On getting maps into books: An interview with Karina Granda

Previously in this series of posts:

Karina Granda, Art Director at Little, Brown Books for Young Readers, can be found at https://www.instagram.com/karinamakesbooks/. I’ve worked with her now on several books, including the maps and ornaments for Holly Black’s The Folk of the Air series (The Cruel Prince, The Wicked King, and Queen of Nothing), but most recently she was the art director on Samira Ahmed’s new middle-grade fantasy (and science adventure Amira & Hamza: The War for the Worlds, and I worked with her on the map.

She very kindly agreed to be interviewed about putting maps in books (generally, and specifically Amira & Hamza) — and to interview me right back! So halfway through this post the roles flip…

Kathleen 1: What do maps do for you as a reader/art director? Do you have a favourite map (literary or otherwise)? 

Karina: Typically we place our maps at the front of the book, and they are very useful for instances where the reader is being introduced to a new world, and/or where the sense of place and space is very important. We often think of fantasy books since you are entering lands unknown, often built from scratch by the author, and the characters move through a large space, multiple kingdom’s etc. But some are more unconventional. I recently commissioned a map for April Henry’s upcoming book, TWO TRUTHS AND A LIE, which is a thriller that takes place entirely within a motel. The motel map clues the reader into the entrances, the exits, the dead ends–which creates a really interactive experience where the reader can follow the map to chart the action, or try and guess escape routes for themselves! I also love the maps for the AMIRA & HAMZA series because they deal with time and space in such an unconventional way.

Kathleen 2: How do you decide when to put a map into a book? What do you look for in an illustrator, when commissioning maps? 

Karina: When I commission a map, the first thing I think of is the purpose of the map. Does it need to be highly literal? For non-fiction books, or perhaps a book where we are following a war, etc.—we often want to be very exacting about scale, relative positioning, dimensions, landmarks, etc. Or is this one where we can take more artistic liberties? Is this one where we can add more decorations and fun tidbits? Where we can choose which places to emphasize in scale/detail based on significance in the book, and not literal size? For very literal maps, I look for artists that have a cartographer’s approach. If not, I cast a wider net—including some artists that may never have done a map before—but that match the tone and feel of the story (and the art created for the cover). Or perhaps the map is an opportunity for contrast. One thing I found really fun about working on the FOLK OF THE AIR series is that we had these hyper-modern 3D covers, but were able to use the map and interior art to add a softness and whimsy that we needed for a more complete package.

Kathleen 3: Why did you want maps in this book? Did the particular requirements of this map give you any pause? 

Karina: The maps for AMIRA & HAMZA posed quite a unique challenge in that we were not just looking for how to move north to the mountains, or east to the ocean, let’s say; but we are dealing in different dimensions and moments in history. In all honesty, I conceptually understood what Samira wanted, but I did not have the vision for how to execute it in a way that was digestible as a map. But I knew Kathleen is so fantastic at fantasy, and maps, and also in giving extra special care and detail into everything she does, that I knew if she took it on, she would figure it out. And it was truly perfect.

Kathleen 4: Thank you!
Do all maps in books need to do the same thing? Or what are some of the purposes a map might serve? Have there been any Unexpected Moments in Maps in your career? 

Karina: All maps “set the scene”; but I think that can be literal, or more for the purposes of feel/tone. I do my best as an art director to avoid surprises! And really it is out of respect for the time and energy that artists are bringing to the work. So I try to start by seeking out as many details and as much information as possible. Though I have to admit that I was thrown for a loop when it was decided that FOLK OF THE AIR would need different (but similar!) maps in order to adapt to a changing landscape—and our artist works in ink! Series pose the most surprises since it can be the author’s prerogative to introduce change at many points in the process. That said, we were lucky that Holly and Kathleen are both so flexible, and such pros, and we were always able to make it work. ;)

Map for The Wicked King, by Holly Black. Little, Brown 2019

Kathleen 5: What’s the process you follow when you’re commissioning a map? Are there any surprises in that process? Has anything ever gone hilariously wrong (that you can talk about)? 

Karina: First we determine whether we need a more literal or artistic map, and then we look for artists that would complement the style of the art we are pursuing for the jacket. Typically we share some options with the author so they can have a say in the art style too. Then I pose what many authors consider to be a big challenge: Please doodle the map for me. It can be incredibly rough and amateur, but it is very important that we are all on the same page about the relative positions of the different landmarks and locations. And I promise that everyone has been more than capable of providing what we need. I also ask for a list of the landmarks and locations with written descriptions and/or visual references so that the artist has something to work with when adding all their great details. We’ve been lucky to work with so many fantastic artists and authors, that the rest of my job tends to be easy on my end! It mostly entails shepherding and clarifying feedback. But the artists are really the ones working their magic. I am just a gopher. ;)

Kathleen 6: What would be your favourite thing to find in a map? 

Karina: I think all great art for books brings its own level of storytelling. For example, when I think of a good picture book, there is always a little something more being said in the image. It is in conversation with the text, but not just a literal representation of the author’s words. And I think the same can be said for maps. I like finding the hidden characters, the specific flowers that would grow in that forest, the pearl or mermaid in the ocean, etc. I look for all the things the mapmaker brought to the art in order to make it feel vibrant and alive.

Kathleen 7: What would be the worst/funniest book to have a map in, if you could only get away with it? 

Karina: I imagine that any book with a map that would travel through the human body could have a hilarious and also totally gross component. A book like EVERYONE POOPS or TRUE OR POO? Or if there were some non-fiction book about how cities work, you could map some poop or dead goldfish making it’s way through a sewage system. And honestly think some kids would love maps like that. Kids can be totally weird! But that said, maps are always in conversation with the text, so I don’t think it would ever be any weirder than the story the author and publisher have already agreed to put out there!

Kathleen 8: Any questions you’d like me to answer?

Karina: Yes!

Karina 1:  What is your process for taking an author’s words and doodles and giving them an actual shape/drawing/form?

Kathleen: Obviously it depends a little on the final shape. Usually I sketch out the basic layout on the first page of my folded sketch paper, just to keep it in mind. But after that, I like to start by first just reading the manuscript or extracts, and taking notes. Where possible, I take make the notes in pictures. That way I’ve already solved (or identified!) a few problems, and can see at a glance where I might need to do more research — for example, whether certain creatures should be drawn with or without shirts, or whether something “appears” because it becomes relevant or because it magically comes into being (both of these on maps I worked on with you!). That’s where I might play with style, make little wishlists of things I’d like to draw, and so on. 

Sometimes this is like reading through the pencil — it goes straight from the book to the page and I just follow along. Sometimes it is a very complicated logic puzzle — sentences that seem to make sense can be tricky to turn into an actual picture, especially with fantasy! And then I have to get the tone right — what am I doing to the words. A picture can make something more grim, more whimsical, austere, warm…

After that I get more mechanical. I rule up several boxes with the shape I have to work in. Often I’ll make a cardboard template — I have a few standard ones already in my pencil case. They might be only a couple of centimetres/an inch tall. Then I start sketching the strongest ideas into them, very tiny.  I choose the best of those and send them to the art director, so you can consult and choose or suggest variations.

Tiny sketches from developing the map for Amira & Hamza

Karina 2: What is your biggest challenge when creating a map? Or, is there any map you have worked on that has been particularly challenging?

Kathleen: The biggest general challenge, apart from sometimes drawing more trees than I bargained for, is fitting the map into the page. Worlds are very rarely written to exactly fit two open book pages! And that’s working with just one world, and not the multiple tilisms of Amira & Hamza. But I have to fit the world plausibly into that space, and then fill the rest of that space pleasingly, accounting for margins and the area that risks disappearing into the gutter (fold).

Specific challenges vary. Amira & Hamza, with its map that’s more of a conceptual representation of the links and progression between spaces, made me pull right back and ask what a map could and should look like. For Folk of the Air, I had to think about real-world vs fairytale geology in designing the islands — and then fit new details into the sequel maps (splendid fun, but some spatial tinkering!). In two maps I have coming out next year, I had to deal with a lot of unexplored space, and ask how the characters who might have made the maps might have filled those areas up. 

I like to draw maps which capture the feeling of a world, rather than precise distances. But there’s still challenges there — with Folk of the Air, for example, you and I had to consider the ideal balance of whimsy and ominous elements, which led to me adding (among other things) some tiny skulls. But still I need to think a bit about geography — what flows where, or if it’s a slightly 3-dimensional map, what might be obscured by mountains or buildings.

Karina 3: What is the most fun part of working on a map?

Kathleen: The fact that every map is so different! I really do love these little puzzles — and then, once I solve them, getting to fill all the blank spaces with simurghs or mermaids or skulls or ominous toadstools or stars. And getting to put tiny stories and jokes and reinterpretations into the design. And I love how much people who see them get excited about having a world unrolled in front of them.

When I was little, I envied the characters who got to climb into books, and of all the jobs I’ve had, being an illustrator is the closest to that, and of all illustrations, drawing maps is like parachuting in.

Karina 4: What are your favorite maps? Literary or otherwise?

Kathleen: The Muppets travelling by map!

Well, my least favourite is the big wall map I have which is centred on Australia, because it turns out there are good design reasons not to do that: vast oceans on either side, and all the other continents squished around the edges. It’s rubbish for reference, and has made me feel so much further away from everyone all year.

Favourite… Hmm. I love so many — I’ve previously posted links of some of my favourite books of maps. Pauline Baynes’ maps were my first fantasy maps and she was the first illustrator who made me realise what illustration could do. And the maps always make me taste salt air and smell pines in the snow… When I walked into the Tolkien exhibition and saw her maps of Middle Earth — right there, in gouache! — I gasped. And my father used to build 3-dimensional maps out of blankets and cushions, to demonstrate historical events or how our property was laid out. That was when maps first made sense to me, as objects you could — almost — hold and touch and turn to see how the world works. More recently, I really like Elisabeth Alba‘s work, especially her map for Henry Lien’s Peasprout Chen: Future Legend of Skate and Sword.

Finally:

And do check out Amira & Hamza: The War to Save the Worlds, a rollicking, thrilling middle grade adventure through science, mythology, poetry, and more worlds than you usually get in one map!

New map! Amira & Hamza: The War to Save the Worlds

Photo pinched from Samira Ahmed. Cover illustrated by Kim Ekdahl and designed by Karina Granda

New map just dropped!

I was thrilled to do this slightly unusual map (involving multiple worlds!) for Samira Ahmed’s Amira & Hamza: The War to Save the Worlds, from Little, Brown.

I’ll post more about the process soon, but in the meantime, please admire the cover art by Kim Ekdahl.

On the day of a rare super blue blood moon eclipse, twelve-year-old Amira and her little brother, Hamza, can’t stop their bickering while attending a special exhibit on medieval Islamic astronomy. While stargazer Amira is wowed by the amazing gadgets, a bored Hamza wanders off, stumbling across the mesmerizing and forbidden Box of the Moon. Amira can only watch in horror as Hamza grabs the defunct box and it springs to life, setting off a series of events that could shatter their world—literally.

Suddenly, day turns to night, everyone around Amira and Hamza falls under a sleep spell, and a chunk of the moon breaks off, hurtling toward them at lightning speed, as they come face-to-face with two otherworldly creatures: jinn.

The jinn reveal that the siblings have a role to play in an ancient prophecy. Together, they must journey to the mystical land of Qaf, battle a great evil, and end a civil war to prevent the moon—the stopper between realms—from breaking apart and unleashing terrifying jinn, devs, and ghuls onto earth. Or they might have to say goodbye to their parents and life as they know it, forever.…

Observation Journal — three thoughts about maps

This page of the observation journal is about maps, as well as about a specific book: Mark Monmonier’s Cartographies of Danger: Mapping Risk in America.

It was a fascinating book (and dense — it took a long time to read and absorb). Also, it was published two decades ago and I HIGHLY recommend reading technical books (outside of your own field) that are 20 years out of date — it takes the pressure off having to remember details accurately and is very useful for conversations at parties, because you can usually find someone who is willing to fill in the gaps.

Three map-specific thoughts on reading it:

  • Every map is rhetorical.
    • I had a very invigorating argument with someone on a panel, once, about whether a particular map could be considered as absolutely objective, and they just CAN’T. Especially military maps, which I think was the focus of our debate.
    • Every map exists for a reason, and makes choices, and needs artificially constructed skills to create and/or read it, and presents views and is intended to accomplish (or enable the reader to accomplish) a purpose. That’s their whole reason for existence! And their fascination, power, and possibility.
    • I’ve made a note here to play more with the idea of maps for hyper-specific purposes, but I’ve already touched on this in a few stories (“Kindling”, in which maps suppress the fantastic, and “The Tangled Streets”, in which maps are an expression of the fantastic), as well as illustrated maps. I approach book maps less as tools for physical orientation than as a pool of narrative possibility into which the reader is about to be pushed.
    • Related to this, and equally subjective: I often enjoy introductory descriptions of the location of a story (separate from character action) when (and because) it plays the same role as an illustrated map (of the type I like).
  • All maps are maps of where the dragons are (or might be, or how far they have been pushed back).
    • This is a more lighthearted argument than the one above, but I’m still prepared to have it.
    • I don’t know why I compared this to applying for grants.
  • That maps (like books) are pins stuck in time.
    • For some reason this thought linked to both the Muppets travelling by map and Connie Willis’ characters’ reliance on maps of where bombs fell in the Blitz in Blackout and All Clear. There was also a splendid website that let you go back to maps from specific years of Brisbane’s history and find photos of or from those places in a given year, but I can’t track it down.
Trees sketched for a new map, in progress.

Drawings from the QWC Map Workshop

A few weeks ago I gave an illustrated map workshop at the Queensland Writers Centre, for about 18 people in person and over 50 online (I bound around and build things on the floor, so a big shout-out to Sebastian for keeping up with the camera, and relaying online conversations and generally doing the hard work of wrangling me!).

Pen drawings with bits of maps, clouds, compass roses. A sheep on a solitary island with "Map of the Last Lonely Island". A stag running down a beach with a label that leads to "Elsewhere".

The map workshop was specifically illustrative and narrative rather than scientific. I am neither a cartographer nor a geographer, and do not claim to be! My own maps are pictures of the spaces where stories happen — not just the physical place, but the idea of it, and the sort of things that could happen there.

Francis Hardinge wrote beautifully about that in The Writers Map — you can read an extract here: Wizards, Moomins and Pirates: The Magic and Mystery of Literary Maps, but I also heartily recommend the (World Fantasy Award winning) book: The Writer’s Map: An Atlas of Imaginary Lands — Huw Lewis-Jones.

Here are a few of the books I referred to in the workshop (there are so many out there! and this isn’t including assorted atlases, books about place names, etc):

The workshop was a splendid mixture of ages and interests — a thoroughly enjoyable selection of people, because of how all those experiences and abilities and fascinations bounce off each other. I had a few epiphanies about my own work process, too (particularly in relation to written ‘maps’).

There were people who left with map designs to ink, and people who left with stories to tell, and a whole range in between who played with all sorts of skills — communicating through images and drawing tiny things and thinking through a physical space and looking at a world and breaking open a story.

Several attendees have very generously allowed me to post extracts from their sketched maps. I wish I could show you all of the designs that were emerging! While we started from the same story and landscape discussion, there was such a wide range of choices, solutions, storytelling, worldbuilding, linework…

Here’s a section of Meg Dunley’s map and notes (you can see more over in instagram.com/megdunley).

Meg Dunley

I do so love the “Far Away” label here — the way it frames the map, so that this is where the story is happening, but there is a larger world ‘altogether elsewhere’. It adds an extra level of framed-ness to the story (and a faint breeze of possibilities). The unmistakable little people, doing just what they need to (chopping, laundry), the house with its veranda, the receding perspective acknowledging that the high country is merely a backdrop to Events. Meg’s notes are also heavily drawn.

Consider this corner of Asia Ren’s map:

Asia Ren

The varying weight of the pencil lines here are great. Those mountains — scribbly they are, they are DEFINITE, and suggest a certain type of massive, aloof, mysterious horizon as they recede into the background. The boil of the waterfall, the distinct darkness (almost three-dimensional) of the lair, the specificity of the path being a cliff path…

Watching the class consider the different levels and dimensions of the landscape spins out so many questions and takes and stories.

Here’s a slice of Toni Risson’s map (the rectangle borders of this map are themselves on a skewed perspective, which also suggests many possibilities).

Toni Risson

What keeps catching me here are all those beautiful curls in the river — suggesting the flow of water, of course, but also making a distinct ornamental choice. The houses have two clear architectural types. The sense of action — the axe mid-swing, the wolf with its attention drawn. This is to be a world caught at a moment of suspended motion.

Megan Badger’s labels delight me:

Sketched trees, houses, gardens, paths, fishing village. Typed notes that say:
Map features:
mums wholefoods
fishing village
crossroads where deals are made
granny's apothecary
memorial meadow
and the washer woman's chant:
"beat the cloth
flow and froth
beat until the grime comes off"
Megan Badger

The drawings here are very clear and instantly communicative: those boats and that fish, the neatly fenced vegetable garden! This map is about the mechanics of the world, all the things that are going on alongside and behind the story — “mum’s wholefoods”, a crossroads for deals, the chant of the washer women (the possibilities of recording sound on a map).

(Also: If anyone else from the workshop reads this post and is willing to send me their map/thoughts, I’d love to look at some more of these details — and if you sent through your pictures but didn’t include a preferred link to your online presence, just let me know!)

Map illustration workshop — 19 June 2021

I’m giving a narrative map illustration workshop for the Queensland Writers Centre on 19 June 2021.

Pen drawings with bits of maps, clouds, compass roses. A sheep on a solitary island with "Map of the Last Lonely Island". A stag running down a beach with a label that leads to "Elsewhere".

It will be face to face at the Queensland Writers Centre in the Queensland State Library (Brisbane), but the event (and me bounding around drawing on boards and building small worlds, while pursued by the videographer) will also be live-streamed.

Birds-eye-view photo of paper and flowers and hands drawing on a table.
Photo courtesy of Where the Wild Things Are

Please note, it is an illustrative rather than a scientific cartography workshop! I am neither a cartographer nor a geographer — my maps are big pictures of the spaces where stories happen. BUT you do not have to be an illustrator or even able to draw particularly well to take this workshop — you just need to be willing to draw and break open a world. I will be teaching some drawing tricks, and mostly it’s about story.

MapAfter
Map detail from Holly Black’s The Wicked King

QWC sign-up links

Map illustration workshop — 19 June 2021

I’m giving a narrative map illustration workshop for the Queensland Writers Centre on 19 June 2021. It will be face to face at the Queensland Writers Centre in the Queensland State Library (Brisbane), but the event (and me bounding around drawing on boards and building small worlds, while pursued by the videographer) will also be live-streamed.

Please note, it is an illustrative rather than a scientific cartography workshop! But you do not have to be an illustrator or even able to draw particularly well to take it — you just need to be willing to draw and break open a world. I will be teaching some drawing tricks, and mostly it’s about story.

Face-to-face sign-up link

Livestreaming sign-up link

Wild Things map workshop

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Photo courtesy of Where the Wild Things Are

Some overdue photos from my map workshop — these are from the first instance of it, held at the wonderful Brisbane YA and children’s book store Where The Wild Things Are who ordinarily give marvellous workshops, and still give excellent advice. Like all bookstores, they could use some return support at this time (see also parent store: Avid Reader).

Here we all are on the back deck of Avid Reader. It was billed as an older kids workshop, and we ended up with a mixture of ages which I’ve always found delightful. Everyone gets both so light and so serious.

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Courtesy of Where The Wild Things Are.

At one stage in the workshop, we build a world, to make sure everything is connected and water (absent serious provocation) flows downhill (the two most important cartographic principles), and that hills and forests are where they ought to be for the tale. (My dad, an infantry officer and grazier, used to do this with us to explain tactics or cattle movements).

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Below, a cartographer contemplates the sea, which can be identified in the photo above by a very small lighthouse.

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It’s the most delightful workshop. We start with the same base story-shape to illustrate, and build it out with adaptations, themes, techniques, variations…

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I walk them through the process of illustrating a map, including a lot of my actual work for Holly Black’s Folk of the Air trilogy (I think only the Cruel Prince was out at this point).

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(Above is a glimpse of notes I took on trees from many maps in books and old atlases when I was working out the style of The Cruel Prince).

And then everyone gets so busy (I love this picture of hands).

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Some versions end up in space. Others appear to have swords stuck through them (this class wanted to know how to pin art to the wall with virtual daggers — I think this was because of the City of Bones 10th anniversary illustrations).

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(Spot the little house lurking under a wrist, there).

Art/writing activities:

(This is a variation on the activities in the Old Maps post).

  • Build a landscape to fit a story (a fairy tale, your own story, a movie...). On a grand scale, cushions, chairs, odd-shaped objects, and a blanket to throw over them will give you the basic layout. Then you can drape them with shawls and belts and toy houses, potplants, dinosaurs, etc to give watercourses, trees, and habitations. On a smaller scale, an assortment of cups and books with a light scarf draped over will give you a bijou universe. I’ve more than once built a small city out of thermoses, for reference.
  • For illustrators: convert this into a map (or a perspective landscape painting, if that’s your style).
  • For writers: consider how the terrain affects the story — often it can be the story. What can you see from a particular point (consider To Kill A Mockingbird)? What can’t you see from a particular point (consider “The Charge of the Light Brigade”)? What reasons might make one take the low road in preference to the high road? What (literally, but why not throw figuratively in there and make a family epic of it) stops a person getting from one side of the blanket to the other? If you move the lamp, how much of the land does the light touch? How much of the story could you tell in a glimpse from one hilltop (and who would be there to look?) — Michael Innes does this brilliantly in the opening of his (beautifully written although not unproblematic, in the ways one might expect from a country house murder mystery from the 1930s) Hamlet, Revenge!

Old maps

My family has often drawn maps. Next time I visit them (next time I’m allowed to — what a strange year this became) I need to dig out a pirate map — complete with ominous bullet hole — my father made when I was little. I think it’s in a big Nürnberger gingerbread chest with other childhood treasures.

One of my mother’s sisters was a draughtsperson, and took us on a memorable tour of the Yale plan department when we visited her there (and printed us plans of various buildings, as souvenirs!). My father’s brother got onto a few real actual maps, including in the Northern Territory (below — if you look at neighbouring names you’ll get an idea of the relevant decade) and Antarctica.

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When I was pulling together all our map books and atlases to take to some some map illustration workshops, we found a few more:

Here is a treasure map of our house out west, leading to a present for my mother. Whatever it was, we hid it in the bathroom. (The “giant’s causeway” was the stepping stones that led to the outdoor (unplumbed) toilet, so this was before we installed a septic tank and put a new toilet building at the site of the “thorny strait”).

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All good maps have a mermaid and a sea-monster.

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This one was for a very early (and somewhat culturally unexamined) Peter Pan birthday party for a (now 20-year old!) nephew, held around Lake Burley Griffin in Canberra.

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And here are the clues!

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Ideas, exercises, lessons:

  • All good maps have a mermaid and a sea-monster. If you have been world-building and have not taken this into account, consider redressing your omission. Think laterally if you must, but I see few reason why this cannot be literal. Space mermaids!
  • You can use all sorts of locations as a base for a fantastic world. Start with your living room and sketch a map, transpose the details into relevant fantastic locations (is the tissue box a volcano? a fever hospital?) and send a hero on an adventure across it. What perils might they meet? Rough out a quick scene (written or drawn, according to what you do).
    An advantage of this is that many rooms are roughly rectangular and so your world will print nicely onto the opening pages of a novel.
  • Converting a house to a fantastic location is one way to occupy time at home. You’ve got the option of a treasure hunt, of course, but you can be quite literal here, too. In fact, one time at college we had meant to go on a picnic, but it rained, so we went to great lengths to recreate a park (duckpond and all) in my room and had the picnic there. As social isolation increases, I’m going to have to work out what I can do to get (more of) a cafe vibe happening in my house.

 

The Queen of Nothing — the map!

QueenOfNothingMap

The Queen of Nothing, the third in Holly Black’s Folk of the Air trilogy, and sequel to The Cruel Prince and The Wicked King is now out! I’m visiting Massachusetts at the moment and got to ride along to Holly’s first event of her tour, at An Unlikely Story. But now I can also show you the map.

I have loved adjusting the map for this series (although altering wave patterns in ink with each new ocean detail, and splicing them in digitally, was certainly a challenge!).

Under the map (above) are sketches of possible treatments of the corners and new details. But other new pieces came from the little thematic sketches I made along the way (no spoilers).

QueenOfNothingLittleSketches

A few of the little original ink drawings of tiny new details are now available at Book Moon Books in Easthampton, Massachusetts (or will be by tomorrow, when I am sketching there!). Below is the tiniest.

(The cover art is not by me. Sean Freeman has been illustrating those, with design by Karina Granda. BUT I did draw the foil designs under the dust jackets on the hardcovers — and got to meet a girl with the Cruel Prince design tattooed on her arm, which was very exciting!).

TiniestFox

Art by Sean Freeman, design by Karina Granda, tiniest fox by me, SNAKE by Holly Black

December Calendar – Ships a-sailing

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Welcome to the December calendar (brought to you, as ever, with your priceless support on Patreon – we’re $10 short of restarting the Dalek Game again over there, should you wish to help!).

Due to all the maps of recent days, I’ve been wanting to do a pseudo-nautical calendar (again — there’s a cameo appearance from August 2017‘s cast this month).

December-Calendar-Low-Res

It was not intended to be a festive calendar (although I might make a sea-serpent garland this year), mostly because I was travelling and forgot this would be for December. (I am home now, and reminded of it constantly.) However, should you require a carolling connection, just pick any three ships (or check out the Patreon, for occasional stationery from this and previous years).

The calendar page is below, pre-coloured or to colour at home.

December Calendar ColourDecember Calendar Lines