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.
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Campaign Cartographer 3+ is a product in constant evolution, with new features, both small and large, typically gets added for every update. For this article, I want to have a look at some of these features and give a short introduction on how you can start experimenting with them.

Some of the new features have already been covered in other places. For example the new improvements to the Symbols Along command where documented in the February 2018 Annual – Dungeon Walls and I wrote a Command of the Week article on the new Symbols in Area command. For those into macro writing, I have also covered the new Get Extents commands.

Perspective Scaling

Probably the largest addition in the latest update is the new PSCALE commands. These haven’t been added to the menu yet, so you need to type them in on the command line, but they are a series of commands that are intended to help you make pseudo-perspective maps by automatically changing the scale of a symbol depending where it is on the screen. This command was developed in response to several such maps appearing in the forums. Let us start with an example image to show what the command can do.

So, looking at this image, you can see that the symbols closer to the bottom of the image is larger than the ones near the top, which provides a pseudo-perspective look on things. While it is certainly possible to do this manually, this example was made by using the PSCALE commands.

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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 »

CA129 CityIn the September Annual issue Remy Monsen, editor and author of the CC3+ user manual and the Tome of Ultimate mapping, takes you on a 22-page tutorial on doing extra-large exports from CC3+. Do you need that giant-sized poster for your gaming room? Or want a image for your website where visitors can zoom in to examine the specks of dirt on the houses’ doorsteps? Remy tells you how to do that, utilizing automated scripts to do section exports and image stitching. Take a look at his Snowport city map to see how far you can zoom in there.

The September issue is now available for CC3+ from the registration page for all subscribers. If you haven’t subscribed to the Annual 2017 yet, you can do so here.

Campaign Cartographer 3 Plus has been getting a lot of love on YouTube lately, by an old and a new tutorial channel.

Joe Sweeney has started a whole new series of videos, redoing his classic mapping tutorials with CC3+ as the “Master Mapping Class“.

And another CC3+ user, Tony Crawford, has started his own set of introductory videos on CC3+ and its add-ons on the “Crawford Cartography” channel.

Good news for all fans of Joe Sweeney’s video tutorials: Joe is both updating the base tutorials for use with CC3+ and creating new ones in his “Mapping Master Class”.

Check out his Introduction to Mapping with Campaign Cartographer below, visit his YouTube channel, or directly subscribe to his Mapping Master Class:

Malvin's TowerDo you have an old CC2 map lying around that you really like, but that doesn’t look so good anymore? Does any of the CC2 maps in the ProFantasy user library catch your eye? Now’s your chance to convert it to a splendid CC3+ map with all bitmap artwork we’ve grown accustomed to.

The February Annual issue “Wizard’s Tower” contains a detailed tutorial on how to convert a CC2-style map to CC3+, as well as the showcase example of Malvin’s Tower, a wizard’s abode floorplan originally drawn in 1999!

The issue is now available for CC3+ from the registration page for all subscribers. If you haven’t subscribed to the Annual 2017 yet, you can do so here.

CA116 River of LifeScorching desert, scouring dust storms and bleak landscapes are the daily lot of your adventuring party? Cruel magic has stripped most life from the surface of your world? This month’s Scorching Sun drawing style by TJ Vandel will let you map this kind of landscape in beautiful detail. Click the image on the right to see a high-detail version of the included example map.

In addition to the style, the included mapping guide gives you two tutorials on topics that come up in CC3+ mapping occasionally: How to add islands and lakes on top similar features without them getting obscured, and how to import fill styles from one drawing style into another.

The issue is now available for CC3+ from the registration page for all subscribers. If you haven’t subscribed to the Annual 2016 yet, you can do so here.

by Steve Townshend

I began using Profantasy software around 1999 when Campaign Mapper, a basic version of Campaign Cartographer, came bundled with TSR’s AD&D Core Rules 2.0 CD. That program sparked my passion for the software and I purchased virtually every release over the next decade. In 2009, changing technology and changing lifestyle changed my hardware needs, and when my last (very big) desktop PC broke down I replaced it with a (very small) Macbook Pro. While that machine was the right choice for me, I could at first only run Campaign Cartographer via a slow, quirky virtual machine, and with sadness I gave up CC3 almost entirely. Until now.

If you’re a Mac user interested in running the best fantasy mapping software in the industry, you’re in luck. The newer, faster CC3+ can now be installed and run without Windows, and aside from a few minor quirks its performance on the Mac is better than ever.

This tutorial focuses on how to install CC3+ on a Mac using the Crossover application created by Codeweavers. We’ll begin by examining a few of the other common options in brief. This installation was done on a late 2013 Macbook Pro running OS X Yosemite.

Boot Camp and Virtual Machines

In the past, a few options have existed for running CC3 on a Mac. Some users preferred to use Apple’s Boot Camp to set up their Macs with a Windows partition so that they could choose whether to load Windows or Mac OS.

Others used virtualization software like Parallels or Fusion, programs that allowed the user to load Windows on a virtual machine without the necessity of logging out of Mac OS and into Windows.

Those options may remain good choices for users that regularly work with multiple Windows applications. However, if you’re not using many Windows-specific programs on your Mac this may not be your ideal solution, as you’ll devote a large chunk of disk space for a Windows installation that you’ll rarely use. On the occasions you do use it, you’ll need to wait through the installation of multiple updates that you missed since the last time you loaded Windows. These Windows updates can take a long time to download and install. In addition, you’d have to purchase a Windows license as well as the Parallels or Fusion product.

An application called Wine circumvents Boot Camp and virtual machines altogether, placing Campaign Cartographer front and center on your machine so that it works similar to any other Mac application.

Wine

Wine is a “compatibility layer” that allows Windows applications to run in other operating systems like Mac OS without installing Windows.

Wine is open source software and free to use, and it can capably run Campaign Cartographer. Various individuals and companies have adapted their own versions of Wine, including supported, purchasable products like Crossover, which we will use to install CC3+.

If you own Campaign Cartographer and haven’t upgraded to CC3+, or you don’t wish to purchase Crossover, then the free Wineskin Winery is another option. On the Profantasy Forums my friend Ryan Sturt provides a solid walkthrough on how to install CC3 using Wine.

*Drawbacks and Limitations: Installing Campaign Cartographer through Wineskin Winery can be tricky and may necessitate a little trial and error. As usual, it’s a good idea to back up your computer using Time Machine before installing new software. In addition, running CC3 in a maximized window sometimes yields sluggish performance.

Crossover

For a smoother installation and simple interface there’s Crossover, a supported version of Wine, by Codeweavers. Use Crossover if you want the easiest and fastest Mac interface for CC3+ and you don’t mind purchasing some software in order to run it.

Crossover uses separate “bottles” to store programs. Each bottle is its own virtual Windows environment with c drive, folders, and registry, but without the Windows files that typically fill those folders.

Crossover offers a 2-week free trial with which you can install and run CC3+ on your Mac and decide whether this option will work for you. If you decide to eventually purchase the software, be sure to click the More Options button on the product page in order to see the least expensive ($40) purchasing option that includes 1 month of software support. Since Crossover doesn’t officially support Profantasy Software, paying for additional months of Crossover is not likely to be worthwhile. At your option, you can sign up for the Codeweavers mailing list; they occasionally offer promotional codes for Crossover discounts.

*Drawbacks and Limitations: While Crossover will easily install CC3+ (as well as CC2 and Fractal Terrains), it does not appear to be able to install the old CC3.

Installing CC3+ on a Mac Using Crossover

Follow these steps to install Crossover and CC3+ onto your Mac running OS X.

1. Download CC3+ onto your Mac. You can access your registered software on Profantasy’s site after you log in and click Your Registered Products. Select the Downloads & Updates tab and then download your software. You won’t install it yet, however.
2. Now download and install the free trial of Crossover.
3. Launch Crossover from the Launchpad or from your Applications folder.
1 Install a Windows Application4. After you open Crossover, select the Install a Windows Application button.

Alternatively you can select the Bottle menu item at the top of the screen and select New Bottle (I usually select a Windows XP bottle) or click the + sign at the bottom left side of your Crossover window and select the same option. You can name your bottle CC3+, or Campaign Cartographer, or whatever you choose. That process is a little more straightforward, but the Install a Windows Application button is more evident onscreen.

2 Other Application5. If you used the Install a Windows Application button Crossover will prompt you to install the application. Campaign Cartographer isn’t listed on the menu of supported applications so scroll to the bottom of the menu to Unsupported Applications > Community Supported Applications > Other Application. Then click Proceed.



3 Installer File6. On the next screen select Choose Installer File and navigate to the place where your Campaign Cartographer download “CC3PlusSetup.exe” is stored on your machine (by default it will be in your Downloads folder) and select the setup file.
4 Choose Installer



5 Naming the Application7. Before you go farther, select the Edit button beside the next menu, “Will install into a new Windows XP bottle Campaign Cartographer 3.” This will allow you to name the program. I call it “Campaign Cartographer 3.” If you don’t name it prior to the installation, your CC3+ program will appear as its file name instead (i.e. “CC3PlusSetup”). You can select any Windows bottle you like, not just Windows XP.
If you do forget to name your program, you can rename it later.



6 InstallAware8. If you’ve ever installed a Profantasy product, the screens that follow will look familiar. Simply follow the prompts, enter your serial number (found on Profantasy’s Registered Products page), and unless you have good reason to do so, use the default directories that the installer chooses for you. 7 Destination Folder



9. Once you’ve finished the installation, the Profantasy installer will typically ask if you want to launch the program. It’s usually best to UNCHECK that box. This will let Crossover finish its work (you’ll see Crossover’s progress bars reach the end).

8 CC3+ In Action10. Click the CC3+ icon in your Crossover menu. Time to start making maps!

* Known Issues: Right now, text doesn’t always work quite right on any version of Wine. It’s likely that you’ll need to fix text on your old maps and experiment with text spacing when making new maps.
CC3+ usually works better in a window rather than as its own desktop. For instance, if you click the green maximize circle and allow CC3+ to be its own separate desktop window, you may experience slower performance. If you instead drag the corners of the CC3+ window so that it occupies the majority of the screen, you’ll have approximately the same workspace but without the performance issues.

Installing Add-ons

Installing add-ons like Dungeon Designer and City Designer into your CC3+ program is simple once you know where to start.

– As usual, begin by downloading your software from the Profantasy site.
– Open Crossover and select the bottle where you have Campaign Cartographer Plus installed. Select the Run Command icon (or select it from the menu under Bottle > Run Command). Then, Browse for the file you’ve downloaded and open it.
– The Profantasy installer will begin. Follow the prompts to enter your serial numbers and complete the installation.

Not all of Campaign Cartographer’s add-ons are currently available for CC3+ but as the Annuals and other add-ons are updated you can continue to follow this process to add them via Run Command in your Campaign Cartographer Plus bottle.

Tips and Tricks

Locating CC3+ Files in Crossover

Finding the CC3+ files in your Finder can be tricky, and at first finding your designs can be frustrating if you don’t know where to look.

To find your files in Crossover:
– Open Finder and go to the View menu at the top of your screen. Select the Show View Options menu item. Make sure to check the Show Library Folder check box.
– Under your user folder, select Library > Application Support > Crossover > Bottles > CC3Plus > drive c > users > Public > Application Data > Profantasy > CC3Plus. Notice the files appear in that folder.

Moving the CC3Plus Folder for Easy Access

9 Moving the Folder– After you’ve located your CC3Plus folder I suggest dragging it into your Favorites menu on the left side of the Finder. That way the CC3Plus folder will always be accessible with a single click.

I also keep a My Designs folder under Documents. I save my maps to this folder rather than the CC3Plus folder within Crossover, just so I have easier access to my maps—especially the ones I save as JPG or PNG files and wish to share or upload.

10 In the DockIn the Dock

You can add CC3+ to your dock like other Mac applications by simply dragging its icon down into the dock.

11 Renaming the ProgramRenaming the Program

If you install Campaign Cartographer and forget to rename it, you can fix this by selecting the gear icon at the bottom of the Crossover screen and clicking the Rename menu option. You’ll notice that your program icons suddenly vanish. To restore them, select the Configure menu option at the top of your screen and select Clear and Rebuild Programs and choose the option to rebuild them. The icons should reappear in your menu.


12 Clear and RebuildThanks

Special thanks to Ryan Sturt, Rob Heath, and Ralf Schemmann—the true pioneers—for advice, education, and input on how to successfully run Campaign Cartographer on the Mac.

Bio
Steve Townshend is a freelance writer who has worked for several game companies including Wizards of the Coast, Paizo, Pelgrane, and Sasquatch. Recent design work includes Dungeons & Dragons 5e (Monster Manual, Dungeon Master’s Guide), and Princes of the Apocalypse for Sasquatch Studios. Here are a few of my maps.

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