The palette
Water is the only true mass on this sheet, and it takes the upper third: it decides everything else. Keep it deep enough that the sand bar stays legible in negative, and the canal with it. Green will do almost nothing for you here: the woodland on the escarpment does exist in the data, but as a band so thin that no ink will turn it into a mass, and the gardens to the west sit at the edge of the frame. So the division falls between the water and the line of the streets, with two greys answering each other, one for the lower city and a broader one for the Mountain.