American mapmaking’s most prestigious honor is the “Best of Show” award at the annual competition of the Cartography and Geographic Information Society. The five most recent winners were all maps designed by large, well-known institutions: National Geographic (three times), the Central Intelligence Agency Cartography Center, and the U.S. Census Bureau. But earlier this year, the 38^th annual Best of Show award went to a map created by Imus Geographics—which is basically one dude named David Imus working in a farmhouse outside Eugene, Ore.

At first glance, Imus’ “The Essential Geography of the United States of America” may look like any other U.S. wall map. It’s about 4 feet by 3 feet. It uses a standard, two-dimensional conic projection. It has place names. Political boundaries. Lakes, rivers, highways.
So what makes this map different from the Rand McNally version you can buy at a bookstore? Or from the dusty National Geographic pull-down mounted in your child’s elementary school classroom? Can one paper wall map really outshine all others—so definitively that it becomes award-worthy?

I’m here to tell you it can. This is a masterful map. And the secret is in its careful attention to design.

These days, almost all the data cartographers use is provided by the government and is freely available in the public domain. Anybody can download databases of highways, airports, and cities, and then slap a crude map together with the aid of a plotter. What separates a great map from a terrible one is choosing which data to use and how best to present it.

How will you signify elevation and forestation? How will you imply the hierarchy of city sizes? How big must a town (or an airport, or a body of water) be to warrant inclusion? And how will you convey all of this with a visual scheme that’s clean and attractive?

According to independent cartographers I spoke with, the big mapmaking corporations of the world employ type-positioning software, placing their map labels (names of cities, rivers, etc.) according to an algorithm. For example, preferred placement for city labels is generally to the upper right of the dot that indicates location. But if this spot is already occupied—by the label for a river, say, or by a state boundary line—the city label might be shifted over a few millimeters. Sometimes a town might get deleted entirely in favor of a highway shield or a time zone marker. The result is a rough draft of label placement, still in need of human refinement. Post-computer editing decisions are frequently outsourced—sometimes to India, where teams of cheap workers will hunt for obvious errors and messy label overlaps. The overall goal is often a quick and dirty turnaround, with cost and speed trumping excellence and elegance.

By contrast, David Imus worked alone on his map seven days a week for two full years. Nearly 6,000 hours in total. It would be prohibitively expensive just to outsource that much work. But Imus—a 35-year veteran of cartography who’s designed every kind of map for every kind of client—did it all by himself. He used a computer (not a pencil and paper), but absolutely nothing was left to computer-assisted happenstance. Imus spent eons tweaking label positions. Slaving over font types, kerning, letter thicknesses. Scrutinizing levels of blackness. It’s the kind of personal cartographic touch you might only find these days on the hand-illustrated ski-trail maps available at posh mountain resorts.