Resuming where we left off, the next phase was to add the external segment at the map's right side. Rather than redraw that, I simply copied and pasted what was required from the Snakeden Hollow map, added, and in some cases amended, the relevant sheet effects to better fit this different map-view scaling, and adjusted the cliff to be a simple line, separating interior from exterior.

The vegetation looks a bit sparse there now, so that may need adjusting too later on. I also had to add an extra mask segment to hide the wall shadow from the new cliff line near the top, where it was showing on the interior of the rock. Other tweaks seemed likely as well, but I wanted to get on with the complexities of the internal layout, so switched to that.

Which brings us to something of a hiatus in screenshots, because this process turned out to be a lot more complex than expected. Looks great as a simple hand-sketched view - five minutes to draw that... Yeah, right! Basically, it turned into two full sessions spread across a couple of days, with a lot of switching and changing, during which I completely forgot I was meant to be recording such things as I went along.

So, imagine a burst of gentle harp-music, water-on-glass visuals, as we fade back to where this got me finally:

Main obvious change, aside from the range of new features, is that the interior floor colouring has been darkened. At the same time, much of the internal wall shadows have been reduced significantly, while still helping to differentiate the various levels in a more subtle way than the original shadows. In practical terms though, the whole interior floor has been redrawn as separate pieces, because it proved impossible to retain the complete original floor even for the lower part (darker, extensive, left-hand segment, except the darkest cave's floor there). That was largely because of the glows on each floor element, and the stair symbols, interfering with one another. Several now have separator sheets and underlying mask polygons added, to further help keep things clean.

At which point, I remembered I should have been taking more screenshots, so here's one where the changes are so subtle you may be hard-pressed to spot them:

The well's been added as a first test for how the internal lower symbols would look (lower right, on yet another new sheet) and the basal shadows for the two sets of stairs in the darker leftward part of the drawing have gone. Well, masked now, at least, to look less steep-drop-floaty!

It was about this point I stood-back and examined the map as a whole for once, always useful in the latter stages, to see how things are working together as a complete map, not just how individual bits are holding up when zoomed-right in to fine-tune things. Which made me realise I was struggling to differentiate between the separate internal solid wall blocks and the floor levels. Thus with a few clicks, the interior rock colouring was changed to:

Some further amendments have been made as well. The tunnel through the raised floor in the large right-side cavern has been added (no, it hadn't been forgotten, although earlier I had forgotten the steps up on the south side of that extended raised platform, leading to the rounded cavern at its end, during the unrecorded mapping sessions). The other changes are likely too subtle to be spotted, adding masking patches to tone-down the upper-level shadowing glow by the three small drop-lines at the cave-mouths in the left-hand section. I tested a similar idea on the longer ledges as well, but felt those looked better without them in the end - as they are here. That mild shadowing suggests a slight dip towards the drop-line that seems to help fool the eye better.

With that all completed, it was time to start adding some symbols to give a little more life to the whole, as well as a scaling grid for the interior (I decided against adding one for the outside too, as this is really a map of the interior, after all). A couple of sloping-passage arrows were added along the way:

The wall shadows mask had to be extended to hide unwanted bits of the grid, although because the original mask followed the complexities of the fractal cave wall, that proved unworkably slow and impossible to control by the normal node-editing processes, so fresh patches of suitably-coloured polygons were dropped-in instead. After which (higher-res map now - must be approaching the end!) it was time to break-out the labels, north pointer, etc.:

Plus a decorative SS2 Lizardman. And sans grid:

On the CC3+ version, these labels all looked fine and clear. As soon as these JPG test versions were done, it was obvious the labels weren't working nearly so nicely. I also didn't like the faintness of the scale square here. So more changes followed to reach these final versions (unless I decide otherwise before submission to the Atlas, anyway!), with and without the grid:

A trio of external labels were added in the process too.

Now I need to make some progress getting the notes for all three of these typed-up and finalised so they can head-off to further swell Remy's queue of maps for the Atlas!

I'll post again when that's done.

Oh, and the critter in the Undercroft. It's a huge, serpent-bodied, 20-headed hydra!

Not sure this will be the most useful answer, as I have tried out a lot of different overland styles (and continue to do so), and they all have their own merits.

However, of the more pictorial styles, I do have a fondness for the Herwin Wielink style, possibly because it's the one I drew my first detailed overland map in (the northern Sword Coast region from the Forgotten Realms, although that remains unfinished after I became too distracted by the Community Atlas!). There's something about the symbol and fill colourings, and the way many of the symbols blend easily into the bitmap fills in that one that gives it a more "organic" feel for me. That and the fact there's a degree of sketchy, non-linear texturing to the bitmap fills as well (actual thin, drawn lines), which again helps distract the eye away from any repeating patterns.

For mapping precision, it would have to be one of the top-down styles, to be able to draw elements such as contour lines properly, and ensure everything was correctly located, something the pictorial styles have problems with quite often. I suspect that isn't what you're looking for the new CC4 Overland style here though, Sue!

And of course, it would be wonderful to have a full suite of shallow to deepest seafloor textures and symbols to work with at an overland scale 😉 (which I seriously doubt will be on the cards for this project either!).

It may help you decide how and what you'll need to draw by finding a real-world 19th century map that you like and think will work for what you're intending (suitable for the size and type of area you want to map, for instance). Then take a look at the thumbnail images for the various Annual issues that Loopysue created elsewhere on the Forum, to see if any of those match closely enough to what you're aiming for. Each thumbnail links to the correct issue on the main ProFantasy website, where there are different examples of the same style in use, which again should help you decide which might be better for what you want.

Thanks very much folks!

Much of the process is just remembering all the things CC3+ can do for you, and then applying those when (if...) you recall them in time. I'm not sure if this applies to others, but having spent many years hand-drawing maps in various formats does seem to help in understanding better what might be tried to change up the appearance of what I'm doing in CC. If not always 😁...

This is a very impressive and detailed map (speaking as someone who's mapped various parts of these same islands at various scales over many years)!

Appreciate this is for game use rather than historical precision. However, the lines of both the Antonine and Hadrian Walls are a little off their actual ones - Hadrian's Wall follows along not far from the north bank of the Tyne in its later eastern stages, and ends at Wallsend (surprise!) on the north bank more or less opposite Jarrow on the south bank (at this scale), for instance. Not sure how important this may be for your purposes though 😊.

Seeing what else has been labelled, it may be worth thinking of adding some names for the more important old Roman roads, as some at least were still in use by the c.560s CE and later (some major roads still follow their lines today), and a few of the surviving names seem to have their origins in the Old English/Anglo-Saxon language.