Nice to see this style being used for what it's intended for. I've only used it for deep undersea mapping so far!

I like the B&W version, but I like B&W maps generally, so am biased.

For the colour version, depending on how precise you want it to look, you could try making the colours, or some of them, a little more faded in some way - Edge Fade Inner or Transparency, for instance - although the way the contour lines don't align perfectly with the colours already makes it look nicely hand water-coloured.

And just a quick note of congratulations to Royal Scribe on contributing this month's Cartographer's Annual issue! A fine example showcasing what CC3+ can do. Well done!

I like the idea of the individual structures. There are times when it would be nice to have that option with some of the overland styles, so you could have smaller settlements - and indeed even larger ones - with more individual character, especially for smaller area maps (which, to be fair, isn't really what most overland styles are geared for). Other styles work well with just a single set of settlement symbols, however (makes recognising the different types much easier!).

An all-map greyscale RGB Matrix effect usually works fine to convert colour to black and white - that's what I did here with some hex maps, rather longer ago than I'd thought!

Well, I'm at the stage now where I'll probably just get to be usefully familiar with about 25% of CC3+, and then they'll move us all to CC4 😎!

Economic and wildlife symbols often get left out - and even when the overland styles do include some, they can be quite selective. They're often useful, and more helpful for GMs than simpler dot-type place-markers.

Ruins, and different types of ruin (so you could build up to a ruined city, say). Could include giant statues (like the Sphinx or the Colossus of Rhodes).

Ships, sea monsters, reefs, whirlpools, etc., to decorate the oceans.

Flat-topped mountains (like mesas), volcanoes, lava flows, glaciers.

A few ideas only, but maybe something to spark some further thoughts from yourself, or others here?

Ah, don't worry over it! The physics of crater formation is endlessly being revised and experimented with, like most sciences, whenever something new and unexpected turns up. It's a particularly tricky field, because most of the impact craters easiest to examine in some detail are on the Moon, which isn't a helpful analogue for such craters on Earth, or other places where there's an atmosphere to alter how they look on various timescales, from original impact onwards, or how they can form when an impactor strikes a medium that isn't lunar regolith and rock. First approximation stuff is fine to give a crater that looks like a crater non-specialists can recognise and make use of!

Plus, what you have now will work nicely for both impact and (inactive) volcanic craters - though the latter will work best connected to a suitable mountain-top or area of suitably craggy rock, of course.

You may be able to get the roads more obvious simply by widening the lines, and maybe increasing the glow effect on their edges. The pale colouring actually seems fine.

I very rarely use any of the forest fill tools, since trying to get the tree-density right if your map's not a typical size for the style takes too much time and effort for me. Plus I usually want to add features in the woods, so end up moving or deleting trees to accommodate them. Thus it's quicker and easier for me to just place trees individually!

No, I'd agree with that too @Maidhc O Casain, although to my eye it's the very strong drop-shadow on the title that's causing problems, as I don't struggle with specific colours.

And now released into the Wild, looking thoroughly stunning! Amazing work, as many here have already noted, Shessar!

Naturally 😁🐲!

Things that immediately occur in this regard include having symbols prepared as Sue did in Marine Dungeons 2 as Colour 6 shapes for use as cut-outs, showing her metallic textures beneath as inlaid floors - which would of course allow any other underlying inlay texture to be used as well - such as different coloured stone or wood.

Also, having the symbols available as outlines using the Solid 10 bitmap fill, so they can be used immediately to produce low-relief indented or inscribed designs, as Remy showed back in 2020 in this blog post, but without needing to explode the symbols first.