ralf | September 19, 2018 | Celtic, City Designer 3, city mapping, Scott Aniolowski, symbols
Scott created this wonderful little symbol catalog of celtic dwellings which fits perfectly in with the symbols of City Designer 3, so we decided to make it available as a mini-add on. The download is available from your registration page if you have City Designer 3 registered. Here is Scott’s introduction to the catalog:
The Celtic symbol set started quite by accident. I was building a set of texture fills in Genetica and decided to include a thatch. That was achieved by layering dried grass patterns in Genetica and then using GIMP to hand-drawn in individual strands before finishing it back in Genetica by softening and blurring the image and making it seamlessly tileable. Once finished, I wanted to test it out on a typical round Celtic house and was mostly pleased with the way it looked. That just happened to coincide with something I was reading about the Iron Age, so I delved deeper into the details of Celtic villages. The variety of building styles intrigued me. While the majority of the structures were round, they did raise the more traditional square buildings, as well, for barns and storehouses and eventually as houses.
Typical Celtic villages were set up around a large common structure where the village could meet. Security was in the form of either an earth and stone berm, or a stockade fence built from sharpened logs, sometimes with an elevated walkway used as a lookout and for defensive purposes. Buildings started with a stone base; log supports were added and covered in thick bound thatch, overlapping bottom to top to keep out rain. Trenches were often dug around buildings to move rainwater away from the structures.
The lack of chimneys is not an oversight. Celtic structures had no chimneys. Holes in the roofing caused updrafts which threatened to set fire to the thatch, so fires were built in the center of the structures and the smoke simply rose and seeped out through the thatching. The smoke was also a deterrent to mold and fungal growth in the damp thatch.
The final set of symbols is quite different from the originals, with ragged edging and steeper pitches to the roofs. Numerous color shades from greens to yellows to browns were tested on the thatch texture until I decided on the hue. The various symbols represent different types of Celtic structures, from small grain silos to houses and barns to large meetinghouses. Still others existed. The initial symbols were created in CC3+ and then modified in GIMP.
The map was made in CD3, Bitmap A style, with a few fills imported from the Overland catalog. It is just a quick example. I’m very excited that ProFantasy deemed my little collection of symbols worthy enough to offer to CC3+ users, and hope people enjoy and can use them. Besides thanks to the ProFantasy staff, a thanks needs to go out to mapping maestra, Sue Daniels, who was instrumental in helping me get the symbols to their final finished stage!
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ralf | March 7, 2018 | guest article, Jon C Munson II, Mike Schley, Symbol Set 4, symbols, Tutorial
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.
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ralf | January 12, 2016 | city, symbols, Vintyri
The Vintyri Project released their enormous content collection for City Designer. Here is the announcement from Mark Oliva.
We now have completed release of the entire Vintyri (TM) Cartographic Collection for ProFantasy’s Campaign Cartographer 3+ and 3. This is a collection 974 CC3+ and CC3 raster symbols in the VH, HI, LO and VL resolutions and 122 fill styles along with templates and drawing tools, also in the VH, HI, LO and VL resolutions. Additional templates and drawing tools can be downloaded and installed by users of City Designer 3 and Dungeon Designer 3 with CC3+ or CC3.
The cartographic collection can be used with CC3+ or CC3 alone, but it is of full benefit only to users who also have ProFantasy’s City Designer 3. The collection is fully integrated into CD3. It uses CD3 roof shading, street alignment, demographic building coloring, automatic layer assignments, etc.
The Vintyri Cartographic Collection is released for private and commercial use under the Open Game License 1.0a. It is a free program. The Vintyri Project is a non-profit, non-commercial organization. We sell nothing. We neither solicit nor accept donations. We do no kickstarters. We’re strong supporters of open source gaming.
We have prepared a 30-page, free bookmarked PDF Vintyri Cartographic Collection Installation Guide that will show you step-by-step with screen illustrations exactly how to do things right. PLEASE use the installation guide. A number of users didn’t when installing the preliminary releases. We got to read their tales of woe by private E-mail. Think of the old acronym from the early days of PCs: RTFM! (which meant “Read the @!&* Manual!). Save yourself hours of work unmangling a mutilated CC3+ or CC3 installation. It’s easy to install the collection, but you have to do it right. You can get the free installation guide here:
https://www.vintyri.org/downloads/vccp_install_guide.pdf (11 MB)
The PNG graphics that make up the symbols and fill styles have a total download size of 4.4 GB. Because several users have reported problems downloading huge files, we have split the symbol and fill style downloads up into 13 smaller ZIP files. We know that this is irritating for users with very stable high-speed Internet connections, but it’s necessary to make the cartographic collection to all users.
After downloading and installing the collection, the \Data Folder\Documentation folder will contain a 202-page bookmarked PDF book entitled Vintyri Cartographic Collection Guide for CC3+ and CC3. We released an earlier edition of this book several years ago for Fractal Mapper (TM) 8 and Dundjinni (TM), and we received a lot of feedback from users who found it to be extremely useful. This new edition is filled with brand new content and is tailor made for users of CC3+, CC3, CD3 and DD3. Even if you’re not particularly interested in most of its content, we STRONGLY urge users to read the back sections regarding known issues and restoring the CD3 integration!
During our test phase, both we and our testers found issues in both CC3+ and CC3. These issues have been reported to ProFantasy, and we’ll let ProFantasy decide whether they’re bugs. Regardless, these are issues where CC3+ and CC3 did not perform in the manner we thought that they should and where they created some genuine problems while mapping. We managed to duplicate these problems on a new PC upon which the Vintyri products never have been installed, so we’re rather convinced that these issues are with CC3+, CC3 or CD3 and not our software. Be that as it may, the collection guide explains these problems and how to solve them or work around them, if possible. If not, the book tells you how to avoid them.
The topic of restoration also is important. It’s possible that reinstallations, the installation of CD3 or DD3 after the Vintyri installation and/or future ProFantasy products might overwrite Vintyri files. The section on restoration tells you what to do in such a case to have both the ProFantasy and Vintyri products working properly.
To go directly to the download site, go here:
http://www.vintyri.org/vintyri/vccindex_cc.htm
Mark Oliva
Webmaster, the Vintyri Project (TM)
Internet: http://www.vintyri.org
E-Mail: info@vintyri.org
The Vintyri Project is a non-commercial service
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ralf | August 2, 2012 | bitmaps, CSUAC, symbols
Several years ago user-created bitmap artwork from around the web (specifically the Dundjinni forums) was collected into one awesome resource package – called the CSUAC – and made available for the users of several graphics programs, among them CC3. Unfortunately this resource was lost to CC3 users a while ago, and license restrictions did not allow us to make it available again.
But fortunately we’ve now found a way to make the resource available to CC3 users while honoring the license, and Gerri Broman (Shessar on the Profantasy forum) and Mark Oliva from the Vintyri project put it into practice. Here are Gerri’s instructions from the Profantasy forum:
CSUAC for CC3 Installation Instructions
Before I get into the installation procedure for the package, I want to first point out that if you already have the CSUAC there is no need to reinstall since there are no new symbols. However, the directory structure is different from prior versions, so the two are not compatible. What this means is that any maps using symbols from prior versions will show red X’s for the symbols (the reverse is true as well). This is because the new CC3 version of the CSUAC is using the file structure and files from the Fractal Mapper 8 version of the package.
Also, please note that these symbols are not full fledged CC3/DD3/CD3 symbols. That is, they are not smart symbols, nor do they use random transformations, shading, collections, etc. They are simply the PNG files and associated CC3 catalogs.
STEP 1: Downloading all necessary files
1. Download the file CSUAC_for_CC3_v3.zip and save it to your hard drive.
2. Download all of the CSUAC FM8 files from the www.vintyri.org website and save to your hard drive.
The files needed are:
- BL_FM8_Fills.zip
- BL1_FM8.zip
- BL2_FM8.zip
- BL3_FM8.zip
- BL4_FM8.zip
- BL5Pt1_FM8.zip
- BL5Pt2_FM8.zip
- BL6_FM8.zip
- BL8Pt1_FM8.zip
- BL8Pt2_FM8.zip
NOTE: There is no BL7_FM8.zip file
STEP 2: Extract Files
1. Unzip the CSUAC_forCC3_v3.zip file into your root CC3 Folder (normally C:\Progam Files (x86)\Profantasy\CC3). This will create several new folders:
CC3\Bitmaps\CSUAC Fills
CC3\Symbols\CSUAC
CC3\Menu\csuac_menu
2. Extract the file BL_FM8_Fills.zip into the CC3\Bitmaps\CSUAC Fills folder.
3. Extract the files BL1_FM8.zip through BL8Pt2_FM8.zip into the CC3\Symbols\CSUAC folder.
STEP 3: Adding Menu Buttons for the CSUAC
1. Navigate to your root CC3 folder
*If you don’t have a fcw32.imn file in this directory
Copy the fcw32.imn file from CC3\Menu\csuac_menu into your root CC3 folder.
* If you do have the file fcw32.imn in the root CC3 directory
Navigate to the folder CC3\Menu\csuac_menu
Open the fcw32.imn file using Notepad.
Append (copy/paste) the contents of this file to your existing fcw32.imn file in the CC3 root directory.
Make sure you don’t leave any empty lines inside the file, but do make sure there is a line break after the last line of content, or CC3 will crash on startup.
2. Start CC3. Click the screen tools button (Hammer icon at the bottom of the screen), and turn on “Custom icon bar 3”. I have mine placed to the left.
3. If the new toolbar shows up blank, just restart CC3 or click on one of the “Add-on” buttons in the toobar. This will reload the menu.
The symbols are now ready for use.
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We are happy to announce the full release of the “Token Treasury: Monsters“, our first release in a line supporting virtual tabletop software with ready-to-use artwork.
The full feature list includes:
This is the full list of creatures. Normal creatures are 300 x 300 pixels, large creatures are 600 x 600 pixels, and huge creatures are 600 x 900 pixels.
