THE AUTHORS
James Cheshire and Oliver Uberti have been making maps together for ten years. Their bestselling debut, London: The Information Capital, won the British Cartographic Society award for cartographic excellence. They won it again with Where the Animals Go, which Jane Goodall hailed for its ‘help in our fight to save wildlife and wild habitats,’ and once more for Atlas of the Invisible. In 2017, James and Oliver were awarded the Corlis Benefideo Award for Imaginative Cartography by the North American Cartographic Information Society. Their maps have hung in exhibitions at the Swiss Museum of Design, the Museum of the City of New York and the New Bedford Whaling Museum and been featured in National Geographic, Wired, the Financial Times and the Guardian. The two collaborate across the curvature of the Earth from their respective outposts in London and Los Angeles. Perhaps one day their dogs, Howard and Misti, will meet.
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James Cheshire
James Cheshire is a Professor of Geographic Information and Cartography at University College London. In 2017, the Royal Geographic Society honoured him with the Cuthbert Peek Award ‘for advancing geographical knowledge through the use of mappable Big Data’.
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Oliver Uberti
Oliver Uberti is a former senior design editor for National Geographic, who continues to help scientists translate their research into memorable visuals. He has designed figures for a range of high-profile academics, including geneticist David Reich and his bestseller Who We Are and How We Got Here.
Our Values
IMAGINATION CAN BE A WAY IN.
For cartographers, an imaginative approach can clear a path into a particularly thorny dataset. For readers, it can open a door to understanding, suggesting what a map is about before they read a single word.
OUTPUT REQUIRES INPUT.
Creativity is about making unexpected connections. What if this was like that? To be creative then, we need to maintain a deep visual inventory of things to connect. So to keep our wells full, we make time to travel, read and stay curious.
GOOD WORK TAKES TIME.
You can’t make books like ours with the press of a button. Atlas of the Invisible took four years to produce. That kind of time gave us space not only to explore dead ends but also to hear what all our graphics were starting to say.