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I wouldn't say that all those stylistic snes variations of fighter sprites etc are contentless, they are certainly derivative, but why do you say shadows?I'm not sure why I said shadows, but I think it's a bit like a shadow can never be more elaborate than it's source. If a certain sprite is created with a highres-idea in mind, then a copy or variantion of that sprite will always lack something which the original has (if you don't understand the highres idea behind it). Of course I ignore the fact of "happy accidents", which might be even more probable compared to highres paintings (bob ross). If you understand the highres idea, then of course adapting to a style wouldn't be a mere "shadow".
What's fascinating for me for the average pixel artist regurgitating those philosophical bullet points (many of which I've endorsed in Pixelation for what will soon be a decade) is how self-delusional they are. They say 'strive for greatness through restrictions' but they are only talking about the technical restrictions inherent in pushing pixels. When it comes to conceptualizing a larger work and trying to make it fit in those restrictions, that's 'cheating'. This is why I talk about avarice: most pixel artists are content to make startlingly simple pictures, no, most of the time fragments of pictures and at the same time hold the pride of working on them so intentionally on the pixel level that they think they've elevated the content due to labored upon form.Is it fair if I say it's like the question "technique versus content"? Is it not normal for an artist to grow in the way of: child, has only content and no real technique. At some point it notices that it can't convey the idea as it wished. It's the beginning of learning techniques and doing studies, a time when it's easy to fall in the trap of overestimating technique. But as you begin to master technique, content gets more important and you slowly begin to express your ideas with the learned techniques. That was the way in traditional techniques since ever and it's the same in pixelart I think. These talk about "doing pixelart the right way" may only be a intermediate state you grow out of when you begin to master the technique.
In the arts, media (plural of medium) are the materials and techniques used by an artist to produce a work.Then the example for a drawing:
In drawing, "media" refers to the type of held dry tool used and the base onto which it is transferred. The "held dry tool" normally means a pencil, or stick medium, referred to as a "crayon". Small particles of broken-off stick medium are transferred to a base or plane of production on which the artwork is produced. A typical base is paper, but canvas and other surfaces can also be used.If I want to do something similar to what PixelArt is to me I would post something like:
In PixelArt, the artist works on a canvas with an ordered raster built upon a specific quantum (undividable part, similar like the old idea of atoms). These quanta (plural of quantum) might have different forms, sizes or colors, but are never allowed to break the ordered raster. The artist doing PixelArt is concious about the ordered raster and the available quanta and tries either to obscure or highlight the ordered raster or a combination of it.I just made this definition up, so it might have flaws, but let me make some examples: