Long as maps have been produced, colorists have been used to add a bit of color to the map. Most of the time, this was done by hand, as early as the 1400s. However, over time the method would improve with the use of wooden blocks, intaglio, and eventually automated to a degree in the 19th century by a process known as machine chromolithography. However, up until this point, the history of coloring maps is rich and storied.

Three Types of Color for Maps

Before we launch into the history, a basic understanding of map coloring is needed. There are three ways map coloring is classified. This is best illustrated by the debate surrounding map coloring among collectors. To begin with, many of the maps that are cherished today, were originally produced in black-and-white. There were several reasons for this, but the main reason was basic economics. It was much cheaper to produce a map in black-and-white since you did not have to pay people to apply the color, or take the time to apply the coloring yourself.

However, any time a map was produced with color, it was colored at the time of production. This is the first type of coloring. We call it “original color.” The second type of color, known as “new color” or “contemporary color”, applies to maps that were colored after production by the publishing company.

Sometimes it might be five or six years before these maps would be colored. The reason for coloring them at that point would be something like their inclusion in an atlas, or a volume of some other larger work. The coloring made the map consistent with the other pieces contained therein.

That brings us to the debate among collectors regarding map color. There is somewhat of a disagreement, if you will, between the value of a historical map and its color. The basic reason for this boils down to whether you are a purist or not. A person that is a staunch collector of maps that have been colored, will always prefer original color to any other type of work. The value of a map with original color is often much higher than a map that was colored sometime later. Even if the color was added only a few years after the fact, a map purist will not consider that map to have original color.

Rather, that will be classified as a “contemporary color”, and the value, as such, will not be as much as one that had been colored during the time of production.

Too muddy things a bit further, there are maps that were colored with a third type of color, known as “period color.” These are maps that have been colored well after their production date, to reflect the time period of the original. Many modern artists will hand painstakingly hand apply this color during restoration or cleaning. In most cases, the color is just as good as the original and should help the value of the map. The coloring is sadi to be “in period”. Yet, The debate among collectors is that a “period color” map is not worth as much as one that has original color. The argument seems to be a matter 0f substance over style in most cases. However, if you are a true map purist, a period color map will simply not suffice! The reason the debate is so active, has more to do wit hthe historical significance than anything else.

History of Coloring Maps, Part 2

So why is the color debate so lively? Well, originally, maps were colored for one simple reason. It made them easier to read. This was a great navigational aid for explorers, and a handy tool to use if you were pleading your case for financing merchant travels to the ruler of the country you saw audience with. Coloring made maps easier to understand. It brought out the topography of an area. It made boundaries easy to see. It also made travel routes and other points of interest easy to find.

As such, if you are a collector of old maps, then a map with original color means that the map was colored by someone during that actual time period. Sometimes those individuals were children. That’s right, many mapmakers would use children to color the maps because the labor was so cheap. This is why sometimes the color on a map does not quite lined up with its boundaries. Kids have always had trouble coloring inside the lines at a young age. Coloring maps was no different. In fact, it was actually harder since the boundaries were more precise. Often times, the children were lined up as an assembly line. Maps were passed down from one child to the next until the coloring process was complete.

Therefore, If you have an original map, with coloring hand applied by a child from the 17th century, you have a true work of art in your possession. These maps fetch a lofty price. Even though during restoration or cleaning, a phenomenal artist can spot match. Color and blend it to the point where it is almost unnoticeable, original color is always preferable.

The Height of Hand Coloring

Hand coloring maps thrived during the 17th and 18th century, but its roots go back a bit further. Several early map makers began their career as colorist. One of the most well known is Abraham Ortelius. The title at the time of “map colorist” was a bit different. You would have known him then as an “illuminator of maps”. He plyed that trade for a while until he met another famous cartographer, Gerardus Mercator. It would not be long after their initial meeting in 1544, that Abraham would move from “illuminator of maps”, to one of the greatest cartographers of all time. His move was largely influenced by Mercator. Had they never met, who knows what would have happened.

Abraham Ortelius and his maps

Over time, coloring became its own sort of animal. We mentioned briefly that children were used to color maps. Here were other colorists to as the years progressed. If a map was purchased by royalty and they wanted coloring added, they would employ their “royal colorist”. The royal colorist would painstakingly apply color to the map, and in some cases add gold leaf or other types of special adornments to give unique character or make it stand out. It was during this time period, the 17th –mid 18th century, that map coloring took maps from mere navigational pieces, to highly regarded forms of art. Howoever, progress was coming, and innovation would soon change everything.

History of Coloring Maps, Part 3

Of Wood Blocks and Copper

Early mapmaking practices included simple wooden blocks. These would have a relief cut into the wood itself so that the printed area would show through when it was stamped. From the 1400s to the mid-15th century, this method would be greatly used. Many of these maps were produced in black-and-white.

After the mid-15th century, copper plates were the order of the day. The only drawback to using copper was the fact that the metal was soft. Therefore, only a few images could be produced at a time since the copper had to be re-engraved. Yet, this was more than acceptable because much more detail could be yielded from copper plates than you ever could get with wood. Eventually, steel would replace copper as the metal of choice and re-engraving plates no longer became an issue.

However, there was still the issue of coloring. In the early 1800s, lithography was employed as a faster means to color maps. Artists drew directly on to special stones, and layer them over the paper to create a colored map of choice. This meant that hand coloring maps with water colors, and other natural pigments and dyes became much less needed. Maps began to be viewed as a more utilitarian tool than a highly embellished piece of art, and the practice of hand coloring declined.

Rand Mcnally Changes Everything

In addition, new or innovative methods would speed up production to the point that hand coloring was simply impractical. One of the forerunners of that technology was Rand McNally. At the end of the 18th century, the firm began using a new wax engraving method. This meant that production could be ramped up, and also significantly reduced their cost of operation. All that was required was a copperplate engraving, coated with a very thin layer of wax that would be refreshed periodically. The plate would last indefinitely and never had to be re-engraved.

That process could be applied to map coloring as well, and it was. Without the need to reintegrate plates, Rand McNally took the industry by storm until the dawn of the Internet where they found themselves in trouble. They have since reemerged, and are well on their way to establishing themselves once again as one of the premier mapmakers of the world.

So what does all of this mean? Well, simply put, it means that the process of coloring maps dates back hundreds of years. It moved from a point of function, to exquisite art, to an expected industry mainstay.

What Will the Future Hold?

No wonder map collectors debate the importance of hand colored versus Chromo photography. No wonder they prefer an item with original color to one that has period color. Those pieces are part of a bigger story. They show how we evolve and progress as people over time. Who knows what the future of map coloring will be. It’s easy to think that the process is so automated now that nothing could be improved upon or made more efficient. We say give it another 100 years and see what happens.

True, we will not be here to see the progress, and maybe that is the point. When the earliest maps were colored by hand most people did not consider progress and efficiency a priority-timelessness was the priority, which is the quality sought in fine art.

The Future of Map Painting

The genre of art that uses maps or draws maps is called “map art” and it’s a greater term for many styles of art. Here are a few variations of the genre according to Lisa Middleton.

Informed map painting seeks to paint historic map documents and reproductions according to period style such as Jane’s work as seen below.

More of Jane Niebling maps and artwork may be seen at www.theprintcolorist.com.

Contemporary map painting is the style Lisa Middleton uses to describe her work.  This style is a subjective form of map coloring, enhancing the image (usually map reproductions) in exciting or neutral tones to create a map as a work of art.

 Examples by map painter Dr Franky Dolan

Hand Painted Historical Maps by Lisa Middleton www.greatriverarts.com

Ledger art is also a fantastic example of map art however the map is covered by illustrations.  See Great River Art’s recent article about ledger art here. Lisa Middleton exhibits in the western art genre and identifies with this genre, however she does not obstruct the message of the map to the best of her ability.

 Abstract Map Art tends to be collage-like and uses aspects of maps in the art, but actual map documents may or may not be used.

Mary Nasser's art tends to use map artifacts and aspects. You can see more of her work at www.marycnasser.com

Psychocartography moves forward into therapeutic forms of map making, such as vision boards and life history. Jill Berry has been very significant in this area of study and much has yet to be learned about this kind of map art, but it’s value is unprecedented.

Jill Berry's work and published materials may be seen at jillberrydesign.com

In summary we can see that the coloring of maps from Kings to Kids has been highly influential in the interpretation and enjoyment of maps through history. As our understanding of psychology, technology, and the sciences grow, our fascination with maps-including their utilitarian and decorative purposes-will only increase. Lisa Middleton believes we have only seen the twinkle on the horizon of the practical usage of maps in our daily lives.  Historical maps will become more and more rare as time goes on, and therefore their value will skyrocket. The map art genre will continue to express our passion for maps of all sorts and will become more mainstream and in demand by collectors and interior designers.

The painting of historical maps have proven themselves priceless in the documentation of the spread of cultures, and the potential of map art in future generations is so fantastic it can hardly be imagined.

What are your thoughts about the history and future of map painting? Please email us at [email protected] or leave your comment below.