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Messages - Chironyx
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I want to grow from my animations, would love thoughts and/or critique on this one! 

Challenges & Activities / Re: The Daily Sketch
« on: June 18, 2018, 01:23:19 pm »

right side jamming

@Chironyx not speaking for wolf but the last many pages will point you to the answer ;)

Dear gott im himmel, over 750 sheets of practice in this series according to his numbering?
At this point I'm sort of hoping for a "you should start here" sort of recommendation,
I get that I should practice till' the end of times, question is, where to start? because my only current direction is MikeyMegaMega's tutorials and I'm wondering if there's anything specific I should practice, or if I should just "follow and polish every single damn tutorial on the internet until I'm good at drawing"

Challenges & Activities / Re: The Daily Sketch
« on: June 18, 2018, 11:04:32 am »

Did you develop this style through practice or is it related to a certain series of tutorials you've followed and polished your skills in?
I'm asking because I would love to learn from such a series/source if you did!

General Discussion / Re: "Equipment" for working on the go?
« on: February 08, 2018, 06:55:50 am »
There is a huge overlap in skill between all forms of art, that people call fundamentals. Perspective, lights, composition, anatomy, gesture, colour theory, etc.
Most of these you can effectively train with pencil and paper, which will have a direct impact on the overall quality of pixel art you are making, or any other art medium.

Someone can throw you a stick and some shit, and you'll still be able to make beautiful art with it, if your fundamentals are well practiced.
For this reason, there is a catchy phrase going: "Tools don't matter". But what it really means to say is "The most important art skills carry over".

Because at some point you will have to answer another important question. Why implementing your vision in this form of art, not the other?
Why pencil? why painting? why pixels? why sculpting? Why modeling? What exactly do each of these add to the basic idea of the vision?

It is the point you will dive into the creative technicalities of a specific art form, that justify your art choice.
That means your fundamental art skills are expressed in a unique way with the choice of your art form.

On one hand this means, if you got no art fundamentals, what is there to express in pixel art?
On the other it means, if you have no creative ambition with what makes pixel art technically interesting, you make pixel art weak.

Having said that, I like the suggestions given earlier, that you should use the opportunity of having to travel outside for classic observation studies on the real world with quick pencil sketches.

Yeah! I've wanted to mention in my last response, it seems that drawing and sketching on paper can improve your pixelart - while improving your pixelart doesn't really improve your drawing and sketching.. for me at least, and that's because even though I know how to shade in pixelart, I'm not that good at it in other artforms
So yeah, one should practice his fundamental art skills to a point where he is able to use them in all sorts of artforms, and the best way for me to do that is probably with a pen(cil) and paper.

Thankfully, I know what appeals to me in pixel art and why I chose it, or at least I strongly believe that I do, I'm still trying to nail down my pixel style as I draw around, improving, sometimes it feels like every piece I draw is in a slightly different style haha

Pixel Art / Doki Doki Literature Club GIF (contains spoilers)
« on: February 07, 2018, 05:16:42 pm »
Better late than never, I thought I'd post this here and see what other Pixel Artists/ Spriters think of my work!

General Discussion / Re: "Equipment" for working on the go?
« on: February 07, 2018, 01:55:17 pm »
It's a lot easier to avoid bumps when working on paper than on a smooth tablet screen.

I third drawing, but for a different reason: public places, including public transportation, are an excellent for doing studies. Don't "waste" that time on something you can do elsewhere, use it for something you can only do there. Do some people-watching, draw interesting people and things you see, draw interesting lighting situations, etc. Quick observational drawing will make you improve at drawing those things, help you with future character designs, make you faster and more confident, it has innumerable benefits.

The bumps also don't really matter when you're just doing these sketches rather than finished artwork. It doesn't need to be perfect, and it doesn't matter what it looks like, since the drawing is a process for learning, not for the creation of a product. But, even so, as you draw while riding more, you'll develop a sense of when it's "safe" to draw and when you should observe instead.

What you're saying makes perfect sense to me now, you're absolutely right, it would make much more sense for me to work on skills that I wouldn't be practicing otherwise in such rides
After all, pixelart and regular drawing are seperate skills imo, I've been drawing pretty nice pixels for a long while, but I still can't really draw well with pen and paper..
And yeah, I guess that as long as I'm improving, the final product doesn't matter much

I didn't think of observing people, patterns and shades, that is also a great tip!

Thank you, this response helped me a great deal, I'll keep at it with drawing/sketching!

General Discussion / Re: "Equipment" for working on the go?
« on: February 07, 2018, 10:21:44 am »
I would suggest you to pick up drawing. If you really want to do pixel art on the go you can use squared paper and use that as pixel grid.

Yeah, after some drawing on gridded paper and some practice pixelling, it's not too hard to figure out how a particular drawing will render into pixels. Mainly, you learn to think ahead of time about what scale of features you can use that will remain legible in pixel format.

Working with a relatively coarse medium like charcoal can also give an experience of drawing that is qualitatively more like pixelling.

I've tried to draw in a notebook, but oh god do the bus bumps make it hard haha
When you draw pixels digitally instead it's much easier to fix your bump lines, or not have them in the first place because you use a large zoom when you work
But seeing that both of you reccomended it, guess I'll fight the bumps, I managed to draw a little on my way just now
My initial thought was getting a tablet to draw on, I wonder if anyone in these forums uses one (or an iPad) to draw pixels on in such rides..

General Discussion / "Equipment" for working on the go?
« on: February 06, 2018, 10:54:06 pm »
Train rides, bus rides, random free time in public/work, there's lots of room to squeeze some drawing time - but I personally find it a little hard to actually get work done on a smartphone using a pixel app, the small screen just about triples the worktime..

Soo, do any of you use any sort of equipment to draw pixels on the go? A tablet, or perhaps you even pull out a laptop?
I would to hear about it if you do, how comfortable it is, and what model you're using, etc, could use some inspiration on that subject  :P

Pixel Art / Re: My first tree
« on: October 01, 2017, 04:58:33 pm »
Used a bit more red on the leaves,is it more natural?

Thats a good approach, but i think the tree trunk is a bit too massive (or treetop too small)

sorry for triple post,thought it didn't send them,then found out they were on a 2nd page :blind:(already reported myself to moderator)

Tried fixing shadows,but I don't know if its even noticeable

(light source should be 3/4 on the left and a bit from above)
Here I dared to change the shadows more than usual,is it better?

Now that's a tree! and nice fix on the colors!
Looks all good to me, just take heed, in-case it wasn't what you were aiming for, that this tree is more of a swamp tree and won't really fit in other environments =]

Pixel Art / Re: [WIP] NPC dances for my opening sequence
« on: September 30, 2017, 08:26:26 am »
The problem with color is that you're emulating light (which has a color I might add) bouncing off a surface. The more intense the light, the more intense (saturated) the color, which means a lot of light is hitting that surface. On the other hand, wherever light does NOT hit, you have less saturation in the shadows simply because there's less light there. The only reason shadows have a blue color (sometimes) is because of ambient light (the color of the blue sky emits light after all, that's why you see it as blue).

So try to do it backwards than you currently are doing it.

Also keep in mind that color shifting is NOT linear -- in other words, there is no "certain amount" that you shift colors toward or away from a hue or saturation level. Every artist does it differently to some extent. The amount you do that depends on your ideal of how "vibrant" or "realistic" you want your art to appear.

Regarding the head/eyes thing...

I mentioned the eyes being creepy because they are unnaturally jarring (uncanny valley-esque), not because they are stylistically bad. It's kind of like what happens when you see a typically-cute anime character without their big hair. If you've never seen that, then don't do 3D modeling...

But that brings me to what I mentioned earlier -- you should consider adding more hair to the top of their head. I know a lot of people do pixel art at first because they're not confident in their drawing abilities, but stuff like that shows when you get "better" at pixel art -- but until then, it sticks out like a sore thumb to *everyone else* and you're completely blind to it until you realize exactly what's causing it one day when you're "better" -- so my advice is, don't discount anyone's thoughts on your work -- *especially* if you feel they're more experienced than you are. Most people won't say anything, and if a person with more experience tells you something about your work, knowing you're new to this, he's usually doing it for your own good -- not his. It's hard to accept criticism on something you've worked hard on and somehow finally settled on a "better" version you can accept, and then someone comes along and tells you it's wrong -- but that's all part of the game. That's the purpose of this forum entirely. I've went through it myself, and so has pretty much any decent artist anywhere. You will be told your deep-held beliefs about your art are wrong and that you're wrong for thinking them (I'm not telling you that here of course, but it happens) but you've got to toughen up and be able to ask "Well, what can I do to improve on this then?" -- because until you hear their suggestions for improvement, and sincerely attempt to implement them, you won't improve, or you will improve VERY slowly. And if you recall, I said your animations, and even your characters, were charming. They just had construction problems in their head area. Besides, just because this is pixel art, it doesn't mean people aren't going to notice when you're struggling with anatomy. That's why I tried to help you out by pointing this out to you.

To get back on topic -- in the case of your "eye" problem, I mentioned previously that you could increase the size of their hair or their forehead area. Your figures don't necessarily need smaller eyes -- they just need a sense of a skull's volume, which they currently lack relative to the size and placement of their eyes. Also, as mentioned before -- eyes sit just below the center of the head, and the skull is shrunk or elongated vertically to keep these proportions from person to person.

Sorry if I came off as rude, but I really hope I'm being helpful. Not trying to hurt anyone's feelings -- just pointing out very valid concerns if you seriously are here to get better.

Delayed answer, since I've been tossing the colors around for the past few days, trying to fix the anatomy and creating various palettes to see what works out, in hope that I'll have a follow-up to post.
I still haven't got any results that look good to me, so I'll keep trying, thank you for the tips!

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