Making Magnificent Mountains
Coal Belly, my current project, is a sprawling steampunk-ish adventure novel that spans the mountains, cliffs, and ridges in a world of interlocking rivers. To keep track of characters and locations, I began maintaining a map. The story takes places in a technological era similar to the post-reconstruction United States, around the 1890s. Because of that, I wanted my map to capture the styles of maps from that period. The sort of thing a cowboy would have in their saddlebag. Which meant I spent some time on Old Maps Online.
While researching, I noticed there was a shift in the late 1800s in how cartographers drew mountains. Earlier in the century, most mountains were rendered as illustrations. Cartographers would draw little adorable ranges as a representative of the mountains. It’s a common enough style, and one I’m sure you’ll recognize. You can see this style in this map from 1832.
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This is a standard approach and one appropriated by most fantasy cartographers today. It’s a style I’ve used in past maps. It works well and definitely lends a touch of antiquity to a piece. But, Coal Belly is more modern than that. When I started looking at mountains in maps made later in the century, I noticed there was a shift. Cartographers moved away from the illustrated ranges and towards an early topographical style. You can see the shift in the maps below.
It’s a fascinating change and one I really liked. Since most of my own fantastical cartography work is done in Adobe Illustrator, I began experimenting with creating brushes. Each of the maps above was drawn by hand so recreating a similar feel took a lot of experimentation. Different brush styles and widths. Eventually, I settled on pattern brushes based off a series of random strokes. I feel like I got really close. You can see my handiwork below. I call the set Lehmann after Austrian topographer Johann Georg Lehmann who developed the Lehmann hatching system in the late 1700s, and I’m releasing it today for free.
I made twenty brushes, with a variety of line styles and densities. They tend to work best as separate strokes and then tightly grouped together. And because they’re vector based they can be adjusted for any size project. There’s a lot of ways to adjust the overlaps for corners and such. They’re quite versatile and can be blended and combined in numerous ways.
I ended up scrapping these mountains for the Coal Belly map, as they interfered with the map’s legibility, especially on eReaders. But, I think they would be the perfect fit for the right project. Which is why I’m giving them away for free. Just click the download button below and you can use Lehmann in your own project.
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These brushes are designed for Adobe Illustrator and are licensed under a Creative Commons 4.0 International License. So they’re FREE to use for personal or commercial work, and I’m not looking for any attribution. That said, I would love to see how others end up using these brushes. So please reach out and let me know! I’m not looking for any payment, but if you want to support me consider buying one of my books.
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Brushes and tools released through the #NoBadMaps project will always be free and released under a public domain CC0 license. If you’d like to support the project and help me cover the cost of hosting, research, and tool-set development, I’ve put together three ways you can help, and all are detailed below.
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[Update 11/27/2017] Thanks to some friendly help from cartographer and designer Martin von Wyss over at the Cartographer’s Guild I was informed this process is called hachuring. Hachure maps are still in use today, in fact. While my brushes don’t follow the rules necessary for informative real-world hachure maps, they still imitate hachuring enough to work for fantasy cartography.
[Update 01/02/2018] I’ve renamed this set “Lehmann” after Austrian topographer Johann Georg Lehmann who developed the Lehmann hatching system in the late 1700s. This will bring it further in line with the naming of my other free brush sets, Lumbia and Walser.
1 It needs to be mentioned that the Photoshop brushes are significantly limited compared to the Illustrator version. These brushes were designed to work along paths so the mountains will look hand-drawn. While you can use the brushes in Photoshop, there will be limitations. They’ll look more stamped and less custom.
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