Before we get started with our conversation about mapping cities with Campaign Cartographer 3 Plus (CC3+), I should probably introduce myself. My name is Jay Johnson and I go by Texas Jake on both the ProFantasy Forum and the Cartographers Guild Forum. I have always loved maps and history and I am a bit of a perfectionist by nature. You can see examples of my maps on the ProFantasy Forum. My map of the border outpost of Tarkas was one of the ProFantasy Blog’s Maps of the Month for October 2018. You can also view the current map I am working on of the City of Melekhir. It is a map of a city that covers over one square mile of land area (that’s massive, what was I thinking when I started such a ginormous project!).

When I purchased CC3+ (to make a map for a series of books I am writing) and started down the road of mapping, I had no idea all I would discover—about the use of CC3+, about medieval cities and about the art of mapmaking. CC3+ opened up a whole new world of mapmaking to me. I started by doing some overland mapping (and was astonished by the quality of maps I could produce while still learning the basics of the program), but it wasn’t long before I ventured into the realm of city mapping. Mapping cities can be challenging, fun, sometimes frustrating, but in the end quite rewarding. I would like to take this opportunity to share some of what I have learned along the way.

First, let me define what kind of cities we are talking about. The type of cities we will be discussing are fantasy cities based on those from medieval Europe. The kind that can be found in many of the fantasy stories we have read or viewed. The purpose of our conversation is to learn not only the use of CC3+ to make maps of cities, but also to learn about the art of making city maps.

It could be argued that the art of mapmaking is more important to making good maps than the tools you use to accomplish it. I believe there is some truth to this argument. I would go on to say that a good mapmaker can make a good map whether he or she uses pen and paper, Photoshop, or CC3+. The more we understand about making a readable and believable map, the better map we will make regardless of the tools or medium we choose. Our objective is to make a map that effectively communicates to the viewer the information we desire to convey. If we fail to do this, everything else we do is pointless. We also want to make a believable map. To do this, we need to avoid pitfalls like using magic as an excuse to justify something that would be implausible in the real world. If we do deviate from the norm, there should be a good reason for doing so. We can make exceptions to reality, but they should be made for a reason, not as an excuse. Understand that the more exceptions we make, the less believable our map becomes.

As we make this journey together, I am going to assume a few things, one of them is that you have the City Designer 3 (CD3) add-on. We will be making use of tools and elements from CD3 and since I bought the Top Three bundle when I got CC3+ (which includes CD3 and Dungeon Designer 3), I am less conscious of what tool came with which product.

Let’s Get Started

Where to start? Now that is the question. Let’s start by determining what kind of city we want to map. You must think about the size of the city you plan to map and determine the size canvas you will need to map it on. If you are just starting on your journey as a mapmaker, this can be a hard question to answer accurately. I know that I have had to restart maps several times because I answered this question incorrectly. The problem of fantasy mapping is that we define what we are mapping and we create the data. If our conception of what we want is not entirely clear, we open the door for inaccurate conclusions to enter. So, take a little time and think about how big your city is going to be and then you may want to allow yourself just a bit more space than that. It is good to allow extra space so that the shape of your city is defined by design and not by the constraints of your canvas. How many times do fantasy cities end up square or rectangular because that is the boundaries of the canvas. Our cities should be defined by their terrain, not by our canvas. Do your research. Know as much as you reasonably can about your city before you start to draw it out. Understand, of course, you will learn more as you put it down on (digital) paper. Sometimes the discovery may amaze and surprise you.

A resource that may help you is this site which has many historic city maps.

If you are new to CC3+, get to know the software. You need to gain a bit of skill with your tools. One of the first things I did when I was new to CC3+ was watch the excellent videos by Joe Sweeney to get a handle on the software. You can find his videos here. After watching some of his videos I would do some mapping with CC3+. When I had a question or encountered a problem I would go back for more or break out the manual. One of the best ways to learn is by doing (at least for me it is). Make a few practice maps to develop some familiarity with the product. I have heard complaints that CC3+ is hard to learn. There is a bit of a learning curve to it, but there is with any product. I promise you if you put in the effort to learn to use the software you will be rewarded—and you will get past the steep end of the learning curve faster than you may think if you are diligent.

Another tremendous resource is the Tome of Ultimate Mapping by Remy Monsen. It is available from ProFantasy and is a wealth of knowledge. It also includes an excellent tutorial on mapping cities to help you learn the basics.

Your city should have a reason for being. What resources are available: minerals, lumber, stone, etc.? There must be sources of food and water (unless, of course, your inhabitants are stone statues that do not eat or drink, but I think they are probably not). What about trade routes? Think about these things and their locations in relation to your city and what impact they have on it.

After you have determined the size of your city and have achieved some degree of proficiency in the use of CC3+, you need to determine what CC3+ style you want to use for your city. Understand you can
borrow elements from other styles to supplement your choice. You can even create your own style if you care to. If you are unfamiliar with CC3+ city styles I would recommend making a small sample map with the styles you are considering to see which one will best suit your needs.

Time to Make a Map

MelekhirOkay, now let’s get into my process for mapping cities (finally, you say). The first thing I do is define the terrain. If you’re mapping a city that is on an overland map, you can look to that map for information. Locate the hills, the mountains, and very importantly, the rivers. After you define the terrain, determine the location of the city on the terrain.

The next thing I do is lay out the major roads. The roads that connect the cities to the rest of the world and resources and the roads that are the major arteries inside your city. This will give you a skeleton, so to speak, to work off of and flesh out. At this stage I determine where the main marketplace will be. If there is a castle or palace, this would be a good time to locate it. It will influence your roads and was probably there before, or near to the beginning of, the city. During this stage it is also good to consider what important structures, locations and features you want to include in your city—maybe an important temple, or a large arena where chariots race or gladiators fight. Now would be a good time to place them on the map. That way you make sure there is a place for them, and major sites like these will have a great influence on your road network.

When you place buildings, you can put roads down first then add the buildings or you can add the buildings then place the roads. I have done it both ways and either will work. It is a matter of preference and, at different points in your mapping, one way may prove better for you than the other.

Talking about buildings. If you look at historic maps and at old sections of cities that have survived from the medieval period, buildings tend to be built right up against each other. They are also right on the street, not set back as is common in the residential neighborhoods many of us are familiar with. This will be the preferred situation in our map. Because of this, the random street tool (which is great for laying down houses fast) will not be our preferred method of adding buildings. I also don’t use the premade buildings very often in my maps. I prefer to make my own using the House Builder Tool (which we will henceforth refer to as the HBT). This allows us to have much greater flexibility concerning the design of the buildings we are placing on our map.

When I was early in the process of mapping out Melekhir, I struggled to come up with convincing-looking buildings and building clusters. After several attempts (which I quickly deleted) I stumbled on an ingenious idea (okay, maybe ingenious is a bit much). I decided to bring up the city of Rothenburg ob der Tauber in Google Earth and copy some buildings. Why Rothenburg? Because I had visited the city a few times when I was living in Germany and I knew it was an authentic walled city that had maintained its medieval charm. I replicated a few buildings—they weren’t exact copies—but I liked the results. I copied a block of buildings and I really liked the results. Hey, this felt authentic (of course it felt authentic because it was authentic). I copied several more sections of the old city. And you know what? After this exercise in replication, I was able to create buildings and clusters of my own that felt authentic. I had acquired a feel for it.

Rothenburg
Let’s take a step back. Before I made this amazing discovery (okay, maybe amazing is a bit much also), I had used Google Earth to take measurements of streets and buildings and blocks of several historic cities. I recorded my findings and developed some standards to guide me in my mapping.

Did you know Google Earth has a nifty measure tool that will measure distance in meters (and also feet for us backwards Americans).

My measurements told me that main streets were usually between 16-18 meters (52-59 feet) wide, building face to building face. So, to keep it simple, I set my main streets at a width of fifty feet. Side streets were 6-8 meters (20-26 feet) wide, so I set my side streets at 20 or 25 feet wide. Alleys were as narrow as 4 meters (13 feet) so alleys would be approximately 12 feet wide. I also used my building measurements as a guide to how big buildings should be. Based on the measurement of several marketplaces I determined my main marketplace would be approximately 100 feet by 300 feet.

Grids

One of the first things I do when setting up a map in CC3+ is create several square grids on their own sheets, but on a common layer. This way I can turn them on and off individually. For a city map, I create the following grids: 5 feet, 25 feet, 100 feet, 250 feet, and 1000 feet (if the map is very large like Melekhir). I set the transparency of these grids to 50% or less so I can see through them and make sure they are contrasting colors (so I can distinguish between them). If you make sure they are all on the same layer you can turn on and off whatever combination is active via layers. These grids prove very valuable in keeping everything scaled properly. That said, I often map with them off once I get a feel for scale. If you do this, be sure to zoom out every once in a while. If you are working zoomed-in, things can get out of proportion to the rest of the map. I have stayed zoomed-in for extended periods of mapping only to zoom out and realize I have gotten dreadfully out of scale. That said, don’t be afraid to redo something that is off. If you fix it early it is usually a fairly simple and relatively painless operation (and you will be able to sleep at night knowing it is fixed).

The City Mapping article by Jay Johnson will continue next month.

Download Mapping Cities Part 1 as a pdf.

Jay Johnson is an aspiring author working on an epic fantasy series. He has always loved maps and, like many of us, was introduced to fantasy cartography through the works of J. R. R. Tolkien. His map-making has become an integral part of his writing process — a process he says often seems more like discovery than creation.

Isometric ViewWhat is a map and how can it tell a story? To explore the question, let’s begin by defining our terms. According to the Oxford English Dictionary, cartography is “the science or practice of drawing maps”. So what is it then that we’re creating in this process and how do we know if we’re achieving our goals? Furthermore, how can we tell that our efforts are making the most of the medium we’ve chosen to communicate with our audience? Returning to the Oxford English Dictionary for another clarification of terms might help here. A map, used as a noun, indicates “a diagrammatic representation of an area of land or sea showing physical features, cities, roads, etc.”. In addition, it can also refer to a representation of the position of objects in outer space, or more generally, the arrangement of any collection of information with regard to its distribution over an area or sequence in a progression. In a nutshell, a map is a selective re-presentation of facts as they relate to one another in space or time. When used as a verb, mapping speaks to the act of organizing or defining those relationships with the aim of creating a depiction that can be used for either internal reference or communication with others. With this in mind, the choices that we make in the process of building a map inform not only its technical function and visual flavor but also its ability to serve as a non-linear narrative ripe for expansion.

Forlorn CottageIn my mind, the difference between a simple diagram and a cartographic masterpiece lies in the manner in which the work engages its audience. Some of the best maps I can think of remind me of sandboxes filled with intriguing story seeds. Wherever you look there is enough detail to lose yourself in but there also exists ample room for the imagination to build and expand on what’s given. A great map presents itself as more than simple data. The rabbit holes within a truly engaging map are as varied as its viewers and as numerous as each moment an eye traces a path across its surface. With this in mind, how we choose what is important enough to include and what should be omitted defines the true character of our creation. It’s this judgment and practice that makes all the difference.

Now that we know the basic framework of the activity we’re engaged in, let’s look at some specifics concerning how to move forward. The scope of our interest here is presumably limited to the crafting of fantasy maps, particularly that sort defined by the needs of role-playing game masters looking to visualize sites for exploration, encounter settings, or storytelling. Since we aren’t necessarily worried about maintaining fidelity to a real-world location, then the focus of our overall aim shifts and we are allowed to build the world with more of a free hand. As a result, the initial design and layout steps serve a more essential function since the location is built from the ground up.

FloorplanWith this leeway, the inherent narrative nature of a map becomes that much more apparent. You’re telling the story, or setting the stage for a multitude of stories, by how you develop your picture. That being said, logical issues of physics, geomorphology, and tendencies of habitation are extremely important to consider since an environment that doesn’t make sense sets up roadblocks to storytelling that at their worst can become glaring holes in the plot. Even in the most fantastical world, if your river is running uphill then there better be a mighty good reason for it as well as an accompanying basin for all that water to drain into. Magic and otherworldly influences can drastically affect the underlying rules of the game but the response to those peculiarities needs to be logical. If your world is built on the back of an enormous turtle, then make sure to spend some time thinking about its implications and build the map accordingly. To expand on this, can nuances of your map speak to larger issues outside its boundaries? How can those unique details lead the reader or player to ask questions that spur them on to further adventures? The river that suddenly jumps its banks to cascade into the sky is a perfectly weird device that can set the stage for an excellent beginning to an adventure.

Outside RuinsAll maps present some form of constructed narrative such that in order for them to function as representations of something else, or worlds unto themselves, they are utterly reliant on decisions made by their creator. These choices are an outgrowth of the cartographer’s point of view and are a function of the creative process. In other words, if a patch of ground were simply duplicated to the last detail it would be a copy rather than a description and it’s in the description that we can find our voices as artists and authors. These determinations give identity to a map and define the purpose it serves. Something as simple as the manner in which a hierarchy of information is organized speaks volumes about the interests and drives of the artist. Allowing these choices to inform and reflect the character of your work makes for a richly compelling creation that feels much more alive than one whose features might seem overabundant, meager, or capricious.

Selecting what to reveal and what to omit is as vital to the process of drawing a map as it is to writing a story. Show your viewers what you’d like to tell them and let their imagination play with those details. What you choose to include will provide game masters and players alike the story landmarks they may respond to while the components you omit can potentially indicate a mystery or leave room for later editorial changes and expansion down the road. This organic living nature is a vitally important aspect of any captivating image whether it takes the form of a fog-of-war mechanic or the inclusion of a mysterious cave entrance in a traditional paper map. Leave something to be explored. This is particularly true of regional maps where the words ‘Terra Incognita’ serve like a beacon into the great unknown.

Print TileWhen designing the overall look and feel of your image, also consider how much is too much. The last thing a map should be is confusing, unless that’s a plot device you’re specifically aiming for. There is a balance that needs to be kept in mind in order to avoid the all too common cluttered look that occurs when a map becomes practically illegible due to the overabundance of information. If everything is included without respect to what really needs to be shown, the resulting visual noise can potentially drown out what’s actually important. Leave some room to breathe in the image and vary your object sizes, areas of contrast, visual density etc to avoid monotony. The fundamentals of design are just as important here as they would be in painting a landscape, since in a manner, that’s what we’re doing. Typically it’s a top-down landscape, but it’s still a landscape nonetheless. Luckily for us, we have the good fortune of being able to employ a wealth of tools that the traditional landscape painter might lack access to such as symbols, text, and multifaceted media.

Printed MapFinally, I can’t emphasize enough the fact that any map you create is only a starting point presenting your view of the world being shown. It’s a beginning so make sure to set the stage for the coming adventures embarked upon by your audience. Give it some life and don’t shy away from suggesting potential storylines that might be ripe for development. Visual narratives don’t need to be linear or even complete but they do require thought in their employment. Give the audience little nuggets of gold and they’ll dig into and expand on your creation by mining the depths of their own imagination. It’s not only your tale that’s being told here, especially where role-playing maps are concerned. It’s a partnership, a collaborative adventure embarked upon in the minds of each person huddled around your map.

Mike Schley
“As an illustrator and cartographer I’ve created a large number of pieces for publishers such as Wizards of the Coast, HarperCollins Publishing, and Inkle Studios. Of these, I’m most recognized for my development of environmental artwork and maps for the fantastical worlds of Dungeons & Dragons.”

The LandmassThis is the second part of my series about making an overland map in Campaign Cartographer, you can find the first part here.

Next step is to start drawing the land. At the moment we only have a water background and a SHEET with the sketch map. Select default landmass by clicking on the icon in the top left corner of the program. Fill in the land as it is in the sketch map, once you are done you will see the land texture as its SHEET is on top of the sketch. Now is also the time to fill in all the islands if you have any. Also remember that the sketch map is a sketch, if you feel like you want to change anything just do that, I for example added in some more small islands that I thought made the map look better.

When you are done you wont see the sketch map so you have to hide the SHEET with the land texture. To do this click on the SHEET and EFFECTS icon and mark the Land SHEET with an H in its right box, as in the picture. You will now be able to see the sketch map again.

When I start adding symbols to a map I always start in the upper left corner and work my way down while going from left to right. In this way I will always get the symbols in the right order, which will make it much quicker to finish the map. In this first step I’m only adding all the big strokes that means mountains, forests and rivers, just so that I’ll get a grip of the map. I also try to not make the terrain too square because that will make the map look stiff and boring. You want to have a map that feels organic, it will make it look much more alive. This is especially true when it comes to the rivers. Straight rivers don’t look god, try to make them curved so you will get a sense of that they are flowing. Also remember that rivers always branch out upwards. That means that you will have many starting points but only one end point. The only exception to this is if you have a river delta at the end where the river will meet the ocean.

Details addedAt this point the map looks rather empty so it is time to add in some more details. A good thing to do is also to hide the sketch maps SHEET so you can see all textures for your map. When I say details I mainly mean to add in some extra trees where the forest ends, adding some hills at the mountains edge and creating some deltas at the rivers. Don’t do too much at this stage since we will add in more details in the next step when it is time to actually start shaping our kingdoms. In my map I also added a volcano and some mountains on the right side map, mainly to get a better balance in the map. At this stage the main goal is to have a good base map that you can continue working on in the next step, that is when we will turn the map into a finished product.

Current Map

What is the scale of this map?

Sense of Scale 1

It is difficult to tell. There are no scale markers, scale bar, or grid overlay. The only things we see to gauge the scale is the graphical representation of the trees and the river. The river could be 3 miles wide or it could be 100 feet wide. We do not know. The trees narrow this down a little as we could assume a tree is 100 feet tall and take it from there. Still a guess, but we are getting more of a sense of scale.

If we assumed the river was 1 mile across, the trees would also be roughly a mile high, and the map confuses us because the trees are shown at a more exaggerated scale.

When a map needs almost no scale indications other than the graphical representations, it works best. The interpretation of the maps relationship between features becomes easier, and after all, that is the job of a map.

There is nothing wrong with having features out of scale compared to each other and then having scale bars and reference dimensions, but it tends to make the map feel odd if the features aren’t at least, to some degree, realistically scaled. If you have fun creating maps, that is the main point.

Here is a photo I took whilst coming in to land at an airport in England. Look at the trees. They look like broccoli.

This image is a great reference for how trees, fields, buildings, and roadways might look on your map of a similar scale.
For those interested, this is the location on Google Maps: https://www.google.co.uk/maps/@52.3593088,-1.8766505,2134a,35y,90h,38.86t/data=!3m1!1e3

I can also highly recommend looking at the following resources to see how features look from above the ground:
• Google Maps – https://www.google.co.uk/maps/ (switch on terrain view). It also has a ‘tilt’ 3D feature that allows you to see features in oblique aerial view.
• Bing Maps – https://www.bing.com/maps (switch on aerial view). Also note that Bing Maps has a great ‘bird’s eye view’ feature that can help with oblique aerial views.
• Google Earth – https://www.google.co.uk/intl/en_uk/earth/. This really is a great tool in the mappers arsenal.

Measuring Tools

The above resources also allow you to measure distances and can be invaluable when you want to know how large half a mile, 5 miles or 40 miles looks from the air. Specifically, Google Earth has tools that allow you to place and measure the areas of circles, polygons. This is incredibly useful in garnering a sense of scale.

Scaling Trees

Let us take a quick look at trees. We all know what a clump of trees looks like, but they look different depending on how far away you are from them. If the map is a battlemap or a regional map, then representing trees (or other features) at the correct relative scale is important to aid a sense of scale for the map.

Let’s take a look at some differing sketches of trees that we could use to represent on a map.

Some links to ‘Top Down’ views of trees in order of proximity to the ground:
1. https://www.google.co.uk/maps/@52.7441187,-2.0406674,164m/data=!3m1!1e3
2. https://www.google.co.uk/maps/@52.7439175,-2.0401621,389m/data=!3m1!1e3
3. https://www.google.co.uk/maps/@52.7435139,-2.0385929,1151m/data=!3m1!1e3

Some links to ‘Oblique Aerial’ views of trees in order of proximity to the ground:
1. https://binged.it/2GbdNRA
2. https://binged.it/2Gat5WQ
3. See photo from aircraft above.

A more advanced technique for top down forests, but much quicker and easier for large areas of trees is to use digital tools. In this example, I am using ArtRage 5, but the tools are available in programs such as Photoshop and Gimp. I am selecting a particle type brush in a green colour. The brush is set to have a little colour and luminance value variance.
A Sense of Scale 4
I can then add some ‘drop shadow’ effect to the layer upon which this was brushed.
A Sense of Scale 5
This gives it a sense of depth.

When upon a background, it completes the illusion of a forest from a much higher vantage point and becomes more suitable for regional maps.
A Sense of Scale 6

Scaling Mountains

We can apply the same kind of ideas to mountains. Here are some links to mountains at various distances from ground level:

Some links to ‘Top Down’ views of mountains in order of proximity to the ground:
1. https://www.google.co.uk/maps/@47.1627293,12.1812876,12246m/data=!3m1!1e3
2. https://www.google.co.uk/maps/@47.0934801,12.2144138,49403m/data=!3m1!1e3
3. https://www.google.co.uk/maps/@46.8237988,11.0920616,234301m/data=!3m1!1e3

Some links to ‘Oblique Aerial’ views of mountains in order of proximity to the ground:
1. https://www.google.co.uk/maps/@47.0566826,12.1812876,15142a,35y,37.4t/data=!3m1!1e3
2. https://www.google.co.uk/maps/@46.4817889,12.1445335,85076a,35y,34.55t/data=!3m1!1e3
3. https://www.google.co.uk/maps/@45.470392,11.5212508,246225a,35y,30.96t/data=!3m1!1e3

Think of mountains as a series of ridges and then valleys either side. Water flows down into the valleys and lakes and rivers are often found here, as well as glaciers into colder and higher areas.
https://www.google.co.uk/maps/@46.561726,10.7213714,12602a,35y,37.57t/data=!3m1!1e3

So, let’s take a quick sketch look at how we could represent mountains from varying distances from the ground. In the examples below, isolated mountains can be represented as shown on the left, and ranges of mountains shown as those on the right. The centre top is a more illustrative version of a mountain range.
A Sense of Scale 7
A little bit of shading adds to the illusion.
A Sense of Scale 8

We have another digital technique for top down mountains, which is again much quicker and easier for mountain ranges. In this example I am using ArtRage 5, but again, the tools are available in programs such as Photoshop and Gimp.

I am using a brush which some opacity, so I can build up layers and has some pressure sensitivity.
A Sense of Scale 9
Then the magic bit. We use layer effects to add an ‘emboss, inside’ effect. Me make the contours sharp and as deep and as tall as possible using the ‘Radius’ and ‘Depth’ effects.
A Sense of Scale 10
We can also adjust the ‘Radius’ down to turn the whole thing just as easily into a plateau.

A little bit of background and we are looking more realistic.
A Sense of Scale 12
We can add the forested areas like we discussed earlier to this same mountain range and finish off with some texturing to the trees and mountains.
A Sense of Scale 13
The sense of scale for the above is much more evident.

We can use similar techniques to create a lone mountain too, by stacking mountain layers on top of each other.
A Sense of Scale 14
And with woodland added to help with the scaling.
A Sense of Scale 15

It is even possible to take images created like the above and use as textures in 3d software. SketchUp is a fabulous bit of free software and can be used to lay images (textures) onto the faces of models (https://www.sketchup.com/products/sketchup-free). You would use the SandBox Tools: https://help.sketchup.com/en/article/3000130
A Sense of Scale 16
When rendered, these can be very attractive gaming handouts.
A Sense of Scale 17
A Sense of Scale 18

Conclusion

So, in closing, given the above comments and the vast array of tools available, the key bit of advice is to look at nature using the available resources at your disposal. From that, you can graphically represent features that fit the scale of the map you are working on. This in turn should make it more intuitively interpreted.

Thanks for reading, Glynn

Glynn is the owner of MonkeyBlood Design & Publishing. Specialising in cartography, artwork, graphic design, and layout for the table-top gaming industry, Glynn is also a published author and has run two successful Kickstarter campaigns for game setting materials.

Example ScrollWelcome to part 3 of Sue Daniels’ tutorial on creating parchments textures and scrolls in GIMP, where she explains various options of how to produce scroll images from the textures created in part 1 and 2. If you haven’t done it yet, you should first follow part 1 and part 2. As this part is somehwat longer and more involved, we’re providing most of it as a pdf download instead of directly on the blog. Let’s follow Sue along…

This tutorial describes how to use a flat piece of parchment to create a very simple scroll viewed from directly above, using the GIMP.

Due to the length of this tutorial I shall assume that many of the actions used in Parts 1 and 2 of Making parchments and parchment scrolls have been absorbed into the recent memory of interested readers, and that I do not need to repeat them in similar detail here. Where this is the case I will simply list the path in bold text, rather than showing it as a screenshot.

Again, because this tutorial is relatively complex and quite long, I have provided two source files here for you to use, so that you have the materials used in the making of this tutorial. These are the parchment and table top textures that Profantasy has kindly agreed to host. Both these images are my own originals and Royalty Free. They may be used for any purpose you wish.

The numbering of the steps in this tutorial continues from the end of Part 2, so we start at number 37. Words in bold in the instructions are menu items, layer names, or settings in dialog boxes – depending on context.

Continue with the pdf…

About the author: Sue Daniel is active as a cartographer and artist both on the Profantasy community forum and the Cartographer’s Guild. There, she has won 1 Lite Challenge and 3 Main Challenges, and just recently one of the annual Atlas Awards for most creative map in 2017. She has produced many beautiful art assets for CC3+ (such as the “Sue’s Parchments” Annual issue) and mapping in general that are free to use for anyone.

Welcome to part 2 of Sue Daniels’ tutorial on creating parchments textures and scrolls in GIMP, where she explains various options of how to vary the resulting parchments. If you haven’t done it yet,
you should first follow part 1.

Part 2 – Optional extras

Varying the basic technique

CTRL + Z is your friend. This is the ‘undo’ button, and I use it all the time. This handy keyboard shortcut makes experimentation so much more rewarding.

Varying the basic technique is a good way of producing a wide range of parchment or paper textures. Varying the initial colour at step 4 is the most obvious. You might also experiment with the opacity of the plasma layer, or alter the modes of both the plasma and noise layers just to see what happens – there is a whole range of possibilities.

Making a parchment that is other than square

There is a very good reason why the basic parchment tutorial was done as a square. While everything else works fine, the Plasma filter used at step 7 distorts if your file has a long side. In the extreme case this is what happens:

This file was created four times as long as it is tall (1000 pixels x 250 pixels). The plasma layer looks like it’s been stretched sideways, and is no good at all unless you really want the result to look stretched for a particular effect you have in mind.

Fortunately, it is relatively easy to remedy this problem.
Continue reading »

Jon C. Munson II

Background

The mapping style of Mike Schley is, simply put, beautiful. It is no wonder that Wizards of the Coast sought him out for many of the maps used in their products. His use of line, shading, and slightly muted color do a fantastic job of creating the illusion of a truly hand drawn map with dimensional objects. And, well, for the most part that is exactly what they are – hand drawn, albeit done using programs like Adobe Photoshop and/or others. If you haven’t seen his maps, you really owe it to yourself to take a look at them.

I had always liked Schley’s maps, and wanted to produce a few maps for a module I had in mind for the Dungeons & Dragons group that I run. Knowing how many hours it would take to hand-draw the maps, I looked for a way to cut down some of the time required. Enter ProFantasy’s Campaign Cartographer 3+ (“CC3+”). The program uses a number of Schley’s symbol packs (for example Symbol Set 4 – Dungeons of Schley), and that was perfect for me. Well, almost – I needed further symbols to suit my module. Now I had to figure out how to both create symbols and emulate Schley’s style to produce the symbols I needed. And, I also had to figure out how to get those into CC3+. It turns out it isn’t a hard job, but, it is a bit tricky, and most of the effort is in creating the symbols themselves. Schley’s style seems to be fairly involved, and that complexity is what makes them so appealing.

Personally, I have no idea how Mike Schley goes about making his symbols or drawing his maps. I have, however, studied his symbols and maps to try and figure out how he makes his creations. Despite many hours, I’m still uncertain of his exact process, but I think I have at least a little idea. I discerned enough to be able to put together symbols that are “close enough” to Schley’s style to be good compliments (at least I think so). Frankly, my goal in trying to figure out his methods wasn’t to be a forger, but, rather, to emulate – I had no desire to be “Mike Schley,” though he is an excellent talent to learn from!

Equipment Needed

Though it is entirely possible to use a mouse to create symbols, I strongly suggest obtaining a graphics tablet. I use a Wacom myself, and highly recommend their tablets. I know of others who use Asian variants with success (depends upon which ones though), so you might be able to get a less-expensive tablet to start.

You’ll also need both raster & vector editing software. While I have Adobe CC, there are other alternatives out there such as Gimp and Inkscape. I have briefly used those in the past, however, as I use Photoshop and Illustrator, I’ll be discussing things from the point of those tools. Most of that discussion should translate to another tool, and you may have to improvise with those other tools.

One thing I cannot get into in this article are the components that make up each symbol – you’ll have to experiment and decide what elements make up your objects. A bit of mechanical drawing is quite helpful, and understanding perspective will come in very handy too. Everything is made up of either, or any number of, rectangles, circles, lines, arcs, etc. Do experiment, and use the Internet to find samples, etc.

Image Sizing

CC3+ symbols have four sizes – Very High, High, Low and Very Low. You want to create symbols at the Very High resolution, and CC3+ will take care of the other sizes when you import them. See the CC3+ documentation for details. In fact, reading through the CC3+ documentation, and consulting the forum, concerning creating symbols is definitely in your interest as well.

Analysis

Let’s take a look at a simple chair:

There are several things to note about its construction. First, note that the linework of the object forms the description of the object, and the value variations within the object gives a 3D impression. Many of Schley’s symbols don’t include the value, thus producing the “ink” symbols. Second, note the border around the object, and sometimes an inner border around other objects (like a book on a table), is a little thicker than the detail linework. Third, note that the detail linework, when there is value applied, is usually surrounded by a slightly darker value of the “main” value of the object.
Fourth, note that the object itself has variations in value (mimicking “wood” in this case), as well as descriptive value to indicate 3D depth. Finally, note the color – intentionally set to mimic watercolor, the colors are a bit desaturated (wood also has a desaturated tone by virtue). This does not, however, detract from the richness of the symbols, but rather forms a complimentary feel to the heavier linework. The effect is, in essence, a watercolor wash, and is an important element in Schley’s style.

The linework here is really something to be admired – quite a lot of variation in thickness and style. This gives the hand-drawn look to the symbols and is important in order to be able to produce symbols that would compliment Schley’s style.

Now that we have an idea of how Schley creates his symbols in terms of components, we can proceed with creating our own.

Making Our Own

Creating symbols that emulate Schley is actually not a trivial task. There is quite a lot involved, depending upon the complexity of the object, and does require a little artistic flair – not that one must be an artist to create symbols of course. With a bit of effort, you can get pretty close! The real trick is rendering a 3D feel – perspective is something that really “sells” these symbols. The beauty of working on the computer is you can simply delete or undo as much as you like and try again. You may also find that sketching on a piece of paper to be useful practice too. I did just that with a few symbols I made as I found that easier.

The first thing to do is to on the object to be drawn. I will start with an object I created for my symbol set – a cabinet. This symbol doesn’t involve perspective, so is much easier to create.

After a few experiments with creating these symbols (remember, I’m not attempting to “be” Schley), I decided that I would start with vector outlines for my symbols, and that was more easily accomplished in Illustrator (or a vector program of your choice). Illustrator also has a method by which variation in line can be achieved (through a little deformation) that does a good-enough job of giving us a hand-drawn result.

Now, as with any object, we have to draw out the components. If you look at the cabinet carefully, you can see that it can be broken down into a few rectangles, some circles, and some lines. Draw out the components of the cabinet, don’t worry about making it “look like” the symbol I’ve created – just concentrate on the basic shapes. For the sake of learning, you could just create a simple rectangle for now. Be mindful of the width of the stroke – you don’t want anything too wide, nor anything too narrow. The size of your object will dictate the width of the border strokes. Use Schley’s symbol as a guide for border line thickness ratio.

Once you have the shape(s) defined, the next step is to change the line shape from obviously vector to something a little more hand-drawn in appearance. For that, we’ll use the Effect->Distort & Transform->Roughen. In the next dialog, you’ll first want to check the Preview box so you can see what effect changing the command’s parameters has on your object. The Size slider dictates the amount of “wobble” in the line – go ahead, play with it, can’t hurt anything right now. I use a value between 2 and 4 pixels. The Detail slider dictates the frequency that the Size slider occurs. Again, experimentation is key here. The last option, Points, needs to be set to Smooth. You might, on occasion, use the Corner option, but in this case we want Smooth.

As you can see from the preview, your object looks a lot more hand-drawn. If you like your changes, click OK, and move on to the next step.

Once you’ve gotten your basic outlines created and your object defined, export that out as a PSD and open the file in Photoshop. You should then have a “Layer 1” group that is your vector artwork (now rasterized). If your line work is not grouped, create a new group from those layers (you can name it anything you like of course).
In the case of the cabinet, I wanted to make it appear to be made from wood – you could choose other materials, like various kinds of stone, or clay, etc. Creating the subtle impression of wood grain could be a daunting task – there’d be lots of hand-painting to do. However, there is an easier route – using a color fill and a texture to produce the illusion. So, I first used a Color Fill, choosing a wood-like value. Be careful here, wood is not highly saturated, so stay on the desaturated side of the color picker – less saturation is more. Set the blend mode to Multiply, and set the layer as a Clipping Mask on top of the linework layer. This color will help re-value the texture and give a little more room for experimentation. Then I used a free wood texture set to Multiply (there are loads of these on the Internet). You might notice this will make your image a little darker, etc. Using both Levels and Hue/Saturation, I adjusted things to taste. You do not have to use a Color Fill as I did, you could just as easily re-color the texture using adjustments. How you follow what I’ve done is completely up to you.

After that, I added a new layer on which to create the interior linework. Using the standard round brush, keeping my brush size smaller than my border with (about 1/2 or so, adjust to your needs), I drew in the planks and interior borders of the cabinet. This is where studying Schley’s artwork comes in handy. Notice how he created his lines – where it is long, short, dots, etc. Pay attention to how he demarcates curves, grades, slopes, etc. You want to approach that same style to be in keeping with his overall look. Take your time, and feel free to clear the layer and start over. When you want straight strokes, use the Shift key. Otherwise, feel free to “freehand” the line – we are creating hand-drawn symbols after all.

Once you have your linework completed, add an Outer Glow effect set to Multiply, and choose a color that is close to the wood color you are using. Experiment with how strong you want that by changing the Opacity slider. Use Schley’s symbols as a guide, and, of course, these are your symbols, so make them as you wish.

Your interior linework layer should almost always be your top layer – you don’t want to hide those lines beneath other opaque layers, so most of your work from here will go below that layer in the stack. The reason for this will become apparent as you work, however, what will happen is the painting you do will subtly change the linework appearance in ways that are not desirable. Opaque layers and Screen layers will overwrite/lighten your linework. The linework provides a guide for the shading and highlights, that’s why the layer needs to be near topmost in the stack and the other layers lay below.
If you feel you need more shading in places, create another layer, set its Blend Mode to Multiply, and using a more desaturated color, fill in your shading. You should use the Soft Round brush for this to get a feathering effect.

After that, the next step is to add selective highlights. You want to add subtle “high spots” to various portions of the symbol. Create a new layer and set its Blend Mode to Screen. Using the Soft Round brush again, create those highlights. If you are using a tablet, you may wish to set the brush size to pressure to help create variable line widths.

Now, as the vector linework comes in as a group of vector outputs, you want to make a Copy Merged copy of the vector linework to place on top of the interior linework you completed. This way all of your linework will be topmost – ensuring any painting below does not unduly affect it. If the layer is filled with white, just set the Blend Mode to Multiply (Multiply ignores white).

The last thing I added, and you won’t do this to all symbols, is a little bit of drop shadow. Sometimes this is helpful, but can interfere with CC3+ shading algorithm, so be careful how much you apply. A little drop shadow can help “bed” the symbol in your drawings, so they appear to be a part of the map instead of just a “sticker” upon it.

Once done, you’ll save out your symbol as a PNG file (otherwise you won’t get transparency). The next step from there is to import your symbol into CC3+, and that’s beyond the scope of this article – consult the CC3+ documentation for that, and/or search the forum for assistance.

What I’m Doing With My Maps

The module I’ve created was born from a Wizards of the Coast campaign upon which I started my group. There was a nice hook within for a personal offshoot, so I ran with it and created a 4-map, 80+ page dungeon that my players are still trawling (and thoroughly enjoying). The “Munson’s Mines” symbol set was born from this module.

While I don’t have Fantasy Grounds, or a fancy in-table monitor to display my maps to the players, they do receive a copy of the level once they’ve completed it (and explored enough that I don’t mind if a few areas are “uncovered” as a result). I do rather prefer they do things the old-fashioned way and map their way by hand – provides more immersion factor I think. After they’ve explored everything, I don’t mind handing them a “player copy.” They get to see just where they got confused with directions, and how accurately they rendered the location. They have really enjoyed the module, and really like the maps. I should probably print them larger, as much of the details I’ve put in get lost on an 8.5×11 (A4) sheet.

CC3+ is a fantastic CAD program for mapping our fantasy worlds as it is feature- and, most importantly, symbol-rich, and I hope this article inspires you to create your own symbols to add to it.

I am delighted to accept an invitation from Profantasy to present the methods I use to make parchment and parchment scrolls for use as backgrounds in CC3. I hope that you will find the information useful.

Both these methods require you to have and make basic use of the GNU Image Manipulation Program (GIMP). GIMP is a free application and can be downloaded from this page: https://www.gimp.org/

Once you have installed and opened the software, it will be easier for you to follow this tutorial if you set it up so that it looks similar to the screen shots I’ve included. To do that click the Windows menu, and then Single Window Mode.

Your screen should now look like this:

(You won’t have the Script-fu menu item, since this is an add-on I’ve downloaded separately to the main program.)

PART 1 – Making the parchment
Continue reading »

The Art of World-building author and blogger Randy Ellefson was so kind to write the following guest article for the rpgmaps blog. Enjoy!

Intro

When drawing maps of continents, being realistic is a good idea even when inventing for a fantasy or SF landscape. We’re not freed from plausibility unless we’re purposely throwing out the laws of physics and nature. Most of us are probably creating reasonably Earth-like terrain, but even if not, there are natural forces at work on most planets.

The following tips can not only prevent mistakes but give world builders ideas. Sometimes we’re not sure where to put a forest or desert, or why. Maybe we’re not sure where to even begin. The answer is mountain ranges and a decision on which hemisphere our continent is on. This will determine prevailing winds and, as a result, vegetation. If you don’t understand why, read on.

Mountains and Rain Shadows

Mountains cause moisture-carrying winds to rise. The clouds dump all the rain on one side of the mountain range, causing plants and trees. On the mountain range’s other side, there’s no water left to fall. This causes a “rain shadow,” an area that receives little to no rainfall. Deserts are the usual result.

The below image of the western coast of the United States shows the sudden onset of desert on the eastern side of the Cascade Mountains, which are also causing the forests to their west. Not only is this not peculiar, but it’s a common and expected result that plays out across the Earth. Not knowing this, we might try to justify such a thing by saying a supernatural or technological event caused it when nature will do it.

Rain Shadow

A rain shadow can cover a huge area, such as the Great Plains of the United States. This isn’t a desert, but grasslands, but the same effect is responsible. The Rocky Mountains have taken much of the moisture out of the air, just not all of it. Some moisture is also coming up from the Gulf of Mexico to the south, so there’s enough rain to cause grass, just not lush vegetation. Generally, desert-like conditions occur closest to the mountains. As we progress farther from them, desert may give way to grasslands and finally forests.

How do we know which side has the desert or forest? We need to know about prevailing winds to answer that.

Prevailing Winds

On a world that is spinning on its axis, like Earth, there will be winds. Which direction these winds flow depends on latitude (distance from the equator) and which way the planet is rotating. Earth rotates counterclockwise and in this article we’ll assume your world does, too; if not, then reverse every mention of direction made below.

On Earth, the rotation causes winds from the equator (0°) to the tropics (up to 40°) to travel east; on the map below, yellow and brown arrows indicate this. In the temperate zones (40°—66°), winds travel west, as indicated by the blue arrows on the map. In the polar zones, winds are again eastward but are light. On the first map above, this explains why the forest is on the westward side of the mountains: the wind is westerly.

No Deserts near the Equator

The world’s deserts aren’t within 30° of the equator due to an atmospheric phenomenon called Hadley cells (there is one in each hemisphere). This weather pattern means most deserts, especially the large ones like the Sahara, start around 30°.

It also means there’s heavy precipitation from 0°—30° and this is too much rain for deserts to form. There’s one exception to this, at least on Earth: Somalia is located at the equator and is mostly arid. The reason? The elevation is between 5-15,000 feet. This changes what would be a tropical climate into a temperate one, and that’s exactly where rain shadows cause deserts. In this case, the Himalayan Mountains are the likely culprit despite how far away they are.

Putting it Together

How can we use this information? We can follow these steps when planning and creating a continent map:
1. Determine which hemisphere our continent is in, and how far from the equator (or even whether it spans it)
2. Decide which parts of the land mass are in each latitude/climate zone, noting the prevailing wind direction:
a. Between 0°—40°, winds are easterly
b. Between 40°—66°, winds are westerly
3. Add mountain ranges where desired
4. Plan where your deserts and forests are:
a. Between 0°—30°, no deserts except in highlands
b. Between 30°—40° forests to the east of mountains, deserts to the west
c. Between 40°—66°, forests to the west of mountains, deserts to the east
Remember that a desert may give way to grasslands and then forests, farther from the mountains that cause a rain shadow. This can give us a line, from left-to-right (or right-to-left) of forest, mountains, desert, grassland, forest. This depends on mountains running north-to-south, as this is perpendicular to the wind direction and therefore blocks the winds. An east-to-west range may cause this but on a smaller scale.

Also, note that winds are westerly or easterly but not perfectly so. They move slightly toward or away from the equator, as the above image illustrates. We don’t need to be super picky about this, however, partly because the vast majority of people have no idea about any of this. We always have the caveat that no one from our imaginary world is going to show up on Earth and announce to our horror (and the delight of our critics) that there is, in fact, no desert or forest at a specific location despite what our map says.

We may not know where 40° latitude is on our maps, but as long as we’re in the ballpark, we’re okay. The goal is to be plausible, not necessarily right.

Hopefully all of this informs and inspires your work, rather than inhibits you. If you’d like to learn more such details, they can be found in my book, Creating Places (The Art of World Building, #2).

A Quiz

Based on the image below (from my world Llurien), see if you can answer these questions (answers at the article’s end):

Question #1: based on where mountains, forests, and deserts are, which direction are the prevailing winds?
Question #2: how far from the equator is this region?
Question #3: which hemisphere is it? (hint: look at the vegetation icons)
Question #4: If you know the answer to the first three questions, what explains the existence of the deserts on the bottom area of the map?

Article Quiz Map

About the Author

Randy Ellefson has written fantasy fiction since his teens and is an avid world builder, having spent three decades creating Llurien, which has its own website at http://www.llurien.com, where dozens of maps, all made with Campaign Cartographer 3+, can be viewed. He has a Bachelor’s of Music in classical guitar but has always been more of a rocker, having released several albums and earned endorsements from music companies. He’s a professional software developer and runs a consulting firm in the Washington D.C. suburbs. He loves spending time with his son and daughter when not writing, making music, or playing golf.

He’s the author of The Art of World Building book series, podcast, and blog. More details can be found at http://www.artofworldbuilding.com. This article is drawn from information found in Creating Places (The Art of World Building, #2).

Quotes about The Art of World Building Series

NY Bestselling author Piers Anthony: “It is exhaustive, well written, and knowledgeable…I, as a successful science fiction and fantasy writer, have generated many worlds, so this material is familiar, but it would have been easier and probably better had I had a reference like this. It is realistic, recognizing that the average writer may not have the patience to work out all the details before getting into the action…”

Ed Greenwood, inventor of The Forgotten Realms: “With CREATING PLACES, Randy Ellefson has penned a sequel to his CREATING LIFE that walks story creators through worldbuilding along an entertaining road that runs everywhere, making sure nothing is missed. Plentiful examples are provided, and a veteran worldbuilder can find just as much fun and comprehensive reminders in these pages as a novice. Some books are nice to have, and a rare few are “must haves.” Like Ellefson’s preceding book, CREATING PLACES is one of that rare breed: an essential reference work. Unlike most references, this one is fun to read. Not to mention a goad and spark for the imagination!”

Quiz Answers

#1: east
#2: not very because easterly winds are nearer the equator
#3: this image is in the northern hemisphere. If we can see the tree icons (they’re a little small here), rainforest icons are used on the southern half, implying the equator is to the south (it’s just off the bottom edge of the map).
#4: since this is near the equator, there can’t be deserts, except that those areas of the map are above 5,000 feet (called the Marulan Highlands)) and are therefore a temperate climate. This lets the mountains on the right cause a rain shadow.

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