AuthorTopic: Sad Demon  (Read 9180 times)

Offline Hideon

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Sad Demon

on: March 21, 2012, 04:59:47 pm
Hi there, i'm new on that awesome world of pixelart. I red some tutos and I have a general idea of how it works.
Firstly, I tried to make a demon using some of the things I red (AA, shading, dithering, etc) but need some critics, because I want to make it better.

Here the pixel work:



And the reference I used (I'm not able to make something without ref):
http://1.bp.blogspot.com/_N7ebvIOKog8/Sr0Frb-QmJI/AAAAAAAAAAc/uIqmXCtape8/S1600-R/gargolafff.jpg

Edit: I experimented a bit more with the palette, but still needing some help please :blind:
« Last Edit: March 22, 2012, 08:33:36 pm by Hideon »

Offline Hideon

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Re: Sad Demon

Reply #1 on: March 25, 2012, 11:00:51 pm
No comments? :(

I tried to make it more shiny. Don't know if it's better now.

Offline Vakinox

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Re: Sad Demon

Reply #2 on: March 26, 2012, 01:16:38 am
I think the newest edit takes away from the sprite.
For example, by eliminating most of the dithering that was present in the first variations of the sprite, one side effect was that the elbow/forearm of the newest edit makes it seem really "off".
Also, the rivets in the wings look unnatural with the new edit.

Your first version of the sprite looks fine to me.
As for what you can do to make it better, maybe some edits to the feet and the right arm's placement (it doesn't look natural).

More professional artists here will probably do a better job at explaining and critiquing.
I'm sort of new to pixeling, however still trying to give the best amount of advice I can offer.
I know how it can be frustrating when it seems when one can't get advice or feedback on his work.

Offline 9_6

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Re: Sad Demon

Reply #3 on: March 26, 2012, 03:58:16 am
I'm not able to make something without ref
Work on that then.
There is no point in receiving critique for the errors of someones interpretation you are copying, even if it is flipped horizontally as it doesn't fully reflect your current level.
Does scaling an image blur it?
Opera fix Firefox fix

Offline Facet

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Re: Sad Demon

Reply #4 on: March 27, 2012, 01:57:57 am
To expand on the above; everyone starts via imitation (actually many people pass off similar reproductions as 'inspiration' ;)) but why not reference selectively from multiple (primary) sources to create something of your own? Were I drawing a demon I might look at photos of a bat, a goat and some posed figures as well as a few artistic renditions.  

If you're primarily concerned with practicing technical skills then really the vehicle is less important, but first make sure you aren't confusing the fundamentals of all drawing like construction and shading with pixel-specific technique like anti-aliasing and dithering; the latter being of little use without the former. Perhaps you could try a specific exercise to test your understanding of a single concept at a time? For example the ole' geometric primitive test for basic shading from a light source or a variety of flat shapes and lines to AA :).
« Last Edit: March 27, 2012, 02:07:39 am by Facet »

Offline Hideon

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Re: Sad Demon

Reply #5 on: March 27, 2012, 09:43:09 pm
Ok, about the reference: I will try to make a background for the demon without any reference.

Just in blocks, here it is (yep a ruined town)
Now I have to shade all that buildings...


Any remarkable mistake on that?...

Ah and about the leg and the arm, I will try to make it better if I can.

Offline ABC

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Re: Sad Demon

Reply #6 on: March 27, 2012, 10:12:45 pm
Use references, just don't use only one and copy everything.

Offline Hideon

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Re: Sad Demon

Reply #7 on: March 27, 2012, 11:54:14 pm
Use references, just don't use only one and copy everything.

Yes. Looking some references about destructed buildings on google images and with some imagination, I update this:

Offline Vakinox

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Re: Sad Demon

Reply #8 on: March 28, 2012, 12:08:05 am
I'm not able to make something without ref
Work on that then.
There is no point in receiving critique for the errors of someones interpretation you are copying, even if it is flipped horizontally as it doesn't fully reflect your current level.
To expand on the above; everyone starts via imitation (actually many people pass off similar reproductions as 'inspiration' ;)) but why not reference selectively from multiple (primary) sources to create something of your own?
Use references, just don't use only one and copy everything.

I hate to be the one to point this out, but the advice here seems to be very confusing.
Point 1: At one point the artists is told to try working on not using references for his/her work. That their work should consist of originality, and that critiques are useless for artists who just copy.
Point 2: The next one makes a more interesting stance to point out that when one begins to focus on creating art, they start through a process of imitation, using other people's works as a base to make their own desired work through heavy modifications or 'inspiration' as it's called. It's further pressed that using a combination of multiple sources as inspiration can help an artist grow something of his own by taking and using something from each source.
Point 3: The last advice tells the artist to simply use numerous references, but not to copy it detail for detail.

The advice graduated from refrain from using references, to using a collaboration of references to form a result from one's artistic ventures.
I agree most with the Facet's given points, but I think this blog post gives better idea of the whole argument of when it's alright to use references and when not to:
http://www.jessicahische.is/obsessedwiththeinternet/andbeingresponsivelyinspired/inspiration-vs-imitation-2

TL;DR One uses imitation as a form of practice and moves onto the use of inspiration which then it graduates into the process of creating work from pure creativity.
The imitation process is used to accumulate an idea and knowledge of techniques, themes, and etc that would be both preferential and comfortable for you to use in future artwork.
In other words, the more you practice with the use of a combination of references, the more you're able to create an form that is unique to your own artistic expression.
Just make sure to remember to push yourself to be more original and restrict yourself more from the use of references in future iterations, and never make work that is derivative (unless only for practice).



As for the newest update, I think you're taking a step in the right direction with the background. However you may want to edit some more on your devil sprite before working on backgrounds.
Once you start working on the background, it'll be harder for you to make edits to the sprite, therefore you should complete all edits to the sprite before you start on an surrounding imagery.
Some C+C on the "buildings" though is they don't look too much like buildings. Buildings have more of a square and rectangle architecture mostly, whereas these have more of a deformed texture related to canyon formations.
Personal preference though leads me to say I think a canyon theme is more fitting though.

Offline Hideon

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Re: Sad Demon

Reply #9 on: March 28, 2012, 10:29:25 pm
Good points you have there, you can be sure I will consider all of them. But now I'm far from using more references because I'm just detailing a bit more, and working on the shadows and the palette. And if I have to change something on the demon in a future, I think that will not be a big problem, as you can see, back of him the background is so much simpler than beside.

Offline Hideon

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Re: Sad Demon

Reply #10 on: April 02, 2012, 11:25:23 pm
Update :)

I know that dithering on the sky isn't so good, but anyway it's the best I can do.

Offline PixelPiledriver

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Re: Sad Demon

Reply #11 on: April 03, 2012, 03:43:20 am
Atmospheric Perspective will give you more depth by modifying the max and min distance perceived.
It will also help control focus in the composition:


Scientifically atmospheric perspective is caused by "air particles" compounding over distance.
Greater distances cause them to appear increasingly opaque:


Artistically atmospheric perspective is a collection of perspective cues working simultaneously:
1. Change in size
2. Overlap
3. Hue shift
4. Loss of detail
5. Compression of color range

This is typically simplified to:
Greater distance = Color shift to Skybox color

It's up to you which cues you want to include and how exaggerated you want them to be.

In general:
More exaggerated = Greater distance

Upon closer inspection you have a tiny bit:


But it does very little to separate the figure from the environment as can be seen by a greyscale:

« Last Edit: April 03, 2012, 04:14:21 am by PixelPiledriver »
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Offline Bloobier

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Re: Sad Demon

Reply #12 on: April 07, 2012, 03:15:41 pm
I would say that the sky's colors don't contrast each other enough, maybe if you changed one of them, it would look nicer. I can see that you did the dithering well, but it's hard to see.

Offline Hideon

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Re: Sad Demon

Reply #13 on: May 04, 2012, 12:15:21 am
Oh sorry to necropost guys, I want to finish that.
PixelPiledriver: Well, it's true that my scene hasn't got so much athmosferic perspective but if i change that I'll have a palette problem :blind: and I don't want an overfoged sense or so much focus on the monster because the demon is important but in that case the backgound is important too.

I tried to make a fire effect on the sky.

Offline jinza

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Re: Sad Demon

Reply #14 on: May 04, 2012, 04:29:29 am
those rocks behind the sad demon looks more like buildings to me

Offline Crow

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Re: Sad Demon

Reply #15 on: May 04, 2012, 11:12:45 am
those rocks behind the sad demon looks more like buildings to me

That's because they are :huh:
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