Maps and mappers of the 2021 calendar: Valters Zeizis, cover

Q: Tell us about yourself.

A: I work as an Oceanologist for the Latvian met-office and work with meteorological and marine data. I have experience working with various spatial data, but I guess my favorite source is Satellite data. I tend to experiment with various sensors and processing methods and often share my results on social media. I think in a nutshell it’s also how I became engaged with the makers of GeoHipster calendar.

Q: Tell us the story behind your map (what inspired you to make it, what did you learn while making it, or any other aspects of the map or its creation you would like people to know).

A: The image that is on the cover of this year’s calendar shows suspended sediment in the Gulf of Riga. The image shows suspended sediment that is poured into the sea during springtime river runoff. Relatively stable marine currents form beautiful patterns, while the coloring is related to optical properties of water – the density and size of the suspended matter. The inspiration behind the image is purely aesthetic, but in a sense it’s also analytical. It is also a rare occasion of a cloudless Satellite overpass during a very interesting and large scale natural event.

Q: Tell us about the tools, data, etc., you used to make the map.

A: The image is made using Sentinel 2 data that has been processed by a script which enhances NDWI (normalized difference water index). The image came about while I was playing with the script (https://custom-scripts.sentinel-hub.com/custom-scripts/sentinel-2/selective_enhancement_based_on_indices/) and looking at the phenomena in a familiar area. After I was satisfied with the capture I also did some post-processing in GIMP.

Maps and mappers of the 2021 calendar: Zoey Armstrong, back cover

Q: Tell us about yourself.

A: My name is Zoey Armstrong and I’m a graduate student at Miami University in Oxford, Ohio. I’m currently working on my Master’s of Geography and my thesis is examining the effectiveness of species distribution modeling using citizen science and herbarium data. Besides researching, I enjoy going out on hikes and improving my field botany skills, making maps, and playing board games.

Q: Tell us the story behind your map (what inspired you to make it, what did you learn while making it, or any other aspects of the map or its creation you would like people to know).

A: I was initially inspired to make the map because one of my professors who I TA for, and who also knew I’ve made similar type maps in the past, wanted me to create a demonstration on my map-making process as a teaching tool for the students. With that initial push, I started considering some ideas. Pretty early on I decided I wanted to use an antique map as the base map. I had seen similar things done with old USGS survey maps and I thought it was really cool being able to bring an old map to life with new data and technology. So after a bit of searching around online, I found a map of the Azores from 1899 by M. J. Thoulet and was immediately in love with it; I could tell the contour lines in the original map would look really good in 3D and I also liked that I could give the final product a more abstract feel. 

One challenge I didn’t anticipate was getting a hold of a high-resolution copy of the map. I could only seem to find low and medium-resolution images until I found that it was hosted in Harvard’s records collection. I decided to send out an email to the records division to see if I could get a high-resolution download… and it worked! I thought it was pretty cool that I had to interact with Harvard for the project. One thing I learned through this project is that hand tracing bathymetry lines takes a lot of time. I have a new appreciation for everyone who helped digitize old geographic records.

Q: Tell us about the tools, data, etc., you used to make the map.

A: To create everything, I first found the old map of the Azores, then downloaded a combined topography and bathymetry dataset from GEBCO. I used QGIS to clean up and export the raster as a PNG where I could add it to an Autodesk Sketchbook Pro project. Sketchbook is a free barebones version of photoshop and that’s where I chose a color scheme and hand traced the bathymetry files. From Sketchbook, I exported two images: one in color that represented the final look of everything, and one in black and white to be used as a displacement input in Blender. This displacement input transforms a flat plane into a surface with all the peaks and valleys seen in the final map. Then a light source is added to the scene, giving the final render its accurate highlights and shadows. Overall, I enjoyed making the map, but definitely got a little carried away with it for a bit.