Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - Pix3M
Pages: 1 ... 6 7 [8] 9 10 ... 26

71
It has been a while and I've learned new things that might be useful to know.

Long story short, I was at a recent convention of at least 2K attendees, and I had two works to help guage interest in my works - a game in an alpha stage with pixel graphics done by me, and a printed artwork (which I admit was an extremely risky shot in the dark). Looking at how people responded looking at my art.... this is what I think I got from this.


Cuteness appeals most people.

More realistic styles are more niche, but particularly seems to interests game developers who probably know what to expect from most pixel artists. Pixel artists who manage to shine above others will attract a fair bit of interest taken into them. Odd fact, by having an alpha game with my graphical work showcased at that convention, somebody tried scouting me into another team.

Most other people who take interest in what I do are usually artists themselves, people who look at my rather uncommon skill and are amazed with what I do.

You can't go wrong with well-animated styles though!

Overall, I was mostly overshadowed by other artists who primarily focuses on making cute art. However, I needed that dose of reality - I'm not a people person and I am usually surrounded by people who know me because they took interest in my art, whether they like the subjects I often draw or not.

I still would like to explore realism vs. cuteness with a more overall appealing art direction, especially with more demographic groups I don't know well enough.

72
Pixel Art / Re: Cute Girl Action RPG Sprite
« on: June 22, 2014, 05:24:20 pm »
I have a feeling there is a chance that the colors might look better in context.... who knows?

73

@Ryumaru
I don't think that pixel art techniques such as AA, dithering, selective outlining depend on the pixel. Rather, they depend on the grid like structure of the rasterized image. You can do the same techniques in the non-digital forms of art, such as pointilism or tapestry.


I think he meant that those techniques were used differently back when we had CRT screens. CRT screen pixels are arranged on a hexagonal (or triangular?) grid, and on game consoles, the console has to convert the screen into an analog signal. Often, both hexagonal pixels and the TV signal conversion came together and pixel art, back then, was blurry.

I have an example from The Adventures of Lomax. First pic is taken directly from Henk Nieborg's site, and the second one is a picture taken from my LCD TV screen... This is the effect of converting a picture into an analog singal:


74
Pixel Art / Re: (C+C) Ivysaur
« on: June 09, 2014, 09:29:16 pm »
Was curious to see what you were referencing.

I think the sprite would leave a better impression with stronger value contrasts... if the leaves were darker than the flower, and the flower darker than the body color... just like the refs I'm pulling from google images. Might increase your color count, sure, but I think it will be worth adding new colors

75
Pixel Art / Re: Animation Practice?
« on: June 06, 2014, 04:11:10 am »
There have been times that people tell me they're genuinely surprised to see a 4 or 8-frame animation I made that looked 'smooth' IMO smoothness isn't only about frame rate or even number of frames. Some cases, I've seen people make too many frames that the animation itself ends up slowing down.  I've seen animations with high frame rates but it didn't feel 'smooth since animation fundamentals were lacking.

Animations generally seem stiff and not fluid when things move at a constant flat speed, instead of slowing in and out of motion from one extreme to another. IMO there's not very much you can do with that idea since very little is going on.

76
Ludum dare game with two others: http://fav.me/d63jm18

Played a minor role, but nonetheless I worked on this too: http://flashygoodness.com/games/plant-cat/

There are two others I have, one is commercial, but they aren't polished enough for me to want to share.  :-X

77
Challenges & Activities / Re: The Daily Sketch
« on: May 29, 2014, 10:19:44 pm »
Tumblr is a blogging site. It's like a forum, but only one person posts to it, and posts are ordered from newest to oldest.

Since it's a networking site, you can follow other blogs. On your dashboard, which is pretty much the home page of tumblr, for every blog you follow, there will be a list of posts from every blog you follow, also ordered from newest to oldest.

It's more casual and more personal than deviantART. Use it if you want people to basically have a live news feed of what you do, and I don't recommend use it to archive things into a gallery like you would with dA or PJ.

Fair warning though, Tumblr works weirdly with pixel art, particularly small resolution GIF's and anything with a bpp of 8 or lower. Partially due to scaling issues a part of web design to keep posted images consistently sized.

78
You will want to adapt into a different art style for your pixel art. Many drawing styles may use thin, fine lines. At the resolution you're working on, even 64x64, any line work is going to be very fat and very bold.

It is more efficient to design characters with fewer details but more prominent details. Think something like the hairstyle of Goku from DBZ, or the characters you see in Secret of Mana or Chrono Trigger - big exaggerated shapes that in the case of said SNES games, their designs work in an even smaller resolution. Compare to something harder to do in pixel art like the cast you see in Ouran Highschool Club, which I tried, but cannot do in a 16x32 resolution.

Pixel art introduces new challenges that you may want to draw your character at 64x64. Working in larger resolutions will mean you create details you cannot be sure if it will still be visible downscaled.

79
Pixel Art / Re: [WIP] Millionaires Health Club
« on: May 23, 2014, 08:03:50 pm »
Can't have an upper-class health club without a golf course.  :D

80
Portfolios / Re: Heavy Cat Studios Professional Artist Team
« on: May 18, 2014, 08:27:38 pm »
Just posting a review here of this company. It is not to be trusted and you should not work with, or for them.

As a former artist and producer for Heavy Cat Studios, I just want to caution anyone thinking of doing business with them that, while the artists are amazing and try their best, I would never ever recommend doing business with them.

The man in charge of the studio is very secretive and manipulative, he draws artists in by promising huge paychecks and amazing opportunities, and then basically drops a ton of work on them, and once they begin to realize that they aren't getting paid very much, and that the payments are getting smaller and smaller, and further apart, he cuts them off and ignores all correspondence from them.

I'm not the only one this has happened to, I know several other of the artists there, and one by one they are getting the same treatment. Through my research I've also found artists who left months before I even joined who are still fighting with him for the hundreds of dollars worth of artwork that they've done for him.

I worked as a producer there for a short time, which was what drove me to quit the company completely. They are so unbelievably unorganized it is disgraceful. The steps taken by Scott, (aka "cat" aka, the executive owner/leader of HCS) when a project is initially brought to him are these.

1.He takes the client's money.

2.He drops the project details (which are normally very very confusing and not even planned out) onto one of his 'producers'.

3. The producer's job then is to pull from a ever-changing bank of artists, who's skills and portfolios are nowhere organized or available easily, and "assign" parts of the project to different artists. This includes things like, deciding that since you think you remember that ArtistA is pretty good at sprites, they should do all 50 of the monster sprites, and artists B and C can do tiles, lets have them do the tiles.

(This is very confusing, and even worse, it is ALL done via a cluttered internet forum. Yes. Just like what you are reading now. Artists and Producers are expected to constantly keep up to date on sometimes several projects at a time, flipping back and forth from pixel sprites for one game, to colorist work for a manga, then struggling to sort out who is doing the character design sketches, while not realizing that another artist already completed them and posted them a day ago.)

Also, artists are not allowed direct contact with a client, the producer's job is to be the middle-man between the art team and the client. This becomes increasingly difficult when the client is a) on another time zone, b) confused about what they even want, c) impatient...ect.

For example, one project, the client knew he wanted monsters for 12 zones, but didn't have any idea what types of monsters for some zones. So instead of sitting down and letting us discuss ideas, the art team was assigned to draw up the amount of monsters he wanted, and then send them for approval. Now, this would of been alright, if those sketches hadn't cost the client several hundred dollars. He didn't like several of the monster sketches, and asked for different ideas, and Scott was kind enough to let him know after-the-fact, that doing so would result in several more fees.

THEN, if the project actually ever does get finished, all the parts are sent by the producer, to the client, it is stamped "done" and the relieved art team can sit back and work on the hundreds of other things they've been assigned, distracted by other projects from the fact that Scott is nowhere to be seen, with a pocket-full of cash this entire time.

When we've pushed past the awkwardness and confronted him about these things, he makes broad all-encompassing forum posts about our long-term goals, and how we are on the verge of becoming some amazing huge company. He throws around numbers like $500 paychecks, $10,000 potential earnings per month! %20 shares in projects, ect.

To make it simple, he is a con artist who uses his tricky numbers and legal terms to basically goad artists into believing something amazing is...always...around the corner.

I'm still owed money for projects we finished in April, 2013. Another artist who wishes not to be mentioned by name is still owed over $550 since January, and is actually contemplating taking legal action. Another artist is still working with the company, but says that if it gets any worse for him, he too will be leaving. He is disgusted enough by the way it is run that he wants to eventually make his own studio company, and run it the right way.

Heavy Cat Studios is a good soup in a broken bowl. Amazing artists go in, swim around for a while, and as they get cold, Scott just lets them drip out the cracks onto the table. Forgotten and unpaid, ignored on every correspondence network.


If you are still thinking of perhaps working with this man, sending your hard earned money to him, instead of finding good, honest artists who will work hard for you and actually be able to get the money in return, think of this other shocking detail.

Scott has no last name.

Nowhere through my research have I been successful in learning who this man actually is. To work there you have to sign a contract, surrendering your art to him, signed with your full name and literally faxed back to this mysterious person on the other end of the internet, but yet he is doing things so backwardly and shady that he does not anywhere confirm his actual full name.

Please, do not let this post mysteriously vanish.

Pages: 1 ... 6 7 [8] 9 10 ... 26