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Messages - Kcilc
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Pixel Art / Re: platform char run help
« on: October 24, 2012, 07:01:55 pm »
It still looks too casual to me. The new position for his sword makes more sense, but I'd say stop making it swing. I just walked around my room with a mechanical pencil ready (It was all I could find), and when I was pretending to be some hero saving the day, I noticed that my entire upper body went still. The more pressing the situation is, the fewer movements I tend to make in my walk.

If this was my animation, I'd keep the torso, head, and arms mostly still; and let the legs and hips do most of the walking. It would look weird if you didn't animate any of the torso though, so I'd suggest letting the upper body and sword sway up and down slightly with the motion. I'd make you an edit, but I'm away from my own computer at the moment.

Pixel Art Feature Chest / Re: Platformer WIP [C+C please]
« on: October 18, 2012, 03:01:13 am »
Heya, Decorded, I'd like to congratulate you on the new run! It's much better than the first one.

You've got all of the right motion in your run, I just feel like it's a little bit disjointed. It just needs some more polish. Most of this would be intuition. Study what happens when you run yourself. See what it is your body is doing, and really focus on the key points in your motion. Find out where your highest point is, and lowest point. That's usually a good place to start for key frames in a running animation. Everything beyond that kinda builds on the key frames, and I'm sure you could figure the rest out on your own.

Here's a little edit to illustrate:

While all of the motion should mesh well, it's important to remember that each joint or point of motion is partially independent. The hips pull the knee which pulls the ankle for example—that really affects how all of a person's limbs will move through each frame. Make sure those points of motion make sense. It's extremely rare to have motion not go in a nice, swooshy, fluid line.


Obviously, mine has its fair share of problems, but I hope that it'll give you a good idea of where I'd go with this. Oh, and I'd recommend not adding the horizontal head movement. It just makes it look strained and more choppy when it's actually in game.

Remember, you've got all of the motions down really nicely; it's just a matter of going in and tweaking things.

Pixel Art / Re: The Stare.
« on: July 09, 2012, 12:45:19 am »
Piledriver, you make it look so easy. Thank you for the tips and your encouragement!

Messing with the hair—it's...getting there?

Polish polish polish...

I'm pretty happy with her hair. I was hoping to get it looking a little bit more natural, but oh well, it was good practice either way.
I'm not really sure if I like what I did with her body. I can't seem to keep it from looking off.

Pixel Art / Re: The Stare.
« on: July 07, 2012, 05:25:08 am »
Alrighty. Hm, yes I see what you mean about the part and her forehead...that was irking me a little bit too, I wasn't sure why though. I decided I take a whack at the hair, even though it always scares me—I've never been that good at getting it to look right, but I've gotta learn some day I suppose.

Played more with her skin tones, fleshed out her hair, tried to give her a more closed off vibe, worked on her torso, lessened her scowl, and freckles!

Pixel Art / Re: The Stare.
« on: July 06, 2012, 03:36:41 am »
Ah yes, the plains of the face...I do have the most terrible time trying to get those right. Thanks for pointing that out.

Here's another attempt at shading her face. I hope that it's an improvement!

Pixel Art / The Stare.
« on: July 05, 2012, 07:27:22 pm »
This is just for practice since I don't generally draw many faces. I'm trying to get that mistrusting, not quite a scowl, stare with this. I'm not sure if I accomplished that.

It's obviously still pretty WIPy, and I'm not sure if I want to render the hair or not. If not, I'll just make it the same color as the background.

Also, rim lighting! Does it look better this way?

Pixel Art Feature Chest / Re: [WIP]Girl C&C
« on: June 14, 2012, 06:17:22 pm »
With every specular highlight added, the importance of that highlight diminishes.
I feel like we've lost sight of what's actually going on under the shiny bikinis and overexposed hair.

Here's another edit:

I took some liberties with the hair, just because that's how I usually do it, and couldn't stop myself in time to work more within what I think you were going for. Still, all it involves is finding a flow. I'd start with defining what direction each clump of hair is going, then find the place where they all start. Just work out from the convergence point, making sure all of the hair is flowing well, and you've got a nice head of hair. How you shade and highlight it really depends on the style and setting.

I wouldn't define any muscle with an outline, unless you're drawing a bodybuilder. Especially on a woman.

Make sure that you're compensating for the entire head under the hair. Most of the time it's a great idea to draw the entire bald head before working on the hair.

I figure a bikini babe wouldn't be quite so pale.

I rendered it a lot more realistically than I think you were going for, but it's always good to remember what it would look like if it was rendered with a more naturalist approach.

Her nose and mouth seemed a little bit wonky. She didn't really have much of a chin, and her nose seemed uber long. Not too noticeable, but it's a good idea to mirror your work as you're going along to make sure nothing is skewed.

I think that most of her torso would be in shadow with how she's positioning herself, and that might be why you're having so much trouble making it look natural. I also really like what AI did with the mane, and I think that the main problem is the fact you're using one shade in 90% of her mane and tail. I think it would look much much better if you just spread those three values out a little bit.

Here's another edit for you:

Pixel Art / Re: Twilight Sparkle is Amused
« on: May 29, 2012, 03:40:04 am »
Just a quick edit mainly trying to address the lighting. You can ignore most everything else—I was just messing with her expression, and it got a little out of control.

So yeah, just a couple small changes. The front legs didn't feel quite symmetrical, so I tweaked them a little bit. The more important part of my edit, I feel, is just adjusting some of the shadows. Right now your shading seems almost isolated to each limb and body part. What I tried to do was be more conscious of how the different parts of her body would affect each other in terms of shadows and highlights.

Pixel Art / Re: The Delay
« on: April 30, 2012, 05:24:52 pm »
Right now, your piece feels like collage made from scraps of different colored wrapping paper. I see a very well defined edge where the grass stops and the mountains begin, and the colors and volumes don't really compliment each other in a way that brings everything together.

Imagine for a second that you're looking at your piece of art in real life. Would you be able to see that horizon line so easily? Would the mountains really leave no sort of shadow on the grass? Would there be such a stark contrast between the color of the mountains and the color of the grass?  Probably not. The edit I made tried to hold more true actuality.

If you look at some pictures of grasslands or even go outside and look for yourself, you'll notice that seeing each and every blade of grass is pretty much impossible. There are, however, little dips and tufts and bumps in the landscape that you do notice. Drawing grass relies heavily on finding those little abnormalities, and exploiting them to make your flat green rectangle come to life. Those little dips and tufts are generally where you should draw a few actual grass blades. For the rest, you can just generalize, and try to capture the much more important illusion of depth.

The same principle goes for how you shade your tree. Don't worry so much about each leaf on your tree. At least when you're still working on the lighting and feel of the piece. The feeling always comes first because that's one of the most important parts of drawing. Before working on each blade of grass, each leaf on the tree, and the fancy dithering to blend the colors of your sky, ask yourself, "Does what I'm drawing feel convincing?" If it doesn't, then take a step back, and try to find out what it is that's holding it back. I can assure you that it's never the shape of the leaf, or any sort of detail like that. Those can help make something already convincing just a little bit more convincing, but it can't change the core feeling of your piece.
Try squinting really hard on your piece to get an idea of what I'm talking about. Blur out all of the details and see what your piece looks like.

Also, don't be discouraged if your attempt at getting that feeling right flops the first time, second time, or whatever time. Let me show you my first try at editing your piece.

That looks like crap, and it's completely removed from what I think you were trying to accomplish. That failure took me a step closer to what I actually wanted to accomplish though, and sometimes, that's all it takes to get on the right track.

Colors also have a very strong effect on the mood and feeling of your piece. That's one of the problems I ran into with the first draft of my edit. It completely disregarded the softness and calm that kind of defines your piece right now. The main thing I tried to address in my edit was the lack of unity. Every part of your picture felt like a completely different entity, and that didn't feel right to me. In your piece, I see mountains, a tree, grass, and the sun; I tried to blur those lines so that all that was left was a landscape. One single very deliberate idea, with one single very deliberate palette. Colors leave a huge impact on the overall effect of any piece. Here's your piece with a slight tweak in the colors. I didn't touch anything else.

You can keep the mute blues for the mountains if you'd like to keep them really far away, but there will need to be some sort of median connecting the two colors. It could be a gradual change as the grass and mountains converge, or it could be some other element, like trees creating a sort of hedge between the grass and mountains.

Now I'd better go before I'm late for work! I hope that this will help.

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