Archives for posts with tag: art

Hi all, hope you’ve had a good week. Sorry for missing last week’s post but I was out of town and I had mostly been working on funding submissions and trademark registrations. So you know I didn’t have the most exciting content to talk about.

Anyway this week I finished the background art for world 6. And I had a bit of a personal level up moment when it came to the color pallet. See, for world 5 I spent ages trying to settle on a color pallet that I liked. But ultimately I was pretty unhappy with the result.

 

So here is the color pallet I used, and here is the finished result as implemented into the game. This color pallet worked well until it really didn’t. It worked well until I had to draw the food stalls in the foreground and then everything started falling apart. And while I was making the art for world 6 I finally understood why.

So I started work on world 6 much the same way I started world 5. I made a pallet and started drawing from within that pallet’s constraints.

 

This worked great for the little bushes up the front of the scene, but I kept getting the feeling that the dirt and the sky just weren’t working. But still I persisted and stuck with my current course.

World6WIP2

But as I added more and more detail I found things just weren’t adding up. Things weren’t as pretty or as appealing as I hoped them to be. And so I found myself questioning the pallet I made. And I didn’t understand why my pallets just weren’t working. But then I realized that the pallets that I had been using had two major problems.

Firstly they don’t allow me to see the colors effectively in context. And secondly once all I had finished blending colors together, despite having 15-20 colors the viewer would only effective perceive all those as three or four distinct colors (Which often didn’t look good next to each other). And so after some extensive research of different color pallets that I thought would work for the scene on Pintrest, I landed on this configuration.World6Pallet2

So, lets dissect what I was trying to do with this pallet. I wanted to be able to see the 4-7 main colors that would define the scene, much like a traditional color pallet. But I wanted to be able to see what colors would be used as the highlight and shading colors for those main colors. This was so that I could get a better idea of how things would look once shaded. Another nice feature I found out while working with this pallet is that I could quickly see how color groups would look together by covering the colors I wasn’t interested in seeing with a finger.

Now there are some draw backs to this system. This system I think works really well for pallets focus on one color with maybe a complimentary color thrown in (for example mostly green and then some yellow). I don’t know how well this system will work for pallets that utilize a lot of contrasting colors. But I guess I will find that one out as I draw later worlds!

Anyway, once I had my new pallet figured out, I went about replacing the old colors with the new and we ended up with this. Which is so much nicer that if I had just stuck with the old pallet.

World6WIP3

Anyway, I will hopefully see you all next week. But until then, have a great weekend!

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Hi all, this week on the Kana Quest DevBlog we are going to look at the background art for world 5. And how I went about making it, and what I think works and what I think doesn’t.

World5Gif.gif

So something that I did much more diligently for this world was deciding on a color pallet from the start and sticking to it. A good color pallet is the base of all good pixel art and the fact that I’ve been so lax about it is kind of ridiculous. And I think it worked to mixed success in this piece. The background houses and park look great within the pallet, but the focus of the piece; the market stalls are less than stellar. w5wip.jpg

As you can see with my first work in progress picture, the park scene starts off pretty good. There is a pretty limited use of the pallet and it looks pretty swanky.

w5wip2.jpg

Then I moved onto the houses behind the park and still the color pallet held out and kept looking great. And not just great, I felt this world was shaping up to be one of my best ones yet. But things all went downhill when I added the stalls.

w5wip3

I don’t know what it was but I did and redid the stalls so many times and they never turned out quite right. I was using the “correct” colors in the pallet, so why did they look so out of place? Honestly I don’t know all I know is, if I’m going to keep deciding on a color pallet at the start I’m going to need to be more careful with the colors that I pick and start with the highest detail thing and then work towards the lowest detail thing.

If you have any tips and tricks that you use for nailing your color pallet please leave them in the comments! I really want to get better at constraining my color pallets down!

Anyway, its a bit of a short DevBlog this week. Hope you have a great weekend!

Hi all, welcome to the Kana Quest Devblog. This week I’ve been working on making Kana Quest a new logo. Now I’m not going to show the new logo here until it’s 100% done and its been submitted for its trademark application. But I am going to talk about some of the issues I’ve had with the original logo, why pixel art logos are so hard to make, and some of the visual language I’ve learned this week.

Original Logo Issues:

So, lets have a quick look at the original Kana Quest logo. And go over why I’ve concluded this isn’t a very effective logo.

KanaQuestTitleScreenImg

  1. It doesn’t have a clear and readable silhouette. English speakers are strange as most of our ability to quickly identify words come from a word’s silhouette. Because this does not have a clearly visible shape, it is really hard to read at a distance. Give it a try now, stand back from your computer or phone and try read this logo. You probably can’t it all just appears as a blob of different colors.
  2. It is massive in terms of pixel usage. This logo is not small. and it is not scale-able to smaller sizes. The problem with this is that many store fronts have strict specifications of how big your logo can be. And quite simply, the old logo will not fit those specifications. Not matter how hard I try I will never get this logo to fit into a 231×87 pixel image (the smallest image size used in Steam). Also the fact that the logo is less readable than the “press any key” sign under it is all the more damning seeing as how many more pixels it was given to work with.
  3. You need to speak Japanese to read the full title. Seriously, you would think I would have picked up on that problem when I made this but hey.
  4. Contains very little Japanese visual language elements. I’m not talking about the letters here, I’m talking about the visual features and bits of visual language that are often utilized in Japanese logo making. If I had used these elements then they would infer to the viewer that this game has something to do with Japan even before they see the Japanese written.
  5. Very little contrast to guide the viewers eye. So generally speaking we will focus on the part of an image that has the most contrast in value. If you don’t know “value” is how light or dark a color is.  Look at the greyscale version of the image, there is more contrast in the background that there is on the actual logo. So you spend most of your time looking at the wrong thing.logogreyscale

Things to Do/Not Do When Making Pixel Art Logos:

So, the original logo is bad. Really bad. But if you were thinking making your own Pixel Art Logo what are some things should you do and look out for?

  • This is an obvious one, but I genuinely didn’t do it when I made the first logo; Look at lots of other logos. Find logos with the same the feeling that you want to evoke in your viewer. What are the common elements between those logos? What’s different? How do those differences affect the feeling you get from the logo? Once you’ve done that borrow those common elements and use them in your own work.
  • Draw a bunch of logo’s on paper before you start. I made the first Kana Quest logo going straight into pixel art. This was a mistake. Its really hard to effectively try out ideas when you are drawing within the a constraints of pixel art. Below is a logo I made sketching straight into pixel art within Photoshop. While it is better than the original logo, its honestly half as good as some of the warm up sketches I did in paper this last week. If you find it easier to sketch digitally than physically then do that instead, but do some non-pixel art sketches first.

AnimatedLogo1Gif

  • Beware of overlapping shapes (for example overlapping letters). This is less dire if you have more pixels to work with, but overlapping shapes require a lot of defining so the viewer can easily process what’s on top and what’s underneath. And if you are using pixel art, you might not have the pixels to do this. This isn’t a “avoid at all costs” rule, but it is something to be careful of while you are sketching (Also you might notice that I have overlapping letters in the original logo, and it just makes things harder to read).
  • Check that your logo looks good on many different backgrounds. Its fine to have a background color that makes your logo “pop” the most, but if it looks bad on flat black, white or grey there is a good chance you’ve made a mistake.
  • Don’t go with your first design. Seriously, don’t I don’t know why I decided I thought it was a good idea to do so for the first Kana Quest logo, but it was a terrible idea. Don’t fall into that trap.

 

Japanese Logo Visual Language:

So while I was doing research for my logo this week I wanted to figure out what were  the most commonly used pieces of visual language used in Japanese game logos. And I ended up identifying three common elements (all of which I’ve utilized in my new logo). And of course, not all Japanese game logos use these elements, but a very large amount do. And they use these elements more often than western games.

To this end, look at the Japanese logos for Pokemon Sun and Moon. These logos are great for demonstrating three aspects of design that are common across a large amount of Japanese game logos.

JapaneseGameLogos.jpg

So the common elements are as follows.

  1. Letter Stroke Border:  So most logo’s will have some form of border around the title text of the game. These borders have a large amount of variation depending on the type of game. The width, the roundness/sharpness, the color and shading of the border are all important of communicating the game’s identity. The reason I bring this up as a feature of Japanese visual design is that it is far more common for there to be no border around the letters in a western game’s logo. For example the logo of Skyrim has just the plain text and no border. Or you could look at Dark Souls: A Japanese game that has a deliberately western looking logo by omitting the letter border.
  2. Subheading: While not as commonly used as the letter border, this is a far more commonly used aspect of design than in western games. The most common use of the subheading is to write the name of the game again in a more easily readable text. Often games with a name written in Kanji or English will have the name written out in subheading in Katakana or Hiragana for this very purpose. Another common use is a brief description of the game or as a visual ” : “. The main variations between subheadings are the placement, and font differentiation. Also subheadings are way more likely to forgo a Letter Border than the main logo.
  3. Visual Flourishes:  These are the least distinctive to Japanese logo design when compared to the first two, but they are an important part of the design. These flourishes are often incorporated into the Title’s letters and often use something emblematic of the game (see the pokeball and the Lunala/Solgleo symbol in the Pokemon Sun/Moon logo).

 

Anyway, that’s all there is for this week. I look forward to being able to show you the new logo when its safe for me to do so, but until then have a great week!

 

Hi all, welcome to the Kana Quest Dev Blog, after two weeks of forgetting that this is something I do I’m back. Truly I am the most consistent of self marketers.

Self deprecation aside, what are we talking about today? We are going to talk about the background art for world 4 got made, and what I learned along the way.

So before I started work on Kana Quest I had never worked with Pixel Art before. Not because I didn’t like it, just because I’d never given it a go. As you can expect this caused me to have quite the learning curve. I didn’t know about many of the common techniques, hell I didn’t even realize you were only supposed to use as few colors as possible (The first world is really bad for breaking this rule). But each world I’ve done, I’ve gotten a little bit better at it.

So what did I do differently for this world? Well for a start I used much fewer colors in sky. All previous worlds I had five colors making up the sky colors (most of which I would not reuse). This time I condensed that down to three (not including the purple at the top there as that has to stay consistent between worlds now for GUI reasons). And all three of those colors would be reused in the rest of the scene.

world4wip1

At this point this image only contains 8 colors, much fewer than my previous worlds.

Here you can see me start to reuse the colors already, the city buildings used the fuchsia at the bottom of the sky, and the roofs of the foreground buildings used the icy blue from the top of the sky. Speaking of reusing things, I got to reuse those foreground buildings. Copy pasted straight from world 2, scaled down, and recolored.

 

world4wip2

And with the station, the number of colors total is 14.

For the train station I used a lot of reference photos of other pixel artists to help get the effect I wanted. I know its nothing to be ashamed of (using reference photos) but I always try to do it without even when I shouldn’t. This is more for me than anyone else but, Always use reference photos, it makes life so much easier.

A couple of small details to look out for in the train station. The train shelter has my name written on it (テオ = Teo, basically the closest you’ll get to “Theo” in Japanese). The vending machine says うまい (umai) which means yummy, and the train station says 竹田 (Takeda). Which is the name of one of the towns in the area of Japan that I lived. I would have put down 朝来 (Asago, which is the name of the area I lived) or 和田山 (Wadayama the town I actually lived in), but I couldn’t write either with the number of pixels I had available.

World4Finished.gif

The finished background art. Total of 16 colors.

The final thing I added was some more frost on the train tracks and some clouds. I added one new color for the shading of the clouds and let that color have a pretty high contrast to the rest of the clouds. Something I’m still getting the hang of with pixel art is the need for higher amounts of contrast in the area I want people to focus on. I know its a pretty basic compositional thing to forget, but its something I frequently forget to do. So from now on I’m going to try keep it in mind more often.

Anyway, that’s all for this week. Making this background was a bit of a level up moment for me, so if you’ve had any level up moments in pixel art, design or anything really I’d love to hear them! Until then, take care.

Good morning all. Sorry I missed last week. I was mostly still working on the new logo still and I didn’t want to publish the final finished version until I had bought my trademark for it.

But this week I’ve started work on the next world for Kana Quest. w3WIP2

So this week we are gonna look at some of the techniques I use when making these background, the way I set these things out and the inspiration for this one.

So right off the bat you will notice the biiig blank space in the second half of the picture. why is that there and what am I using it for? Well the backgrounds in Kana Quest have to repeat seamlessly. But they also have to transition nicely from the previous world. So what I’ve done here is I’ve drawn the connective tissue first but leaving a lot of room in the document so I can then draw the repeating part of the art.

Another thing about the setup of this image that you cannot see is the layer structure. Because the backgrounds will be parralaxing I need to choose what part of the background goes on which layer. And then work from the furthest back to the closest. The reason I do this is so that if there are any variations in a foreground layer’s height I can make sure the background layers still have stuff there so we don’t get a big gaping hole.

So now onto the techniques I use to make this a lot faster than hand placing every pixel. Whenever you are doing dithering (the process of creating a dot pattern to create the illusion of shading) in photoshop the paint bucket is your best fried. Let’s say we were going to make a bunch of autumn trees like in the background.

pixelart demo1

The first thing we would do is jut get some flat base colors like this. Looks pretty nasty right? But once we add some shading everything will look great. The only problem is no one wants to sit around and place all those pixels by hand.  So what we are going to do is select the areas we want shaded and use the hue saturation adjustment layer to alter those selected areas. Then we fiddle around till we have a shading color that we like. And we get this.

pixelart demo2

Then we will make a selection were we want the “in-between” of the two tones to be. I like to select the shade color with the magic wand and go to Select –> Modify –> Expand and expand an appropriate amount.

Then once we have that selection I go to my paint bucket and switch the mode from Foreground to Pattern. Also make sure you define a dither pattern beforehand (this is done in basically the same way you define a new paintbrush). Then just fill with your bucket and it will look like…. trash. But that’s ok.

Untitled-1

What we are going to do with this is use it to create a selection that will allow us to immediately fill up the black pixels with the chosen shade color and then delete the white pixels leaving us with a perfect dither pattern. Like so.

pixelart demo4

This is great because we get to have dithering in our piece without having to do any of the laborious pixel by pixel shading. Then for the final step we just repeat the previous steps for the highlights and we get this.

pixelart demo5

Seeing as these are supposed to be trees I would recommend adding some irregularity to the shading. But adding that is much faster when you have a good guide ready to go.

Finally I’m going to talk about the inspiration for the art for world three.

I wanted the first four worlds to follow a full year season cycle to begin with. The world one starts with spring and the world two is summer, so world three is of course autumn. What this means for the art is there needed to have Japan’s stunning autumn colors on display. But I also wanted to shift the perspective of the art. Spring and summer are both warm and optimistic times. Autumn is a shift, so while the color pallet is still very warm but I wanted it to be more introspective by bringing the focus to the foreground. As a result I have the brilliant red of the Japanese Maple trees the closest thing to the player. This way when we transition to world four when the mise en scene is even more cramped it wont be as much of a visual jump.

Anyway, there is still a lot of work to be done on the background before it’s finished but I’m sure I’ll get to show you the finished thing soon!

Till then, take care and have a great day!

Before we get into the meat of this week’s update I just have some big news about Kana Quest. Officially Kana Quest is going to be heading to PAX Aus this year! If you are planning on coming come say hi and give the game a go! I would love to hear your feedback! And if you have any friends going tell them to check Kana Quest out! Anyway with that done, onto the week’s work!

So this week I’ve been working on implementing the second world into Kana Quest. I’ve known for a while that I want to transition between worlds by clicking and dragging the screen. And for the background art to join up seamlessly. So what’s the process of doing this involved?

world2MoreCurrent Step one was making the background art for world two. This was the easy part. All I really needed to watch out for here was to make sure that all the layers are repeatable so I can make the world as long or short as needed.

 

The next step was ensuring that the two worlds can transition into each other. This step will be easier in the future thanks to more planning in the world two art but no such planning was done for the first world’s art. As such the seam is a little abrupt. But its not an immediate shift so its better than nothing.

World1to2

MovingToWorld2

Part three was bringing the assets into unity and getting the camera to move when the player clicked and dragged. One small bug occurred with this though. I made my camera a physics object. Turns out any child object of a physics object loses its ability to know if the player is clicking on it. This caused some of my menus to stop working.

 

World2WithParallax.gif

Once we had the camera moving we had to get the background parallaxing with the camera. This means that the foreground art will move more than the background art to create the illusion of depth. This turned out to be troublesome as I kept being able to make my world two art not line up with the first world art. Thus forcing me to find a way to ensure that the art would always come back to the right position. This took half a day. It was not fun.

So here we have the last part of getting this whole thing working. The transition. This gave me the most trouble out of everything and is what I spent most of this week working on. The reason is for the first world I had used a static overlay that would fade in OVER everything in the scene. This overlay would work fine as long as the overlay was the exact same as the background. But once you add a variable camera position you no longer can guarantee this. So things had to change. So now, what is happening is I have a script that finds all the visible parts of the background, and prevents them from being destroyed when a new scene is loaded, then it moves those objects into the same relative position as they were in the previous scene. This is important as the camera’s position changes scene to scene so if this didn’t happen the art would be misaligned, or not in shot at all. Then would take all other objects in the scene and fade them out. Once the new scene is loaded it would get all the new non-background objects in the scene set the transparency to full and fade the new objects in. The result is what you can see below.

FirstWolrd2Level

 

And that was the process involved in adding the second world to the game. All subsequent worlds will be easier as I won’t have to worry about making the last three steps all over again. It will be set up for me already! Anyway I hope you all enjoyed learning about my process.

Till next week.

Another week another update. This week has been kinda slow. This is partly because I’m still slightly recovering from AVCon. The other reason is this week I’m working from home and I always find a way to goof off when I’m at home. (This would be why people have work studios).

That said I do have some fun stuff to show off. The first thing which I am personally most excited for is the background art of the second world!ParralaxTest2GIF.gif

So I am super happy with how this turned out. The biggest thing that is different between this art and the tutorial background is that this has been designed to not be a static image. I drew each part of this background on nine separate layers that will repeat. The reason I have done this is because for each world I want to be able to add as many levels as I want without needing to redraw the art. This was a problem I noticed vary quickly from the first background: that it was drawn for a specific number of levels. If I need to change that number later on, making my backgrounds this way will allow me to do so. So now onto some of the artistic decisions with the piece. So this piece is set in summer following on from the last background that was set in spring. The rice in the foreground is a dead giveaway for this. A couple of other fun things about this piece is that it was inspired by the town I used to live in (Asago in Hyogo Prefecture). Lots of stunning mountains, rice fields everywhere, and ever so slightly worn down buildings. A couple of small details on the buildings is on the announcement board I wrote “テオドの” which basically means “This is Theodor’s”. Yes I am capable of being that vain.

Next up is Katakana. Katakana is one of the three writing systems in Japanese. All the gifs and images shown previously have been of Hiragana. Hiragana and Katakana (mostly) produce the same sounds, but Hiragana is used for native worlds whereas Katakana is used for foreign words. I have planned to have Katakana in the game for a while. The reason is that mechanically they will operate the same as Hiragana and A LOT of people forget their Katakana. So usually what happens is folk spend a lot of time learning Hiragana, then they get to Katakana and are just sick of rote learning letters. So it was simply a matter of when I found the time to implement it. Its not particularly hard to put in, just time consuming. But the first step is getting the Katakana sprites done.

 

Well as of this week I have all the Katakana versions of the normal and slime tiles ready to go. Not gonna put them all up in the blog post because that just takes up space for no real reason. Haven’t got them working in game yet, but the sprites are done so that is one big step to implementing it.

The way it will work in game once implemented is the player will choose Hiragana or Katakana from the options menu. Then all puzzles will appear as they normally would with the selected letters. This way the player can practice the one they want freely.

Ok. That’s me for the week. I’ll see you all next week. Take care.