#pictorial map

[newyorkthegoldenage]

C.V. Farrow drew this beautiful map of what he called "The Wondrous Isle of Manhattan" in 1926. You MUST enlarge it. It wasn't intended to be used for navigation, but rather as a pictorial representation of the island's highlights. Below are a few details that show you what the full-size map is really like. You should enlarge them, too!

Source: Gothamist

[nemfrog]

Kodiak Bear. Alaska [pictorial map]. 1949.

Rumsey

[sohannabarberaesque]

With this as inspiration, how would you imagine a map of, say, your favourite summer tourist trap incorporating some choice Hanna-Barbera characters looking like?

[ziacos]

ZICO for MAPS Magazine June 2023 Issue

[juliesandothings]

pictorial map entitled Intoxication Infatuation showing “The Isle of Pleasure” created by H.J. Lawrence auctioned by Swann 

https://www.invaluable.com/auction-lot/pictorial-maps-intoxication-infatuation-h-j-heini-125-c-0074afbbc6?objectID=175612870&algIndex=upcoming_lots_lotNumber_asc_prod&queryID=427f9ed8ca15be05b97508caea66183a

[mapsontheweb]

1940’s Japanese pictorial map of North America

[thatshowthingstarted]

 Babylonian Map of the World, 8th or 7th Century B.C.

The Babylonian Map of the World (also Imago Mundi or Mappa mundi) is a Babylonian clay tablet with a schematic world map and two inscriptions written in the Akkadian language. It includes a brief and partially lost textual description.

The tablet describes the oldest known depiction of the known world. Ever since its discovery there has been controversy on its general interpretation and specific features. Another pictorial fragment, VAT 12772, presents a similar topography from roughly two millennia earlier.

The map is centered on the Euphrates, flowing from the north (top) to the south (bottom), with its mouth labelled "swamp" and "outflow". The city of Babylon is shown on the Euphrates, in the northern half of the map. Susa, the capital of Elam, is shown to the south, Urartu to the northeast, and Habban, the capital of the Kassites, is shown (incorrectly) to the northwest. Mesopotamia is surrounded by a circular "bitter river" or Ocean, and seven or eight foreign regions are depicted as triangular sections beyond the Ocean, perhaps imagined as mountains.

The tablet was excavated by Hormuzd Rassam at Sippar, Baghdad vilayet, some 60 km north of Babylon on the east bank of the Euphrates River. It was acquired by the British Museum in 1882 (BM 92687); the text was first translated in 1889. The tablet is usually thought to have originated in Borsippa. In 1995, a new section of the tablet was discovered, at the point of the upper-most triangle.

Clay, Height: 12.2 cm (4.8 in), Width: 8.2 cm (3.2 in)

Courtesy: British Museum

[reimenaashelyee]

Creator's Guide to Comics Devices: November 2023 Update

The first newsletter since launch came out a few days ago! It summarises all the updates I've made in November, which includes 2 (!) new devices, a sub-device, and other site changes.

Subscribe to the newsletter to get these updates direct to your email.

New Devices:

Aside

A short comment that sits outside of a balloon or character that is not perceived by anyone except the comment maker and the reader. An aside may come from the author, usually placed outside of the panel or near the edges. (Page with examples)

Topper

A secondary row of panels or single panel that goes 'on top' of the main comic. They are typically removable and non-essential, and usually contain the comic's title. (Page with examples)

Sub-device

Markers in Code Switch

Languages are assigned flags, pictographs or other iconographic symbols. (Page with examples)

News from the Curator and Site Changelog

I'm delighted over how well-received the library has been -- thank you to everyone who has shared, commented and provided feedback! I really appreciate the enthusiasm and generosity. <3 As a comics creator taking my first formal steps into the arena of comics studies, there is still a lot to do and to read for the library. Even with 63 devices catalogued, it's only still the beginning! 

From the Interwebs

‘The Creator’s Guide to Comics Devices’ Is the First of Its Kind, an Incredible Resource for Comics Creators & Readers Alike (The Mary Sue, Joan Zahra Dark) Lovely roundup from my fellow Cartoonist Cooperative co-founder Joan setting the historical context for Comics Devices and why an accessible resource is like this is due.  

Kibbles n Bits (Comics Beat, Heidi MacDonald) An enthusiastic feature of the library in Heidi's roundup.

Shout Outs

Thank you to Ritesh, Tan Juan Gee, Samantha Philipps, Blue Dellinquanti, Ted Anderson and Hannah Pallister for their contributions. (I really need to get that credits/curator's notes page set up. That's this month's to-do) Once again, thank you to the Sequential Artists Workshop Teaching Fellowship for supporting the development of the library this month.

Updates to the Site (Nov 2023)

Added the Store page and dedicated a subsection for it on the homepage, if only to direct people to the already-existing zine that’s currently distributed by Sequential Artists Workshop and myself. I might use that page to hold things like signing up for workshops and panels if they ever happen. Added the Newsletter page so it’s easier to link to across the site and elsewhere. Opened up the page that displays all the devices on one page. Added ‘Contribution’ ‘Newsletter’ ‘All Devices’ to the sidebar. Fixed the 404 page. It suggests the Site Map for advice. Finally opened the Links page! Check out all the resources in there! Thank you to folks who have submitted feedback/contribution! I have added new example pages for Harmonious Juxtaposition/Time & Space/Pictorial Lettering/Colour Coding and a longer definition for Map Panel. Added two new devices – Aside and Topper. Added ‘Markers’ and ‘Balloon Styles’ as a subdevice to Code Switch. Finally set up the Gallery page: this is where comics pages featuring the relevant device will be catalogued. Now for the slow work of filling up the galleries…..

New in Store: The Comics Devices Quick Reference Zine Before the website launched, I produced this zine as a promotional thing + quick reference. This is a 12-page zine showcasing the devices in this library as of 2023 (not including the Topper and Aside). Perfect for students, teachers and anyone who needs a quick, in-person reference if there's no wi-fi available. Sequential Artists Workshop is selling copies for North Americans in their online store. Folks in Australia, New Zealand and Malaysia can directly contact me to get a copy. An ebook version is on the way. I will announce it via newsletter.

[thekimonogallery]

this is a pictorial map of Hokkaido Shiretoko Peninsula and eastern Hokkaido in 1956 from "Children's Yearbook" by Nobarasha. Text by 野ばら社｜昭和4年創業の出版社 @nobarako

[posthumanwanderings]

Internal Section (Positron / Square - PS1 - 1999)

“Often described as a twisted fusion between Tempest and S.T.U.N. Runner, this Positron game was released exclusively in Japan in 1999, at a time when the PlayStation games catalogue was already vast and varied. Dynamic and irreverent, Internal Section is essentially a complex ‘tube shooter’, an unusual angle that can be considered a welcome addition at a time when horizontal and vertical scrolling shooters were predominant. The mere sight of the initial presentation, or the bizarre imagery printed on the bizarre game manual, tells Internal Section apart from a common shooter. Instead of acquiescing to the adolescent anime characters and pseudo-plots, it evokes the same mature, impersonal and hi-tech ambience of the demoscene computer art subculture. Each of eight levels is divided into four sub stages (A, B, C, D and Boss Fight). When the level guardians are reached, game scheme switches from its tubular form to that of a circular rail drawn around the enemy, where greater shot precision is often required. Internal Section‘s gameplay is utterly unique, allowing the player to instantly choose between twelve different shot types, each of them based on a Chinese zodiac sign: apart from dodging bullets and other obstacles, the key to success lies in the use of the appropriate sign for each situation. Far from a hardcore shooting game experience, Internal Section is all about the experience and aesthetics – rather than superhuman skills – with scattered checkpoints and infinite continues that make it a short, albeit extremely enjoyable video game.

The first impact created by Internal Section originates from the awkward graphic style. Their lack of texture mapping is properly compensated with the addition of smooth and lustrous shading, drawn in vivid colors and wonderful contrasts. Flat polygons pervade the screen as each level displays a predominant color, and each sub-stage exhibits a rich and artful array of pictorial themes. Due to its spartan aesthetics, this uncanny Squaresoft release is bound to be compared with Rez, released by SEGA two years later.

iS also aspires to a perfectly balanced blend of audiovisual and gameplay, including a carefully selected techno music playlist. While not as memorable as the licensed soundtrack from games such as WipeOut, the disk includes 16 original themes that help bring some strong sense of rhythm into the game experience. Similar to Ridge Racer, it also lets the player swap the game disk for an audio CD, essentially giving it a customizable soundtrack. Customizations also include the selection of different ambiences for the levels, a factor that dramatically increases the game’s appeal and replay value.

If carefully observed today, in light of modern shoot’em up revivalisms, iS has achieved a certain state of grace, having risen to a level that only a handful of its counterparts were able to attain. Its flat polygon graphics running smoothly on the television screen and its responsive controls prevent the game from looking or feeling obsolete. In fact, everything about iS contemplates innovation, as well as a very strong desire to evade the usual patterns that have long infected this stagnant genre. Its status as a rare and unpublicized title coming from a major company has contributed, undoubtedly, to the consecration of Internal Section as one of the most engaging and sought after titles from the recent past.“ [article source]

[medievalproject]

Textile Time: House of Dragons Season Two Opening Credits

It took nearly 2 years for House of Dragons to come back to us and yes, this post is a bit late with only one episode left of the season 😬 but I’m trying to embrace the "it's better late than never," and I'm working on being an im-perfectionist these days, so here we go.

A rush of excitement ran through me like an electric jolt as I heard the first notes of epic opening credits theme.

I settled in on the couch and to my utter delight, I saw not the expected template of blood spreading rapidly while fueling the mechanical architectural map of last season and GoT but a fabric becoming blood stained as it is digitally embroidered, threading a chronicle of Targaryen history (updated throughout the season) and expanding before our eyes.

What makes the new opening credits so stunning beyond the Targaryen content is the method in which the captivating digital embroidered effect, coined “threadification,” is executed by design studio yU+co’s 3D division. Kudos for taking a medieval art and a modern art form and created a striking Medieval-esque masterpiece.

The success of which can only be credited to the commitment in understanding the threading process and how it could be transformed into a digital media.

I embroider myself and am self-taught. It was something I picked up more than a year ago, so this truly hit the spot for me.

Research pays off

yU+co’s design team studied the embroidery process from the Game of Thrones Tapestry and examined the Apocalypse Tapestry. It comes as no surprise that the GoT show runner would pitch The Bayeux Tapestry as inspiration for yU+co. 

The Bayeux Tapestry is not a tapestry!, it is a 1,000 year old embroidery narrative depicting the series of events leading up to the Norman conquest of England in 1066, fought between William the Conqueror, Duke of Normandy and Harold, Earl of Wessex, later King of England.

Using this real world pictorial testimony of medieval war as a guide for the House of Dragons opening scenes only adds to the credibility and stellar execution.

Now a confession -

I was only this many years old when I found out about the existence of the Game of Thrones Tapestry😳. I thought I was a fan.. but apparently I was living under a rock because how did I miss this amazing piece of GoT content and art???!?

Game of Thrones Tapestry, Season 7, Episode 4 📸 Kal242382, CC BY-SA 4.0, via Wikimedia Commons

I believed the new opening credit sequence was completely original, as in no embroidery existed in the GoT world until HoD’s season two opening. Nevertheless, the opening credits are still amazing, still impressive, still educating people about the middle ages and how not dark they were.

Embroidery vs Tapestry

Magaret Wade Labarge in her article, "Stitches in Time: Medieval embroidery in its Social Setting," defines embroidery as:

"..the art of applying decoration by needle and thread to the surface of a piece of woven cloth, usually called the "ground." It is an optional decoration worked after the while weaving process, including the dyeing and finishing, has been completed."

When we look at the Bayeux Tapestry we clearly see the richly colored stitches embroidered on top of a cloth. The “design” is independent of the weave.

See what the Bayeux Museum has to say for itself-

So why does this misnomer matter? Because knowledge is power or maybe not, but you never know when this topic will come up at a dinner party or when you might bump into Chris Helsworth.

But really why should you care? First of all, it's important not to take things at face value, like The Bayeux Tapestry. And also this visual record is an extraordinary piece of history. Do you know how difficult it is to find textiles that survive, let alone in this condition?

The Norman Conquest was a big deal in European History. French speaking Normans ended up conquering England, Scotland, Wales, Ireland and even got to Southern Italy and Sicily! And, in doing so, they brought a wealth of new words, thousands of which are still used by us English speakers today.

Want more?

How the Medieval Tapestry in the New ‘House of the Dragon’ Opening Sequence Got Its Weave

Game of Thrones Tapestry

Frenchified English - thank you, Normans

[i-am-aprl]

Japanese pictorial map of the Middle East (1942)

1942 年に日本で絵がえた中東の地図です。

[nemfrog]

Floral border detail on pictorial map. North Carolina for Nature Lovers. 1937.

Rumsey

[moonlitmistyforest]

Sebastian Münster - Sea monsters. Sea Wonders and Strange Animals. 1570s edition Sebastian Münster (1489 - 1552) was one of the three best-known cartographers of the 16th century, along with Mercator and Ortelius. Münster's Geographia and Cosmographia Universalis are two of the most widely read books of the century. Editions of Ptolemy Münster's Geographia appeared between 1540 and 1552 with 48 illustrated woodcuts, supplementing the standard 27 maps with 21 new maps. These new maps, together with a separate one, depict the known continents and a number of masterpieces of regional cartographic development in Central Europe. Münster's main work, the Cosmographia, was published in nearly 30 editions, translated into 6 languages, between 1544 and 1578, and then republished from 1588 to 1628 in a revision by Sebastian Petri. The Cosmographia was as much a geographical as a historical and ethnographic description of the world. Find in it maps from the Geographia, added local maps and cities, with nearly 500 illustrations, the work of art became one of the most popular pictorial encyclopedias of the 16th century. It is one of the most unique cartographic specialties and provides a unique view of the Renaissance approach to the unknown lands beyond the civilized worlds.

The illustration shown in the picture can be described as a summary of monsters that were believed to exist in the 16th century. Many later mapmakers used these monsters to illustrate areas of unexplored landscapes and waters. Above you can see land creatures: reindeer, elk (here while pulling a sled), snakes, leopard and bear. Most of the "monsters" are cruel sea creatures who swallow sailors, sailors, ships, land animals, and even each other. In one scene, you can see a giant lobster with a human in its claws and a whale with huge tusks, which shoots water from its head like a fountain, and we can also admire a tree that seems to produce ducks as fruit. On the reverse side, with German text, we can see additional illustrations depicting polar bears and sea monsters living in the lake near the village. The illustration detail comes from Münster's Cosmographia and shows "Monsters of Norway", first published in 1550.

[ziacos]

ZICO as the cover star for MAPS Magazine June 2023 Issue

[vintagelasvegas]

The wide-open town of Las Vegas – unknown casino, July 1940

Photos by George Strock from LIFE magazine’s “Vacations,” 8/5/40. Las Vegas Chamber of Commerce and Union Pacific Railroad had begun promoting Las Vegas as a tourist destination and “Vacations” was an early success in the national media.

George Strock’s previously unpublished Las Vegas photos can be found on Vintage Las Vegas

A pictorial story of the Boulder Dam Recreational area and Las Vegas is being prepared this week by George Strock and Pat Clark of Los Angeles, staff photographers for Life magazine, accompanied by R. B. Denton, director of the Union Pacific news bureau in Los Angeles … the two Life photographers will remain here until the end of the week. They also have been assisted by Murray Wollman, chairman of the publicity committee of the chamber in Las Vegas.

Photographs for Life Being Made. Review-Journal, 7/3/40

Good old Las Vegas was the nation's number one publicity pet this past week. Most controversial bit of publicity was the four page spread given us by the Look magazine … Life magazine devoted one page to Boulder City and Las Vegas … everyone in the country will know that Las Vegas is on the map.

S. “Scoop” Garside, Caught on the Run column. Review-Journal, 8/2/40