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I don’t use any type of pre-fab mapping software. The map elements are drawn by hand and scanned into a computer. Then I manipulate and color the images digitally with Paint Shop Pro 8. I like to work at 600 dpi and resample the maps down to print resolution when I'm done.
I make the parchment backgrounds you see behind some of my maps by antiquing sheets of Pergamenata. This is a paper made from vegetable cellulose rather than wood pulp. Unlike normal paper, it has many of the same qualities as real, animal-skin parchment.
Labels are one of the most important elements on a map. They help set the tone and give a map much of its usefulness. Bad labeling can turn an otherwise useful resource into an illustration that simply looks pretty—which is a shame because it usually takes longer to make a map than it does to create a spot illustration of the same size.
Each label should add something new to the setting. Labels that are obvious waste valuable space and cheapen the map.
I choose and position every label very carefully. The first sketch I submit includes nothing more than an outline and the labels. Sometimes I get the impression that people aren’t exactly sure what I’m showing them at first. But the labels alone will reveal if the map can do the job it is supposed to.
Good maps should not only complement a setting but add to it. The map alone should be easily animated by the viewer. It should help convey a sense of time and hint at past events. A good map gives the main story a home in the greater world. Each map element is a character that helps to tell the untold stories that happen in the living world beyond.
I love working with computers but I also want fantasy-style maps to have an earthy feel. I go to great lengths to insure that the final maps retain their hand-made quality. I use elements that are obviously digital only when appropriate.