I designed another map section – this one based on later 18th cent maps – using squares and shapes to make up streets, blocks and buildings. There is a ‘shape’ to the pattern but it’s more of an all over and even print so I think might match up better when repeated.
I thought one of the most successful parts of the map were the textures. I also wanted to make use of the lambeth palace drawing and the textured papers i’d made based on lambeth palace.
I created this overlay of the tracing paper drawing and textured papers.
i really liked how the tracing paper flattens and unites the textures a little bit – to draw them all together. I tried inserting this image into the map pattern but it didn’t look good shrunk down and confused the pattern.
It did make me think I’d like to experiment with printing textures on tracing papers.
I overlaid all these elements with some textures i’d made and made them into a tile.
and then repeated this over.
The repeat pattern isn’t perfect but i love how you can go further and further into the detail or further and further out into the pattern.
I had come to a standstill with the maps. Although the textures were interesting to make and i liked the look of the maps themselves, I was feeling a bit restricted and maybe a bit bored.
Paul suggested I stop thinking of them as maps and start to play around with them as marks or patterns. I designed a few maps of my own that use different shapes. I then digitally repeated them.
i was amazed at how much the shapes changed in repetition. I really like how you can lose yourself in the patterns, reading them as maps into kaleidoscopic patterns . The idea of a symmetrical repeat of a hand drawn map is nice in terms of where i started with even and uneven grids. The largest one also reminded me of wallpapers.
I went to have a look at the V&As collection of wallpapers – the different paper qualities were amazing and i love the soft faded inks and prints. I like the architectural prints for their large pattern and close detail, the colours and shapes in the repetitions were fantastic as well.
I was also reminded of Posey Simmonds’ comics using pastoral wallpapers. I’d like to make use of the idea of little vignettes in the patterns – making use of some of the brilliant stories I’ve read about the area.
While I was researching I found this list of the Tradescent collection – which later became The Ashmoleon Museum.
a salamander, a chameleon, a pelican, a remora, a lanhado from Africa, a white partridge, a goose which has grown in Scotland on a tree, a flying squirrel, another squirrel like a fish, all kinds of bright colored birds from India, a number of things changed into stone, amongst others a piece of human flesh on a bone, gourds, olives, a piece of wood, an ape’s head, a cheese, etc; all kinds of shells, the hand of a mermaid, the hand of a mummy, a very natural wax hand under glass, all kinds of precious stones, coins, a picture wrought in feathers, a small piece of wood from the cross of Christ, pictures in perspective of Henry IV and Louis XIII of France, who are shown, as in nature, on a polished steel mirror when this is held against the middle of the picture, a little box in which a landscape is seen in perspective, pictures from the church of S. Sophia in Constantinople copied by a Jew into a book, two cups of rinocerode, a cup of an E. Indian alcedo which is a kind of unicorn, many Turkish and other foreign shoes and boots, a sea parrot, a toad-fish, an elk’s hoof with three claws, a bat as large as a pigeon, a human bone weighing 42 lbs., Indian arrows such as are used by the executioners in the West Indies- when a man is condemned to death, they lay open his back with them and he dies of it, an instrument used by the Jews in circumcision, some very light wood from Africa, the robe of the King of Virginia, a few goblets of agate, a girdle such as the Turks wear in Jerusalem, the passion of Christ carved very daintily on a plumstone, a large magnet stone, a S. Francis in wax under glass, as also a S. Jerome, the Pater Noster of Pope Gregory XV, pipes from the East and West Indies, a stone found in the West Indies in the water, whereon are graven Jesus, Mary and Joseph, a beautiful present from the Duke of Buckingham, which was of gold and diamonds affixed to a feather by which the four elements were signified, Isidor’s MS of de natura hominis, a scourge with which Charles V is said to have scourged himself, a hat band of snake bones.
I experimented digitally overlaying these textures with a map – this one from 1901 with textures taken from ink and water marbling, charcoal, ‘brickwork’ effect and ‘smoke’ effect with chalk.
Although I like the idea and some of the effects, I’ve got some reservations about these being digital. They just feel a little flat and disconnected to me. I will try another in physical collage which will also give me the opportunity to experiment a bit with other paint effects.
I intially wanted to reconnect these maps with the real textures of the place and some textures that would start to tell the historical narrative. Along with the printed papers made from my last trip I made some textures inspired by photos.
I’ve chosen a 9 maps from different times, between 1590 – 1901, taken from the Crace Collection in The British Library.
I was especially interested in the early maps, realising they were all hand drawn and so full of different details and personal touches. I decided to scale and trace what I wanted from each map – leaving myself with a ‘map skeletons’ I could work from.
I found these maps of the Borough/Lambeth area – I like how grids work across them. They remind me of my local area and how I’d like to explore it. Taking this architectural plans/textures theme further by attaching it to a specific and interesting place.