My knowledge of nature tells me that it is actually a large snake disguised as a road 😥

6 - Create SYMBOLS TREES GRASS sheet, and place it above SYMBOLS BACK sheet. Select this sheet to work with and choose Scrub icon (grass).

VERIFY if CC3 keeps the SYMBOLS TREES GRASS sheet or if it simply switches - it happens a lot to me - to the SYMBOLS TREES Sheet. In case of change, Select SYMBOLS TREES GRASS again

11 - Refresh

Note: Ocean usually comes with the Edge fade inner effect, if you have to create your Sea LAKE sheet, don't let the Edge fade inner effect be included in this new sheet. It gives it a much more realistic look.

Then I place my city or any other icon, and in this case, I use trees to hide the mouth of the river

https://forum.profantasy.com/discussion/12581/mini-city-with-overland-tutorial#latest

In Sue Richards' annual Darklands you will, in my opinion, find the best solution to this situation. Since unfortunately other styles do not have, like this, "north-oriented" cliffs.

As you did with land features on the map, you will need a lot of patience to cover the finer lines with the land feature you choose.

And here more or less what I was commenting on in the previous post. Transforming the six zones into six kingdoms of distinct races (or cultures). More of a political division than a geographical one like the previous one.

Hey Royal my friend! I am really impressed with the amount of detail in this map. It took a lot of time and work to arrange all these elements together. Congratulations! The transition from the background to the "civilized" part of the kingdom is very subtle and progressive.

The only suggestion/challenge is to listen to the words of the master @Dak and make all the trees by hand, one by one. Also for my understanding it is a monastic task - lol - and aesthetically where I notice the difference in the finishing.

Whenever possible, I usually use this technique to facilitate my work in speed, because giving variety to a forest or chain of mountains/hills is a task that really requires a lot of patience, but once it is automated, it is usually relatively fast.

So before I start drawing, I preselect all the mountains, hills and trees that I want (mostly) beforehand. One by one (group), I press the tab key incessantly until I "go back" through all the images in that segment (I don't know the technical terms, sorry).

Once I've done the whole process on all the mountains, hills and trees I want (including cities and buildings in case I want to make a cityscape for example) I start drawing.

Then I switch to the folder on the bottom left, the options (selected items) and work there more quickly, choosing the image I want to give more variety.

With the attached file, I made this quick image of five examples of mixing trees from different image sets to compose a certain vegetation environment.

Default terrains are just to "separate" the groups.

Although I normally add this effect to an image editing program, the other day while playing with CC3, the possibility of exporting the original image with this effect built in came to mind. This effect is Vignette.

In photography and painting is an aesthetic effect that creates a gradual darkening or lightening of the edges of an image or canvas, directing the viewer's attention to the center or to a specific area of ​​the composition. This feature can occur intentionally or accidentally and has different applications and meanings in both contexts.

Some of them are:

Directing the Eye - Vignette is often used to guide the viewer's eye to the point of interest in the image, usually located in the center.

Creating Atmosphere - Darker tones at the edges can create a dramatic or introspective effect, while lighter edges can convey lightness or serenity.

Natural Framing - It acts as a "frame" for the scene, keeping the focus within the composition and reducing peripheral distractions.

Emphasis on Subject - In painting, the use of softer or darker tones at the edges helps to highlight the main subject of the work.

Impression of Depth - The gradual tonal transition can create the illusion of three-dimensionality or that the subject is emerging from the darkness.

Narrative and Drama - Vignettes are used to emphasize emotional or symbolic context, reinforcing feelings of isolation, mystery, or introspection.

Natural Focus - In the absence of digital vignettes, artists use brushstrokes or color choices to soften the edges of the composition, naturally guiding the eye.

To achieve this effect, I used Mike Schley's Contours sea, moving the SHEET above all the icons in the image. After that, an inner edge fade is applied to the Contours by adjusting the Edge Width.