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About Kryzon

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  1. Sketchbook Pro or GIMP for Tilesets?

    Sketchbook Pro looks more like the type of tool to make illustrations, not precise pixel art. If you're going for sophisticated high-resolution tiles (like this), then sure, you can use it. But you mentioned RPGMaker, so if you have to do small tiles (like something less than 64x64 px) then it's better to work with a tool that let's you more easily control individual pixels such as GIMP, Photoshop, Krita, Paint.NET etc. Krita in particular has a "tile mode" feature that displays your canvas tiled to infinity. It's very useful for making seamless graphics, like tiles.
  2. Web/Mac based Heightmap generators?

    You can use the Compositor module of Blender to generate an image based on any sort of combination of procedural textures you may think of. It's available for Mac and you wouldn't have to mess with 3D, just textures and the compositor.
  3. Creating a game like Episode Interactive?

    The name of that style of animation is literally "cut-out", and is one of the two major styles used in 2D animation. The other style is called "frame-by-frame". Some animation use both techniques at the same time for a hybrid look (modern My Little Pony is an example, it's made with Adobe Flash which is now called Adobe Animate CC). Besides what's already been mentioned, any of these tools have built-in cutout animation functionality. Check their documentation: - OpenToonz - Synfig - Toon Boom Harmony - Moho Also, someone made animated portraits for their game using Live2D, a Japanese program that relies on warping effects to give the illusion of depth. This type of style is usually called "2.5D", like it's 2D but with something extra. - Live2D Cubism - Animated portraits
  4. A meditation trick to clear your mind

    For that and for other reasons I think every highschool should have practical meditation classes. I believe I would have benefited from knowing stuff like this when I was at school.
  5. [media][/media] Someone showed this to me and I ended up using this every day when sitting in front of the computer. Your decisions become much more objective. So I felt compelled to spread the science. Once you stop all the thinking you can breath slowly trying to lower your heart rate and remain in this neutral state. There's nothing esoteric about it, you're letting the anxiety fade away.
  6. pixel art: the egyptian soldier in the egyptian temple

    I like the idea of visual storytelling that you have there. You see the image and you need to scroll down to see what the image is about, so there's a bit of suspense. You could add some blood splats and scratches on the walls as you scroll down, as an indication of the fight that you're about to see. But exactly for this reason I think the scene at the bottom should be much more impactful. Use more dramatic lighting, viewpoint, poses etc. Right now it's a bit tame. Take a look at some theatre photographs, that's exactly what they try to do: impactful visuals.  
  7. There isn't much to discuss, is there? You just posted things other people have created and asked if it could work.   The thread ends up sounding similar to this: Not sure why I kept that one in my mind, I guess it's because it's a clear example of "Wow, this person hasn't actually done anything, they're just looking for validation from strangers".   In any case, there's this GDC talk on low-frame animations for a fighting game, but the theory should be relevant to other genres:   [media][/media]   ------ In fact, watching it again makes me think that 2 frames might be too few for most actions. A swing of a sword, for example, would require at least 3 frames so you can have one for the anticipation, one for the peak (or the "key" as she calls it, which is the sword being swung and causing the smear \ motion trail \ motion blur), and one for the stop pose. Instead of going from the peak to the idle pose, having this third frame as the stop pose gives you room to convey the feeling of overshoot that she talks about.
  8. Ah yes, I understand it.
  9. If I were you I would do some tests using real time 3D, maybe with an overhead orthographic camera with the environment and actors as live meshes. - Animation can look smoother and more sophisticated, with more variation -- objects will actually be rotated rather than drawn as sprites. - Using simple shaders and dynamic lighting\shadows will improve your visuals without much effort from your part. This can still work with a cartoon direction. - The assets won't be too difficult to create. You have a few organic forms and the rest is mechanical objects, mostly segmented. These are simple to build with primitives and a little polygon modeling.   Some reference:           What's your reasoning? Subtitles on video have a black stroke, and that's text.
  10. Thoughts on finalizing my visual style

    I also prefer the one in the middle. I don't think any of them fit with the background, though -- mostly the snake. That kind of highly stylised background, in my opinion, asks for something like 2 head tall character proportions like at the right end of that sprite comparison sheet you made. Try pasting some of those sprites on your background and see which ones you prefer.
  11. I guess you could use something like these: - - But you also need to learn about colour models, which are ways to describe colours. This way you can categorise colours, make palettes out of them. This helps you recognise when a colour feels out of place in a palette (a highly saturated colour in the middle of an unsaturated palette, for example). - - -   In what context are characters in? The lighting in a sunny beach is going to be different from the lighting in a dark room with a candle. The nature of the light source also tells how sharp or smooth the shading should be, how much bounced light there is in the scene and how strong the shadows are. Instead of painting a character located around a void of whiteness, think of the place they're in and the light sources around them. This is a creative decision, it's up to you how you want the sprite to look. Once you know the light sources you can use shading to tell the viewer what's the form of the subject, following the simple rule that the regions of a surface that point towards the light source are brighter than the regions that face away from that light source. Also rely on your eye, you can usually tell how natural the shading should look ("does this look like the soft skin I'm going for?"). If you can spot the transition between colours in what should've been a smooth shading then you should make the change in values smoother. Use multiple views to look at the sprite at different zoom levels. Look at other sprites if you're not confident enough. This other article has some nice pointers: - - - - - - - - - I like your characters. If I had to work on them I would try to make the lighting more obvious (using shading), and make some use of anti-aliasing so they look more polished.
  12. I'd feel more comfortable talking about this stuff if you posted the work you have done so far.
  13. Yes, there are online communities around pixel art. - - Note that these places are best used for feedback rather than just plain text chat: you create a thread where you post things you've made and ask people to comment on them. If you don't know where to start then collect a huge folder of reference images about the style you're trying to emulate. Pixel art, concepts etc. Then using one of the many pixel art software that you can find online, try to recreate (100% copy) the pixel art that inspires you. This will force you to train your perception and learn a few tricks, like contrast, dithering etc. This will also help you get familiar with the software. After you have done a few of these copies you will feel more confident to create something new, and this is where you can come in with your own designs and projects.
  14. Does our icon suck? - brutal honesty required

    His skin colour is a bit lifeless. Maybe try something warmer \ more saturated.
  15. Prototyping Textures

    Exactly, like Kylotan says you could very well map a 128x128 texture to a small cube and a 4x4 texture to a gigantic cube. There's no restriction. Those prototyping textures work better with these brush-based modeling software like Hammer because they automatically handle the UV mapping for you, making sure that the same UV-unit : 3D-unit ratio is preserved (or not preserved, like a far away background building that doesn't need as much texture density as foreground stuff). If you're using Maya or something else you're going to have to use a script to do that for you, and then I question if it isn't simpler to just use grid-snapping to model your level.