@thehawk makes a good point about ancient sewer systems. I think the earliest definite sewer pipes date to around 4000 BCE in what's now southern Iraq, at the ancient cities of Eshnunna and Uruk, although more sophisticated sewer systems survive archaeologically from the Indus Valley civilization around a millennium later (c. 2300-1800 BCE). Most were of brick or clay construction in various forms.

However, the sixth built Place is one more suited to indoor musical performances without such adaptations, Spring Festival Hall:

The bright green roof tiles are all made in the shapes of unfurling, fresh, spring leaves, to contrast with the walls and ceilings of the Hall, that bear relief-carved autumnal foliage instead (Embra; what else would one expect by this stage?).

Inside, only the layout plan for the surface-level is provided. Most of the towers have higher, and lower, floors too, which are not illustrated, and which also like to change at times, as the accompanying written notes indicate:

Folding doors allow performances to be enjoyed outdoors on The Plaza or in The Garden, while the Mobile Stage can be raised or lowered to allow more seating in the Grand Auditorium. Despite its odd shape, the internal acoustics are excellent. If you want to perform here - and have the skill to do so - it might help to have befriended some of the musicians from Glass Harmonica Way first (see the Watery Places Streets map). Plus of course, any excuse to use some more of Sue's wonderful red sandstone cliffs!

I tried a couple of tests using the "Save As... - Rectangular Section JPG" option in CC3+.

Ordinarily, I use a small amount of antialiasing on JPG exports, generally 30% to 35%, and forgot to turn that off, which meant the export failed! So I tried again with Antialiasing turned off.

I suspect the single key thing is to ensure the final export size is set to for A0 paper, so I turned that up to 119 cm. This is my settings pane:

And then I ran the export. The final file size is about 66 MB, but this is a sample zoomed-in to be 100% and then resaved as an image the Forum will accept (so it's smaller than the true 100%). However, when I was zoomed-in at that level, there was no pixellation whatsoever on the roads. This is that smaller image, but using the above settings:

I think all you really need do is ensure the final image size matches the paper size you want the export for print to be - A0 in this case. Good luck!

Try copying the text onto a new Sheet with no Effects on it in exactly the same place as it is now (so the two texts overlie one another). It may work better with the new text Sheet below the original (but still above the floor) or above the original text Sheet.

Alternatively, you might try changing all the text's colour to something slightly different to what it is currently (because the "acne" effect seems to happen when there's something of an identical - or nearly identical - colouring on two overlying Sheets which have certain kinds of Effect in operation). In this case, it may be simply the text Sheet's Effect interfering with the specific colour and shape of the floor fill's patterning.

Glad you got that sorted. Those are nice-looking floorplans!

Ellipses are fairly straightforward in CC3+. Just right-click on the Circle drawing tool icon - |CC2CIRP| - to call up the options list, and there's an Ellipse tool right there.

Spirals are a lot trickier though. Remy Monsen wrote a blog post about creating a macro to draw a spiral here, and although writing macros like this is pretty advanced stuff compared to simply drawing things and placing symbols using the program, they will let you automate much more sophisticated tasks with elegance. That blog post is the third in a short series of three on using macros, and you may find it useful to read through all of them (there are links at the end of that "spiral" post) if you're unfamiliar with how they're written before embarking on spiral design tests. And as usual, if you get stuck, just ask again here!

The fifth Constructed Place moves us into the "entertainment" quarter (if Embra had such a thing, at least), the actors' village of Stubble Chin Theatre. Subtlety isn't really in it, with Sorceress' Hill and Verdant Wood adjoining one another, but theatricals often feel the need to make a clear statement, it's said...

The Theatre itself is an open-air one, though it has a concealed clamshell cover that can be raised to move everything indoors when required, allowing for a greater variety of performances, not necessarily all of a theatrical nature.

Yeah, I'm with Mike on the anti-snow front! It might look OK from indoors, but when you've had to slog through it, or have spent days clearing it at times, it VERY quickly loses any appeal.

And yes, Joe's right about the concrete look now. It's very tricky. I know even looking at specimens of the mineral galena can be difficult, as it can be both shiny silver-white and black at the same time...

Having lived only in places with tile or slate roofs, I can confirm Shessar's photos are indeed entirely accurate for both those materials. Slide, wind effects and thin ice/snow melt basically works from the top down, and outer roof edges facing more nearly into the current wind, so those will all tend to clear of snow first. This can be enhanced around objects sticking out of the roof like chimneys and stove pipes, especially where those are in use. There may also be some smoke discoloration of the snow near chimneys that are in heavy, regular use as well (albeit that also tends to mean snow there will melt faster as well - introducing foreign particulates to the ice/snow helps it melt faster generally, like applying salt to road and path ice).

Roof patches do tend to be harder edged than you've illustrated so far, and with a tendency to remain in the hollows a little longer than the ridges on shaped tiles, as you've already noted. There are a lot of variables however, and commonly, once the snow's started to melt on such roofs, it will tend to clear fairly quickly thereafter, unless there's fresh snowfall heavy enough to fill-in the cleared gaps.

Simplest option would be to use the colour drawing tool, and then add an RGB Matrix Process Effect to the whole map, set to "Gray". This will make everything look B&W - so you could design the entire map using the colour set-up, and have it all appear as greyscale in the finished item.

In case you're unsure about adding the Effect, when you open up the Drawing Sheets and Effects dialogue box (click on the rectangle marked "S:" with the name of the current Sheet in at the top of your CC3+ drawing window), click on any Sheet, then click the "Whole Drawing" radio button above the Sheets list.

Then click "Add", select "RGB Matrix Process" from the list this will call-up, and then click to highlight the RGB Matrix Process Effect that's now been added to the Whole Drawing list.

Then click "Edit". Once you're in the RGB Matrix Process dialogue box, click "Predefined", then "Gray" from that list, and finally "OK", and then (assuming you have something already drawn on your map to check), click "Apply" to see what it does.

Good luck!

Yes, this can be a problem with some of the topographic mapping styles, and it's not possible to solve them all the same way (as they don't all use effects that will work equally well with things such as transparency). Luckily, this one does work that way.

Back at the mapping, the fourth quadrant has now been completed, and various items tweaked to a greater or lesser extent that seemed to need them. Names have been added for the main rivers and uplands, as appropriate, and a few more smaller patches of woodland "grown" in parts:

Then I added the title, scalebar and compass rose, and did some tests with the texture options activated. This image shows both in place:

While that looked sort-of OK, I wasn't very satisfied with it, so I tried various alternatives, ultimately deciding to have two separate sheets with the texture on them, because doubling-up helps accentuate the "water-colour-paper" look, and I could also restrict the textured areas to the newly-expanded upper and lower map borders only. That's not possible with the all-map Texture effect. Which brought me to:

However, I wasn't convinced this was sufficiently clear, as apart from darkening the map in general, it also further blurs everything. So I'm now thinking to leave the texturing options off entirely:

A few more minor adjustments are likely while preparing the notes to go with the Atlas version. At present, I'm intending to add some bridges to help clarify where the fords are over the lesser rivers, for instance. This is though probably close to the final version now. Until I find I've missed something, that is!