But in his off-hours, the Brooklyn-based designer takes a broader look at the state of the nation. He merges vintage maps and contemporary elevation data, creating stunning digital works that flatten the differences of time and space into hybrid objects. While his graphics for The Times are rooted in the ever-changing present, his personal work is nestled within historical contexts.
Reinhard’s interest in data and map-generation grew while he was pursuing a master’s degree in graphic design at North Carolina State University, particularly during an introductory course centered around
That experimental period spurred Reinhard’s ideas of fusing historical maps and contemporary land elevations, and he began exploring filtering, a cartographic method that calculates a theoretical sun and provides data about corresponding landscapes. “It’s pretty crude, but it really fascinated me that from a flat, black-and-white image, which is basically what elevation data looks like, you could interpolate this scene,” he shares, noting that he began to work with 3-D renderings around the same time. “That data that’s stored in a paper map can still be activated.”
A macro-view captures the intricacies and histories etched into the landscape of a region, showcasing glacial formations, seismic activity, and how a mountain range emerged during a period of years. “I realized once I started visualizing the landscape that, on a day-to-day standpoint when you look around you, you see elevation changes, but you don’t really see patterns. We’re just a little too small,” he says. Because USGS maps utilize coordinates, they also circumvent more political orientations found in documents outlining territories or other cordoned-off areas, offering an opportunity to correct false narratives that have been perpetuated by cartographic objects in the past. The historical maps hold additional information on trends and periods in design, which manifest in aesthetic choices like style and color.
Reinhard currently is working his way through producing