in fantasy maps tend to be one generic shape repeated infinitum and if they are coloured, one generic green shade. We decided instead to have individual shapes, colours and shades for the different tree types just like a real mixed forest canopy of deciduous and coniferous trees. Yes these are still stylised trees, drawing an accurate observational study of a tree with all it’s intertwining branches would look dreadful in a map context, like a mass of spider webs and would become too distracting to the overall effect.

Then you have the map’s compass. I like to do an individual compass for every map and client, so they are unique to that client’s work. In Juliet’s case, I really wanted to include some of the mythos present in her story, namely the fact that her market towns have shrines to the Sun Goddess & Moon God, so I wanted a compass rose with a sun and moon motif at the centre (lol, Juliet is apparently now thinking of using this compass rose as a cross-stitch design!).  🙂

When painting the map, I found myself using some truly gorgeous pearlescent paints and gold inks for the details (there are amazing art products out there!), I only wish the sheen of these had fully translated into the final scanned map.

So, after a month and a bit of continuous work, we had a finished painted map for Juliet’s amazing new fantasy, Shadow Histories of the River Kingdom, which launches at *BristolCon in less than two weeks! Pop along and meet Juliet in person and grab yourself your own signed copy from the author herself! (check out the gorgeous cover by Ben Baldwin!)

*BristolCon – is a fantastic one day SFF convention in Bristol at the Doubletree Hilton Hotel on Saturday 29th October! The programme of events is here. (Juliet will be there signing copies of Shadow Histories of the River Kingdom and appearing on two panels & I’ll be there too supporting my publishers, Grimbold Books and doing a panel and reading – come along and join the fun!)

So, there you go folks…the process of actually creating and making a fantasy map, it ain’t easy but boy is it FUN!  🙂 xxx

🙂 xxxx

Etymology – what’s in a word? Part I – Places.

Okay, I admit it, I’m a HUGE nerd and this particular post will probably only be of interest to me and about three other people on the planet! But I love etymology and the derivation of words.

This is particularly prevalent when it comes to places and place names.

I grew up learning that place names had a beauty and a power all themselves and that they weren’t just a string of random letters but actually meant something. Places had meanings. I spent my childhood in a small village named after a Saxon chief, Alwif, who came across the megalithic stones on the high hill above the village and named the settlement after himself and the largest stone, Alwif’s Stone, which later became Alves’town and then Alveston. Greenhill, just round the corner, was a green hill, Bodyce Orchard was named after the bodies supposedly buried there during the English Civil War (1642-1651). My tumbled down cottage (circa 1577) where I grew up dreaming of dragons and adventure, was on a wonderfully named road – Wolfridge Ride, named after the wolves that used to roam the area when it was forested hundreds of years before and the wolf pits that were dug to catch them along the high ridge.

Lol, I digress…but you understand my fascination with place names and the derivation of words, the inherent mystery and magic in them.

So, here I am lifting the curtain on my weird and wonderful world and some of the strange research I did for White Mountain and for the worldbuilding behind my Darkling Chronicles trilogy.

Despite White Mountain being an epic fantasy in the traditional ‘high fantasy’ sense, it is set now within our modern world, so in addition to my invented places I also wanted to include real places too, to ground the fantasy in reality and give the book an authentic feel for the reader.

I should state here, that having taught phonetics for the last 16years, I understand the basic structures of many Indo-European languages and syntax and so when I decided, like the true nerd that I am, to invent my own Dworllian language, I wanted to make sure that it actually worked…and yes it does!

(*My Dworllian language – actually a mixture of Maori, African Bantu & Ibo dialects, Old Norse, Old English, Celtic and Old Hindi).

The Locations of White Mountain:

• The Arctic Tundra – location of Ïssätun*, the Ice City, high within the Arctic circle. An enormous hidden city made entirely of ice where all remaining elder tribes, dworlls and magic-casters etc., can meet, trade and gather news. A cross between a huge shopping mall, a bizarre and a covered market, full of haggling stalls, bridges and walkways, squares and forums for meeting…though it hides a dark secret.

(Ïssätun* – iss or issa meaning ‘ice’ in Old Norse + tun meaning ‘town’ in Old English and Old Norse = my Ïssätun, ‘Ice Town’)

• The Siberian Boreal forest or ‘Taiga’ (snowforest) – location of the Grey Forest and Wendya Undokki’s home, within the magical Llrinaru* trees with their tree spirits or dryads. The boreal forest is the largest forest on earth and covers an enormous area, home to many indigenous tribes such as the Nenet, Chukchi and Evenki. Like the genus behind many ancient and Anglo-Saxon names, the Grey Forest is just that, literally a grey forest of larches, alder, spruce and ancient silver birch which appear grey when flecked with snow.

(Grey – grǣg in Old English. Llrinaru* trees or ‘The Elder Wood’ – llri meaning ‘old’ or ‘ancient’ in Dworllian + naru meaning ‘forest’ or ‘wood’)

• The Alps (Alpes – Celtic derivation) – location of White Mountain (Mont Blanc), Mr. Agyk’s ancestral home and home of Gralen, the last Eurasian dragon in existence. (Although the real location which inspired White Mountain was actually Mount Cook ‘Aoraki’ in New Zealand during my epic four month backpacking trip there back in 1997/1998).

 

• The Amazon – location of the ‘Oracle of the West’ (one of the nine oracles from the ancient world, which included the oracles at Delphi and Cumae) and its lair, deep within the Amazonian basin. From the aerial roots of the mangrove swamps on its Atlantic coast to the black ox-bow lakes that straddle its interior like giant boomerangs, the protagonists must follow a path deep into the heart of the jungle, past dangling lianas and bromeliads and the giant buttresses of its huge mahogany trees to a dark and dangerous power.

 

• (Democratic Republic of Congo) Congolese Rainforest – location of the huge subterranean metropolis of Kallorm* known as ‘The City of Light’, largest and oldest of all Dworllian Kingdoms, known as Dwellum in Old Dworllish (similar to Sumerian cuneiform in its written language) and Silverden in the Ǽllfren tongue. Kallorm, with its three colossal underground mountains ‘The Three Pillars of Kallorm’ which support the ground above, was founded over 120,000 years ago but has been in steady decline since the end of the last Ice Age 10,000 years ago when the human population exploded. Only the indigenous forest people, the Ba’Aka are aware of the city’s existence. Sapele and Iroko trees and hidden forest clearings called bai’s, dot the landscape and its red iron rich soils and the impatiens that blossom beneath the dappled canopy (bai’s were only recently discovered by Westerners, still hidden in the Congo’s mythic ‘heart of darkness’). Wendya Undokki grew up in the city as a child and used to play in these bai’s (open water meadows), before leaving for the Siberian north and the Grey Forest. 

(Undokki means ‘witch’ in African Bantu languages which is apt as Wendya is a witch!)

• Himalayas – location of the hidden land of Fendellin*. Tibetan and Indian myths tell of a magical hidden land, lost in the Himalayas, called Shambhala. It was this Shambhala which inspired James Hilton’s 1933 novel Lost Horizon and the land of Shangri-La. Shambhala IS my Fendellin.

“Far East beyond heart’s lost desire

The birthplace of the eldest kin,

Through rising sun on wings of fire

Lies forgotten Fendellin.”

(Fendellin* – fen meaning a low-lying land, marshy or near watercourses from Old Norse ‘fen’ + dell meaning a hollow esp. wooded hollow from Old English ‘del’ or ‘delle’ = my Fendellin* rather simple and Anglo-Saxon in its meaning!)

• Fendellin* – location of the mountain capital of Mund’harr* and the central plateau named after it. The capital, the Golden City, sometimes referred to as the Sky or Cloud City, sits at the top of Mund’harr, amongst its pinnacles.

(Mund’harr* – mund meaning ‘mound’ in Old English similar to munt meaning ‘mount’ in Old English + harr meaning ‘high’ in Dworllian and related to hār meaning ‘high’ in Old Norse.)

(The main river in Fendellin, ‘The Great Varuna River’ – Varuna from Hinduism, the ancient sky god, later the god of waters and rain-giver.)

(The Shudras, ‘The Silent Marshes’ – Shudras from the ancient Indian Vedas, the fourth varna from one of the sacred texts from the Rig Veda. Shudras was the lowest social class, also refers to swamps and the dark serpents who inhabit them.)

***

There…I think I’ve bored you all enough! But you get the idea.

Part II will look at myths and creatures – wargols, firewolves, oracles, fÿrrens (dragons), dworlls (dwarves), and the Gorrgos!

Below is a map of the world with White Mountain locations and the approximate routes taken to get there! 😀 xxx