The palette
Water is the great 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 draws one precise thing: north-west of the bay, wooded ravines run down to the water in long strips. The woodland on the escarpment, on the other hand, is a band so thin that no ink will turn it into a mass. 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.