I recently finished my 11-year long AD&D campaign with an epic final boss battle. And a good boss battle obviously need a good battle map.

My group is playing in-person, but we use a Virtual Table Top program displayed on a projection screen for our battles. This allow us to zoom out/in on various area, and have a more flexible approach to the area, but for those that prefer using physical miniatures, printing is of course an option as well.

For this project, I did most of the work in CC3+, but it involves using the VTT software as well (MapTool in my case). I’ll keep this article more an overview of the process rather than diving down into the technical details or making a detailed tutorial, but I invite anyone who has any questions regarding the process to drop by the ProFantasy Community Forums and post their questions there, and I will be happy to help.

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For the March issue of the Cartographer’s Annual 2023 Sue Daniel is back with a glorious new battle map style for those wintry excursions. See how her forest paths of 2022 turns into new winter trails, frozen rivers and lakes, and snow-covered woods.

Compatible with Sue’s Forest Trail style form last year’s Annual, Winter Trails contains everything you need to draw snow-covered outdoor maps for those encounters in the woods.

The March issue is now available for all subscribers from their registration page.

If you haven’t subscribed to the Cartographer’s Annual 2023 yet, you can do so here.

The December issue of the Annual 2022 is now available for all subscribers. Seeing that we had so much wonderful new artwork by Sue Daniel this year, but which is stretched across multiple styles, we thought an issue on combining these into one map would be a good addition. In the process a huge battle map came to be, showing a crypt and graveyard being overtaken by an encroaching forest.

The Forest Graveyard Annual issue gives you a set of four A3 battle maps, which combine into one huge map of an old graveyard with a crypt and a ruined chapel on which the forest is encroaching. The accompanying 6-page mapping guide explains the process of combining the Forest Trail and Creepy Crypt styles into one map and template for future use.

The Decemberissue is now available for all subscribers from their registration page. If you haven’t subscribed to the Annual 2022 yet, you can do so here.

The November issue of the Annual 2022 has been released. It adds another set of symbols and tools to Sue Daniel’s run of dungeon and floorplan symbol styles. This time you can venture out into the woods and forests and fight beneath the shade of trees.

The Forest Trail style gives you lots of new symbols and bitmap fills that work with the Dungeon Designer 3 and Creepy Crypts styles. Build encounter maps in the depths of the forest with easy options to switch between a view of the forest floor and the tree canopy.

The November issue is now available for all subscribers from their registration page. If you haven’t subscribed to the Annual 2022 yet, you can do so here.

The September issue of the Cartographer’s Annual has just been released. With it we celebrate the end of summer with a new dungeon and battle map style for some frigid caverns and icy waters. Let your players explore glacial tunnels, high mountain caves or the caverns beyond the mountains of madness.

The Ice Caverns style can be used as an extension to Dungeon Designer 3 or own its own. Either way, it is setup for ease of use making drawing some natural caves a snap.

The August issue is now available for all subscribers from their registration page. If you haven’t subscribed to the Annual 2022 yet, you can do so here.

Lucky mappers! Another free wizard’s tower. As if there isn’t at least one wizard’s tower to be explored in a tabletop rpg campaign, am I right? So, since the February 2017 issue is a conversion of an older CC2 map to CC3+, I figured I’d go one step further and do a super fast conversion for another alternative to a wizard tower for your gaming needs.

(Download the FCW file)

This conversion took me less than 30 minutes. I took Ralf’s map and first added some rock symbols from DD3+ in a grey color off to the side, just to get them in the Symbol Manager (I deleted them afterward). Then I went into the Symbol Manager and replaced all the vegetation symbols with those newly placed various sized rocks. I also hid all sheets but the SYMBOLS, SYMBOLS FLAT and SYMBOLS RUNE sheets, then went to Change Properties and choose Change Color, and selected all symbols. If any were varicolored, it would change them all to whatever color I chose, which was a grey in this map.

I then went to the OUTSIDE sheet and changed the fill styles to more grey hues for each fill Ralf included in his map, as well as added some color changes using the RGB Matrix effect on the BACKGROUND sheet. Hiding all sheets but the WALLS sheet, I selected all polygons and changed the fills style to the grey wall cobblestone fill. I then repeated this process for the FLOORS sheets. For the attic walls and floors, I created their own sheets so I could apply a color effect using the RGB Matrix and the Hue/Sat effects on them to give them a grey color to match the cobbled walls I choose.

Lastly, I used the Tolkien font and replaced all the text by using the Edit Text function. After making a few adjustments with placement, and making a few name changes for the purpose of “recycling” a map and I was finished. I’ve recycled so many .fcw’s that I’ve gotten this technique down to a science. It’s the best way to get individualized maps fast and free for your home gaming needs.

About the author: Lorelei was my very first D&D character I created more years back than i’d like to remember. When I decided to venture into creating maps for my and others rpgs, I thought I owed it to her to name myself Lorelei Cartography, since it was her that led me to the wonderful world of tabletop gaming in the first place. Since then I have been honored to have worked with companies such as WizKids, Pelgrane Press, and ProFantasy.

Last month, I talked about how to bring your DD3 map into various Virtual Table Top (VTT) systems. Now, that is all well and good, but simply exporting a flat image from CC3+ to a VTT do have some limitation. For example, if you make a beautiful forest, the player token would be walking atop your trees, and the players wouldn’t see what is below the trees. In the real world, when you take a walk in the forest, you actually see the forest floor, not the treetops. Same happens when your characters encounters this mysterious house in the forest. Your gorgeous maps shows the scene, and as with any outdoor map, seen from above, the map shows the roof of the house. Then your players announce they are going inside. What now?

There are two ways of handling this. The first is just to have separate maps, one for inside the house, and another for outside. Then you can just load the inside map whenever the players enter the house. But what if someone stays outside and someone goes inside? Well, you could have an identical map still showing the outside, but now revealing the insides of the house instead of the roof. But this approach still means you need to move the player/monster tokens from one map to the next.

The other approach is to have items in your battlemaps that can be hidden to show additional features. This is something we are quite used to doing inside CC3+ by hiding and showing sheets, and the subject of an earlier article. This is a very nice approach, but it is also a bit trickier. The problem here is that when we export a map from CC3+, we end up with a flat image file, we lose things like sheets and layer. There are image formats supporting layers, but CC3+ can’t export to these, nor can the VTT software import them, so we need to do it differently.

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For September we are happy to present a new contributor to the Cartographer’s Annual: Hans Anders Bergström. His maps caught our eye in the ProFantasy community with their unique watercolour look, which is very different from that is normally created with Campaign Cartographer 3 Plus. We approached Anders, and he agreed to let us create an Annual issue from his innovative work, even supplying a wonderful walkthrough of his process, which comprises the majority of the mapping guide.

At first glance it’s hard to believe Anders’ maps were actually created with Campaign Cartographer 3+, but his innovative work with sheets and sheet effects is really not that difficult once you know what he’s doing. And that’s exactly what this Annual issue does: it teaches you how to recreate Anders’ Techniques for your own beautiful watercolour-style maps.

If you haven’t done so already, you can subscribe to the Annual 2019 here. If you are already subscribed, the September issue is available for download on your registration page now.

Many gamers use some kind of digital solution such as virtual table-top software to display maps on a projector or computer screen even when running a local game (as opposed to running a game over the internet, where such software is pretty much required). All of these software solutions have their advantages and disadvantages, but  CC3+ itself may actually be a very good solution, depending on your needs. Now, just to start with the limitations, CC3+ don’t have any kind of remote viewing/projecting options, so this do require that you share the screen you are actually working on (This can be a secondary screen/projector that is set up to mirror yours, or it can be done through screen sharing software, which allow others to see your screen even over the internet).

So, why would you use CC3+ for this? What advantages does it have over other VTT software? Well, the main reason CC3+ is good for this is that this is where you made your map in the first place. This means that the map is fully interactive, and you have all your regular CC3+ tools available to you to manipulate the map during play. If you export the map from CC3+ to an image file for use in a VTT program, then everything becomes static. In CC3+ you can hide or show sheets and layers, you can move symbols and edit whatever you need to do.

Of course, CC3+ isn’t optimized for use during play, while a VTT program is made just for that purpose, so some things are probably a bit more complicated to do in CC3+, so it is up to you if the flexibility CC3+ offer with regards to what you can do with your map during game play is worth it. For this article, I’ll showcase a few features of CC3+ that helps you during play.

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by Christina Trani

High in the peaks beyond the Hills of the Seven Sisters is the luminous, dark tower said to be the home of an evil Lich King, named Drech Za’Uul. A dark, cursed land beyond the shores of the Brimspire River, few dare cross to stop the wizard and his evil doings and none have survived and returned to tell tales. Ghosts, ghouls, and wights feed on souls who get lost among the Forest of the Dead. Hordes of zombies and skeletons wander the Hills of the Seven Sisters. Who dares seek the hidden Phylactery of the Lich King and destroy it, so once and for all the evil Drech Za’Uul can be killed and free the land from this curse of evil and darkness?

When I was first approached by Ralf to do an issue for the ProFantasy Annual, I realized quickly that I had no talent in drawing, so I set out to create a series of maps for an adventure featuring a Lich King.

The maps, I knew first off, should be created with just the core products, CC3+, DD3 and CD3. Considering I am known for being one of the faster mappers among the ProFantasy Forum users, I am also known for my use of the photorealistic symbols provided by the free CSUAC, Bogie’s, Dundjinni Archives downloads, and other purchased artwork, so going back to basics and using only the core products would most certainly be outside my comfort zone of mapping.

Always up for a challenge I set out to create a regional map first. As some of the forum members may recall, I often mention overland and regional mapping is “not my bag” and quickly found myself frustrated and deleting a lot of maps. Then, while perusing the forums, as I do daily, a fellow member made a map using the 2011 Overland Perspectives Annual and posted it. Well, his map inspired me to try that perspective using the Mike Schley and Herwin Wielink styles and came up with The Realm of the Lich King. In this map, I muted the color palette using the Adjust Hue/Saturation effect to get the look I was hoping for with this perspective style.
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