Mapping in Paint.NET - a basic tutorial

[PeaceHeather]

Stage 1 – Setup

Open Paint.NET and make sure you have all four sub-windows open: Tools, Colors, Layers, and History (F5, F6, F7, F

Open tut palette.png, blatantly stolen from this tutorial by RobA

In the tools window, select Color picker
Select a blob from tut palette.png - you can safely ignore the gradients
Go to colors window – the primary color should match the blob you selected
Click "add to palette" (little icon with the plus sign, along bottom of window)
Click on the two rows of color buttons along the bottom to add
Repeat for all Blues, Greens, and Browns – the remaining four colors are optional and are not used in this tutorial, and we'll be making our own gradients.

I arranged my palette to look like this so my eyes wouldn't bleed. For the gaps, just select white as your color, and add it to the palette repeatedly. Obviously this is optional and a matter of personal taste.

Close palette.png
Open New

The default size for a new window, at least on my machine, is 800 x 600, 96 dpi – adjust as you wish; my machine is a little slow so I tend to just go with the defaults

Make sure your primary color is black and your secondary is white.

[PeaceHeather]

Stage 2 – Create your layers

Effects > Render > Clouds

Go for a large size and high roughness – size 450 on up to 700 (the default is 250) gives good results for larger landmasses and roughness .75 gives nice edges for coastlines and such.

Duplicate this layer
On the new layer:

Adjustments > Levels

The levels are marked 0 (black) to 255 (white)
Adjust the black output from 0 up to about 64 or lower. This is ¼ of 255 and should give you four usable layers, which is all we need for this tutorial.

[TWEAK ALERT: Try only changing the level only slightly, say to 10 or so, and see what happens. You might end up with more layers to work with, but I haven't tried it yet to see.]

Repeat the above steps, duplicate and level adjust, as many times as you want.

Once you have established your settings in the Levels dialogue, you won't have to reset them – just hit Adjustments > Levels > OK.
Some of the lighter layers will prove to be unusable, but you will be able to weed those out in the next stage.

Interlude – Which layers to use?

At this point, you have a choice to make, and from what results I've been able to get so far, either one will give good results. For an overview, what we will be doing in the next stages is taking each land layer and making it resemble a specific elevation on the overall map. We do this by giving it texture to resemble height, masking some of it off to distinguish it from the other land layers, and then coloring it. We'll do the same thing to the ocean layer, apart from the masking which operates a little differently.

So what's the choice, you're asking me. Well. The original way I had written these directions, when you complete Stage 2, you end up with four distinct layers, then you use each one to create your sea, low lands and plains, hills and mountains, and snowy peaks. But I discovered that the way I was making my maps actually involved using the sea layer to create both the ocean and my lowlands – and then, as far as I can tell, I ended up discarding one of the other three layers. The result of doing this would give me larger landmasses overall (because I'm starting with a lower "elevation", as it were), and correspondingly smaller, more separate oceans. Then, depending on which layer I actually discard, I end up with different proportions of peaks and highlands, compared to the lowlands.

Is this making any sense? Would it help to say that instead of using layers ABCD, I'm using AA, and then either BC, BD, or CD to make my final image?

Well, even if that doesn't make sense, I've either discovered a mistake I'd been making, or a massive Tweak Alert for people to play with. Since this is my tutorial, I'm going to make myself sound wise and declare that I've just given you a whole new set of possibilities to consider. Aren't I great that way?

Whichever option you decide to go with is up to you; at this point, you should either duplicate the bottom layer, or not (this only works for the darkest layer). Then label four of the layers from darkest to lightest with something like Ocean, Lowland, Highland, and Peaks. Or you can call them Blue, Green, Brown and Gray, or One, Two, Three, and Four. Whatever. Call them John, Paul, George, and Ringo if you want to.

Whatever you call them, if you decide to keep a fifth layer for experimenting, be sure to label it too. We won't do any coloring until Stage 4, so you'll be able to hold off on making your final decisions until then.

Right, back to the instructions.

[PeaceHeather]

Stage 3 – Texture and trim to size

Go back to the Land layer – one of the darker sets of clouds, whichever one you picked. We're not starting with the ocean because it operates differently.
Duplicate it TWICE, so you have a total of three identical layers.
In the layers window, hide (uncheck) everything except these three.
Leave the bottom one alone for now. We'll be using it for color later.
On the second one, run Effects > Stylize > Engrave/Emboss.

I generally prefer to emboss at 5 pixels width, but that's a matter of taste – also, a fun area for a Tweak Alert. Five pixels gives you nice height distinctions, but maybe you want to make your lowlands more smooth, say with a 2 or 3 pixel Emboss, then emphasize your higher elevations with the 5-pixel. Up to you.
Rename this layer to Land Texture.

On the third layer:

Run Effects > Color > Threshold, with the default settings.
Run Effects > Alpha Mask
Rename to Land Mask.
Duplicate.

Move one of the mask layers down so that it is between the clouds (land) and the embossed layer (land texture). From top to bottom, you should have Land Mask, Land Texture, Land Mask, and Land.
Select the top Land Mask, and Merge Down onto the land texture.
Select the other Land Mask, and Merge Down onto the land. You should now have two layers, one called Land Texture, and the other one called Land.

Our masks work by giving you a transparent area and an opaque white area. Once our layers are merged, we don't need the white anymore, and we really don't want it to keep our other layers from showing through, so let's fix that.

From the tools window, change to Magic Wand, and set the tolerance to 0.
Select anywhere in the white part of the image; if there are multiple areas, you can hold down the CTRL key to get them all. Alternately, you can set the mode to "Global" and get everything with one click.

For another Tweak Alert, and this can be fun, you can leave a few of these white areas, especially the ones inside landmasses, to serve as plains later on. Trust me.

Hit "Delete".
Behold, grayscale embossed landmasses – nifty!

Repeat on your other merged layer.
Hide these layers.

Go to the next cloud layer and repeat the above steps:

Make it visible.
Duplicate twice for a set of three
Emboss the middle one, and label it Texture
Threshold, then Alpha Mask on the top one, and label it Mask
Duplicate the mask and move one of them down
Merge the masks down, one onto the texture and one onto the clouds
Magic Wand, select and remove the white areas
Hide these layers and move on to the next.

[PeaceHeather]

With each successive set of layers, running Threshold will produce smaller and smaller black areas. You will reach a point where, when you run Threshold, you only get a blank white layer. That's okay, it just means that you've hit the upper limit of your usable layers, and since we're really only going to want four layers anyway (at least, for this tutorial), that's not a problem. Just delete any layer that gives you a totally white threshold, and get ready for the next stage. In fact, if you want to, you can start with your brightest layers, run Threshold, and delete them if they come up white. As soon as you get a usable layer, Undo Threshold, and then go back to the steps as I've described them.

[TWEAK ALERT: Try adjusting the threshold settings to be more forgiving, allowing larger black areas, and using those settings to create more than four layers. In theory this should give you more detail and subtlety between the different elevations.]

[PeaceHeather]

Stage 3.5 – Ocean texture

Yeah, the ocean operates a little differently from the other layers. There are fewer steps in setting up the texture, mainly because we can't use any masking until later or the sea will look weird.

Go back to the very bottom layer of clouds, and hide everything else. (Even if you're experimenting with what layers to use, your ocean has to be made from the lowest "elevation" layer.)
Duplicate once only – we're not making a mask yet – and ignore the bottom layer.

On this second layer, Effects > Stylize > Engrave/Emboss
I like to keep the same pixel width as I use in the land, and while I usually use Emboss as I did on the land, I occasionally find that Engraving the sea, looks better. Try it both ways to see which you like. You could also adjust the pixel width to diminish the differences in ocean depth and give a smoother, more "surface"-like appearance.
In the layers window, select Layer Properties. Change the Blend Mode to Overlay.
Hide Layer.

For the impatient: Since so much of what you're doing is repeated on each layer, you could choose to lump each action together: duplicate everything, rename everything, run the Emboss on everything, run the Threshold and Alpha Mask on everything, and then merge everything. The Repeat Effect command, CTRL-F, would become your friend for quite a lot of these steps.

[PeaceHeather]

Stage 4 – Colors, colors, colors

Coloring in the layers is a blast, but it is slightly more involved than the previous stages. PDN's gradient mapping plugin lets you select and blend the colors seamlessly on each layer, but it needs to be reset each time for the next set of colors. Most of this involves a dance of right-clicking and left-clicking, and is easier to do than it is to explain.

There is also a bit of selecting and inverting, which, if you're a beginner, sounds more intimidating than it really is. All you're doing is taking something that would be difficult to select or outline or whatever, and selecting the space around it instead. Then, you "invert" the selection, and your complicated shape is selected, and you can do whatever you want with it and – this is the best part – not affect the space outside the selection. This will be important when we're coloring things, and only want to color the land and not the whole bloody canvas.

Interlude – Decisions, decisions

This interlude is specifically for those of you who decided to duplicate your bottom layer and use it as both ocean and land. You don't have to worry about the choices for all of your layers just yet, but you do need to decide whether you're going to keep that duplicate layer for your lowlands. When we color our ocean, the shallowest parts will have the lightest color (duh), and unless we make an adjustment to the ocean layer, the lightest colors will actually end up hidden under our landmass. So we need to know which land layer will rest at "sea level".

Select the ocean layer, but not the ocean texture, so that you can only see clouds.
Select one of the land texture layers, so you can see embossed land on a smooth ocean.
Switch back and forth between the texture layers of the two lowest "elevations" and see which one you like best.
Label your favorite "Land Texture", label its corresponding cloud layer Land, and pause for a moment to feel godlike in your world-building genius.

Now that we've made that decision, we can get back to coloring things in. The most important part of using the gradient map is making sure that you're selecting your landmasses beforehand, so you only color your selection rather than applying the gradient to the entire layer.

First, a bit of setup for the ocean, because of course it doesn't operate the same as the land layers:

Go to the Land layer.

Magic Wand (tolerance is still 0, right?)
Select anywhere in the clear areas
Hit CTRL-I to invert the selection
In the layers window:

Hide the Land Layer
Create New Layer; select it if PDN hasn't done so for you

In the tools window, click Flood Fill
In the colors window, switch to white

On the new layer:

Fill Mode "Global"
Fill in the selection
Label this layer Blur, and hide it. We'll come back to it later.

If necessary (ie, if the little marching ants are gone), go back to the Land Layer and do the Magic Wand, Select, Invert thing again.
On the Ocean layer

Hit the Delete key. You should now see a layer of clouds with cutouts where the landmasses are supposed to go.

Repeat the select, invert, delete thing on the Ocean Texture layer.

Hit ESC to cancel the selection.

[PeaceHeather]

And now, finally, we can get to work coloring the ocean.

Hide everything except the ocean layer. (Once you get the hang of it, this becomes optional)
Select the cutouts on the ocean, then invert the selection (CTRL-I).
Go to Adjustments > Gradient Mapping

Immediately, the default hideous black to red to white gradient will be applied. Right click on the darkest color, and select "Change Color". The color wheel will pop up, including your palette colors as added way back in the beginning of this tut.

Select the darkest shade of blue and click OK.
Right-click the gradient bar and select Add Color, and add the other three shades of blue to the gradient, working from dark to light. (You can either remove or change the middle shade of red.)
Leave white as the brightest color.

Now for the fun part. Each of these colors (except the ends) is on a slider, and you can tweak the look of your entire ocean just by shifting them around. You can also check the Reverse Colors box and see what the gradient looks like from the opposite direction; I often prefer to do this with the ocean because it puts my darkest shades out where the "deepest" water ought to be. I also take my continental shelf into consideration, and try to have a decent light colored band around each landmass.
When you're happy, click OK.

Unhide the Ocean texture layer and make sure its blend mode is set to Overlay. Feel free to experiment with different blend styles, opacity, and ordering of layers (texture on top, or under the color, etc.).
When you're happy, you can hide the ocean layers, or leave them visible, and watch your world build itself up layer by layer.