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Messages - questseeker
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101

Quote
Ellipses are awful. Rounding the center to pixel centers and radius to whole pixels, so that even sizes are impossible, is even worse than rounding incorrectly.
Er.. thanks!  :P ProMotion seems to work in the same way.. Can you give me an example of how to do it?


You might round both the center (or corners) and the radius to half pixel increments in both directions if the zoom factor is 2:1 or bigger (i.e. if these fractions correspond to distinct cursor positions).
Alternatively, you could have one or two switches or tool states to align ellipses either to the "cracks" between pixels or to pixel centers (at any zoom levels).

102
Ellipses are awful. Rounding the center to pixel centers and radius to whole pixels, so that even sizes are impossible, is even worse than rounding incorrectly.

103
Quote
Along the same lines, there can be an explicit export step from the semantically rich "project" to one or more "products" in stupid file formats. For example, editing with all the convenience of a palette and exporting 32 bit RGBA or explicitly indicating palette indices for the output (e.g. for games that use their hardwired palette anyway or that look at magic palette indices to define maps from an image).

Again, sorry I'm not quite sure what you mean. Can you clarify please?

The "project" the user edits doesn't correspond directly to the final image files: there can be a choice of alternative outputs (the automatically recoloured versions I proposed, or transparent images composited on different backgrounds, or the same image in different file formats, etc.) or some degradation that require the Pixe documents and the usable image files to be quite different.
"Stupid" file formats in common use cannot represent everything the program needs, and in many cases they have limitations: no palettes (forcing collapse of palette indices and usually removal of palette information), no transparency (forcing compositing of transparent images on some background) or binary transparency (unavoidably losing information from the alpha channel).
If you are bold, automatic dithering and colour quantization could be used to convert from the original colour to a specified output palette or to a reduced colour depth format (multiple previews and outputs would make trying out different compromises much easier).

104
2D & 3D / Re: Nanovoid
« on: December 08, 2008, 06:40:37 pm »
The transporter and interceptor are too similar. You might make the interceptor more pointed (narrower back in particular) or add conspicuous cannons etc.

105
I admire the idea of competing with, e.g., Grafx2 (http://code.google.com/p/grafx2/) and I'm waiting for a test release.
Meanwhile, some questions and comments on assorted entries of ideas.xls. First installment:

Palette support

The colour-related features in ideas.xls suggest that you have a colour-first approach: the user paints in colours and the palette as a bunch of colours that have been computed and/or picked among all RGB or HSV possibilities.
But there are already too many tools of this kind, and a more useful pixel art tool should have a palette-first approach: the user paints in palette entries, each entry in a small palette is meaningful (do you support naming palette entries?) and its actual colour is a more volatile detail that belongs in the final rendering step of the image.

Some advanced features:
  • Do you want to support different palette entries with the same colour? Example application: some normally different dark colours might become all black or dark grey for a low light palette version, without irreversibly collapsing the details of half the image into a solid area.
  • Palettes might be fixed (e.g. EGA, CGA, C64 hardwired colours; or funny Pixelation challenges) or changeable or mixed (e.g. Windows): do you support palettes where specific entries are "protected" and others free to change?
  • Do you support general two colour palettes (good), or only black & white (bad) or neither (unacceptable)? And what about palettes with arbitrary numbers of entries, not only powers of two, which can be represented in PNG files without wasting space and are supported by GIMP?
  • Do you plan to support multiple colours per palette entry (or, if you wish, "parallel" palettes)? One might edit once and see different colour variants of the image in separate preview panels, which would be extraordinarily useful for recoloured sprites or for experimentation.
  • Along the same lines, there can be an explicit export step from the semantically rich "project" to one or more "products" in stupid file formats. For example, editing with all the convenience of a palette and exporting 32 bit RGBA or explicitly indicating palette indices for the output (e.g. for games that use their hardwired palette anyway or that look at magic palette indices to define maps from an image).

106
General Discussion / Re: Official Off-Topic Thread
« on: August 14, 2008, 03:34:31 pm »
The idea that video games are the only interactive art form is patently ridiculous.  If novels, paintings, film and theater were not interactive we would not enjoy them even a little bit.  The fact that you as the audience or reader are constantly reconstructing and reorganizing the narrative, judging the characters, wondering what will happen next...these are all the things that make these art forms what they are.  Video games merely extend this process into the literal.


by that logic, a bird in flight, completely beyond my power, is interactive.  I can wonder where it came from, where it's going, condemn it as unintelligent or worship its freedom from human "rationality."  This doesn't make the bird interactive, it only means that I am alive and that my perception of the world's output is subjective.

videogames, on the other hand, are one of few art forms (there is an excessive amount of interactive installation and performance art that was forgotten in the list) where the users input changes the output.  That is a dramatic and vital difference and it's both an expanding and a limiting factor depending on the context.

That's a pretty crazy stretch :P  Film of a bird in flight in the context of an entire film, or a painting of a bird in flight, is to me VERY different from simply seeing a bird outside, because there is a director or a photographer or a painter interpreting and changing it and showing it to us in their own way.  Viewing or consumption of artistic works IS interactive in a way that passive observation of natural phenomena is not.  And of course, video games are interactive in a way that other art forms are not, I wholeheartedly agree.

My point is simply that the idea that games can't be art because they are interactive just rings very false to me.  They are *more* interactive, that's all.  The idea of arbitrarily drawing a line in the interactive sand is just crazy, and I've never understood Ebert's reasoning behind it.

About Ebert: don't care, he's an old film buff, he's not expected to like or understand or support a competing, different art form.

About videogames being art: of course they are, anything that is not (or is not considered) completely utilitarian and constrained by external forces has a spark of artistic expression from the person who decided to do it like that and not differently.
Being something that is produced from the ground up as a source of designed experiences for the public, videogames can be classified along with older art forms like painting, sculpture and music at the purest end of the spectrum of art forms.

About interactivity: I side with ndchristie, you are confusing interpretation, that takes place entirely in the observer's head, interactivity, which affects the artwork (or at least its temporary manifestations), and merely intentionally directing the observer's attention without causing changes.

About the bird example: an actual bird might be beautiful, but isn't art because we know it is not the work of someone (barring aberrant cases, like suspecting it's actually been put there for our entertainment); a bird film is art, albeit probably boring, unless we are convinced that it is utterly meaningless (for example, it's a byproduct of testing an automatic motion-activated camera system with birds on a sky background; but even that would have some art "margin" left, such as the choice of camera placement, time of day etc.).

107
General Discussion / Re: Subjects of Pixel Art
« on: July 25, 2008, 02:40:28 pm »
My attempts to respect a 8x32 or 32x32 grid with top-bottom symmetry.



108
Pixel Art / Re: What's wrongs?
« on: February 11, 2008, 09:15:54 am »
The text was correct, it read Україна, or Ukraine (Ukrayina) in Ukrainian.
I suspected something of this kind; unfortunately there isn't enough space for placing two dots and their drop shadow without compromises.

109
Pixel Art / Re: What's wrongs?
« on: February 10, 2008, 06:33:12 pm »

An edit with some minor changes:
  • Deeper U
  • Symmetrical K
  • Removed the squiggle on top of the I (possibly wrong; what is it?)
  • Broken some patterns in the halo of the moon
  • Stippled (softer) outline around the moon
  • Highlight and shadow colours of the moon reach the outline
  • Added and deleted stars
  • Expanded stamp corners (still not perfect, as they are too square while the sides are too smooth; 2 pixels aren't enough)
  • Corrected left stamp edge to look like the right edge

I lack the patience and skill to try my hand at shading the interior of the moon, which I think is too irregular.
I'm unconvinced of the choice of pale pink letters with a white drop shadow; there is enough room for a symmetrical contrasting outline around the letters instead.

110
Pixel Art / Re: Garo
« on: November 09, 2007, 05:16:35 pm »
Trying to make some of the corrections I suggested (mainly sword and feet) I realized that I don't understand the shadows and outlines; they don't seem consistent (where does the light come from? What's with the use of light and dark metal in the sword?)


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