of 36
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NASC
3 SQUARED
PIXELIANS
CUBESCAPE
PIXELPARTY
RUBIKUBISM
PIXELTEMPLE
POLYFONKEN
LOVEPIXEL
PAUL ROBERTSON
ROD HUNT
PIXEL POPULATION
EBOY
MARKUS GMRTUTORIAL
PIXEL ART
coverilustration:Nasc
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9 | eboyhablamos con el estudio ms populardel mundo pixelado we talk with themost popular studio from the pixelworld
17 | tutorialRhys Davies nos muestra algunas tcnicas para
adentrarnos en el arte del pixel Rhys Davies show ussome techniques to enter on the Pixel Art
27 | markus gmrun emprendedor capaz de sacar todoel jugo a los pixels an entrepreneurwho can get all the juice to the pixels
5 3 squared 6 pixelians 8 nasc 15 cubescape 16 pixel party 23 rhysdavies 24 rubikubism 25 pixel temple 26 polyfonken 32 paul robertson
33 lovepixel 34 rod hunt 35 pixel population
indice
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Seguramente, una de las principalescaractersticas de la generacin Geek es el
pxel. Hemos crecido al mismo tiempo que loha hecho la tecnologa, y hoy vemos con ciertanostalgia aquellas viejas imgenescronstruidas pxel por pxel. Esta forma de
ilustracin se ha convertido ms tarde en una
autntica tcnica, por no decir un arte yareconocido el arte del pxel o Pixel Art. En
este monogrfico tratamos de adentrarnos enel mundo del Pixel Art mostrando a susartistas ms destacados, hablando con dos desus mximos referentes, eBoy y Markus
Gmr, y publicando un interesante tutorialdonde Rhys Davies ensea algunas tcnicaspara adentrarse en este arte.
Por otra parte, y especialmente por loscontenidos de este nmero estrenamos estavez formato multilinge! Bienvenidos.
Surely, pixel is one of the main features of theGeek generation. We have grown at the sametime as it has done technology, and today wesee with some nostalgia those old images
drawn pixel by pixel. This illustration way has
become later in a real technical, if not an artalready recognized the Pixel Art. In this
issue we try to enter the world of Pixel Artshowing their most outstanding artists,talking with two of its highest regard, eBoyand Markus Gmr, and publishing an
interesting tutorial where Rhys Daviesteaches some techniques to enter this art.On the other hand, and especially for thecontents of this issue, we become
multilingual! Welcome.
Alberto Cano
editoeditor
Alberto Canowww.albertocano.com
produccin
Distridigitalwww.distridigital.com
diseo y montaje
{dds} studiowww.dds.distridigital.com
ilustracin de portada
Naschttp://pixel.nascimpact.com
participaneBoyMarcus GmrRhys Davies
colaboran
Jordi Mustieleswww.xenoid.comGoogle Translatewww.translate.google.com
contactar
Si miras la realidad
muy de cerca,
podrs ver los pxels.
Pixel y Dixel
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{dds}servicios integrales de comunicacindiseo grfico + diseo web + promocin online
www.dds.distridigital.com
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3 SQUAREDhttp://www.shiramazor.com/3_2/3_2.html
Three Squared es una exposicin artstica de Tel Aviv, concuadros de 50x50cm basados en Pixel Art. Artistas comoShira Mazor y Luka Or participaron en la exposicin.
Three Squared is an art exhibition in Tel Aviv presenting50x50cm Pixel Art pictures. Among the showcased artistswere Shira Mazor and Luka Or.
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PIXELIANShttp://pixelians.com/
El diseador Leung Chu Hang es aficionado a coger personajesfamosos y convertirlos en personajes Pixel Art. Entre su ampliacoleccin podemos encontrar a Harry Potter, Los Picapiedra, Alien,
Doraemon, Nemo, Jack Skellington o la famosa Luxo de Pixar, porhacernos una idea...
Designer Leung Chu Hang likes to take celebrities and turn them intoPixel Art characters. His large collection includes Harry Potter, theFlintstones, Alien, Doraemon, Nemo, Jack Skellington, or Pixar'sfamous Luxo.
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ENTRA Y JUEGA EN
www.newgeek.es
COME AND PLAY IN
www.newgeek.es
{dds} studio
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NASChttp://pixel.nascimpact.com
Nasc es la firma del ilustrador francs que da vida a la
portada de este nmero. En su web ofrece muestras dealgunos coqueteos con flash, recursos de Photoshoppara Pixel Art, algunos objetos que vende con susdiseos, y tutoriales tambin muy prcticos parainiciarse en Pixel Art.
Nasc is the signing of French illustrator who gives lifeto the cover of this issue. At its site offers some flashsamples, Photoshop resources for Pixel Art,merchandising with their designs, and also very
practical tutorials for Pixel Art beginners.
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||EBOY||
Quin hay
detrs de la
firma eBoy?
eBoy somos
Kai Vermehr,SteffenSauerteig ySvendSmital.
Cmo empez este gran
proyecto?
Fundamos eBoy en 1998 conla compra del dominio
eboy.com.
Esperbais
llegar a ser una
referencia en
Pixel Art?
Cuandoempezamos nohaba Pixel Art.Queramos trabajar para lapantalla, no hacamosimgenes para imprimir.Escogimos trabajar conpixels, porque con elloconsigues un resultado muylimpio, y puedes controlarperfectamente cmo se venen pantalla.
Habis creado un gran mural
para ExpoZaragoza 2008...
habladnos del proyecto...
Fue una oportunidad
fantstica, cada pieza delmosaico es como un pixel
que puedes tocar. La paletade colores que tenamosestaba realmente limitada, loque era genial. Estamos
encantados con losresultados, lasfotos se venimpresionantes.Esperamos teneroportunidad devisitar la expo paraverlo en vivo.
Tambin habis trabajado en
campaas de Coca Cola,
Adobe... est creciendo el
inters hacia formas de
expresin artsticas propias
de Internet, de una
generacin ms o menos
"geek"?
Quiz, pero no sabradecirte No nos preocupan
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eBoy es el referente internacional del Pixel
Art. Sus carteles de ciudades como Londres,
Tokyo o Nueva York son ya un clsico de este
estilo grfico. Mientras los visitantes de
Expo Zaragoza 2008 disfrutan de un
monumental diseo de este equipo, Kai,
Steffen y Svend conceden esta entrevista
para NEWGEEK Magazine.
> English interview
starts at page 11.eBoy de visita por Tokyo, con Asimo | eBoy in Tokyo, with Asimo
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demasiado las tendencias.
Os consideris "geeks"?
Pasamos mucho tiempofrente a la pantalla, pero nonos consideramos geeks. Elordenador es slo nuestraherramienta y un terminalde comunicacin. Llevamosuna vida normal al margende eso.
Cuando uno ve los grandesmurales que hacis con
Pixel Art quiz se desanime
un poco a la hora deadentrarse en esta tcnica
de ilustracin... Tenis
algn consejo para los que
se inician?
Sera buena idea empezarcon proyectos muy pequeosy manejables para nofrustrarse al principio. Crearpartes en diferentes capas oarchivos, y al mismo tiempo,reutilizar los objetos que
hayas creado para otrosproyectos.
Trabajis los posters de
una sola vez, o siempre
como piezas independientes
para ensamblar?
Las imgenes de los pstersson una composicin demuchas otras imgenes.Cada parte tiene su propia
capa en el archivo dePhotoshop. De este modo esmucho ms fcil trabajar la
imagen y reutilizar partespara otros proyectos.
Tambin habis iniciado una
coleccin de muecos para
otra tienda... Qu podis
contarnos de esta aventura?
Hicimos los muecos Peecolen colaboracin con Kidrobotde Estados Unidos. Los
EBOY||EB
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muecos consisten en 2partes que se puedenintercambiar. Por ejemplo,las piernas del Officersepueden combinar con el
cuerpo de Eskimo Girlyviceversa. Recientemente haaparecido la tercera edicincon 6 nuevos personajes, yesperamos seguir ampliandoel universo Peecol en elfuturo.
Tenis algn nuevo
proyecto entre manos?
A finales de este aolanzaremos nuestro nuevo
mueco de madera,Blockbob. Blockbob estproducido por eBoy yprobablemente lolanzaremos pasado elverano. Estar hecho demadera, mide 21,6 cm dealto, limitado a 76 piezas.|
Who is behind the eBoy
signature?eBoy is Kai Vermehr, SteffenSauerteig and Svend Smital.
How did this great
project begin?
eBoy was founded in1998 with theacquisition of the
eBoy.com domain.
Did you expect to become a
reference in Pixel Art?
When we started therewas no Pixel Art.We wanted
to work for the screen, thepictures we did were notintended to be printed. Wechose to work with pixels,because you get very sharpand clean looking results and
you have perfect controlhow it looks on thescreen.
You have created a
large wall paintingfor Expo Zaragoza
2008... What can you
tell us
OY||EBOY
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about this project?
This was a fantasticopportunity, mosaic stonesare like pixels you can touch.We had a very limited colorpalette to work with whichwas great. We are verypleased with the results, thephotos look awesome. We
hope to have the opportunityto visit the expo and see it inreality.
You have also worked in
campaigns for Coke,
Adobe... Do you think
there's a growing interest
towards Internet-specific
art forms, the expressions
of a more or less geek
generation?
Maybe, but we don't really
know ... we don't care somuch about design trends.
Do you think of yourselves
as "geeks"?
We are spending a lot of timein front of the screen, but wedon't think that we aregeeks. The computer is justour tool and a communi-cation terminal for us. We
have a normal life besides it.
Looking at the large murals
you create with Pixel Art, in
all their complexity, it would
be easy for a beginner to get
discouraged. What kind of
advice can you give to
aspiring artists?
It would be a good idea tostart with smaller,
manageable projects to avoidfrustration at an early stage.Create parts on differentlayers (or even files) andsave time by recycling yourexisting objects in new ways.
Do you work on your posters
as a single piece or always
as an assembly of different
parts?
The poster images are acomposition of a lot ofdifferent parts. Each partshas its own layer in thePhotoshop file. This make itmuch easier to work on theimage and to reuse parts forother projects.
You have also launched a
collection of cartoon
characters for another
store... Can you tell ussomething
about this new
||EBOY||
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adventure?
We made the Peecolfigures incollaborationKidrobot in the US.The figures consist ofinterchangeableupper and lower
parts. For examplethe legs of the Officercan be combined withthe body of theEskimo Girl and vice versa. The3rd Edition of another 6characters was releasedrecently and we hope toconstantly expand the Peecoluniverse in the future.
Have you any new project orsomething worth mentioning?
Later this year we will releaseour new wooden toy"Blockbob". Blockbob is beingmanufactured by eBoy and willprobably be launched after thesummer break. It will be madeout of Swiss maple wood, is
8.5" tall and limited to 76pieces.|
EBOY||||
En la imagen superior, cartel para unacampaa de Coca-Cola diseado por eBoyy plantillas para iPhone. Abajo, otraincursin publicitaria, esta vez para ellanzamiento de Adobe Air.
Above, a poster image for a Coke ad
designed by eBoy, and some skins foriPhone. Below, one more advertisingaction, for Adobe Air launchment.
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www.libros.soybits.comTENDENCIAS EN LA INDUSTRIA EDITORIAL
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Bubble Bobble
Anon
Block Sport
Jimwhimpei
Lenin
Dmitry Baranovskiy
CUBESCAPEhttp://www.themaninblue.com/experiment/Cubescape/
Los pixels se vuelven 3D en Cubescape, un espacioque te permite dibujar soltando pixels cbicos en un
escenario isomtrico. Tus creaciones se archivarn, y podrsver cualquiera de los dibujos creados por otros usuarios , animacinde montaje includa.
Pixels become 3D in Cubescape, an area that lets you draw dropping cubic pixels in aisometric scene. Your works will be archived, and you will be able to se other user creationswith aniimation build.
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PIXEL PARTYhttp://www.etsy.com/shop.php?user_id=5219878
Pixel Party es una de las tiendasonline de Etsy, de objetos hechos amano. El creador de estos pins ypendientes geeks, se declarausuario de pixels desde los 7aos con un Apple II, y reconocever el mundo a travs de unasgafas pixeladas.
Pixel Party is a Etsy onlinestore, based on handmadeobjects. The creator of thesegeek pins and earrings, statesare "user" of pixels from 7
years old with anApple II, andacknowledgedseeing the worldthrough pixeled
glasses.
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TUTORIA
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IntroduccinEste es un tutorial sobre Pixel Art enperspectiva isomtrica, ofrecido porRhys Davies en Internet, yligeramente resumido aqu paraNEWGEEK Magazine. El tutorialcompleto puede consultarse enhttp://www.rhysd.com/tutorial/
Herramientas necesariasAntes de hacer nada necesitaremostener acceso a un pequeoprograma incorporado en Windows,llamado MS Paint, o bien utilizarprogramas profesionales comoAdobe Photoshop. Las muestras deeste tutorial estn hechas conMicrosoft Paint.
IdeasUna vez tengas una idea, siempre esconveniente investigar un poco antesde comenzar a dibujar. Para ellopuedes utilizarmotores debsqueda como
Google o Yahoo. Porejemplo, antes tuvela idea de dibujarun pueblo romano.Tena una imagenen mente sobrecmo iba ahacerlo, perono tena ideade cmo eranexactamentesus edificios,o qu coloresnecesitarapara que
parecieran loms reales posible. Estuve como unao dos horas buscando en Internet,intentando encontrar imgenes deedificios romanos.
La lnea bsicaEn esta seccin hablaremos de labase del Pixel Art en perspectivaisomtrica. Lo primero que debemosmirar, es cmo dibujar una lnea enngulo isomtrico. La lnea recta enun dibujo isomtrico puede ir enmuchas direcciones. En la figura 1.1he creado la lnea recta ms sencillaque puede haber en un sibujo
isomtrico. Como puedes ver, atamao real la lnea se ve limpia yrecta. En la ampliacin puedes vercmo est formada la lnea.
La regla que hay detrsTodas las lneas isomtricassencillas, como la de esteejemplo, siguen una sencillaregla que deberas seguirpara obtener resultadoslimpios.
La Figura 1.2 explica cmofunciona esta sencilla regla y cmohacerlo con cualquier otra lnea.La regla se basa en el concepto dedibujar 2 pixels de largo por cadapixel de altura. El ngulo aparentede la lnea isomtrica parece de 30,auque en realidad son 26,565.
La parrilla isomtricaPuedes imaginar el plano isomtricocomo una serie de cuadros queunidos forman un cuadro mayor. Laimagen 1.5 muestra una parrilla 2Dconvertida en parrilla isomtrica.
El tablero se ha movido comosi se ubicara en un espacio
3D, cambiando la vista a unaperspectiva isomtrica delplano.
IntroductionThis is a Pixel Art tutorialfrom Rhys Davies, avaliableon his own website. Here wepublish a condensed versionfor NEWGEEK Magazine.
Tools RequiredBefore we go anywhere you
need to have access to asmall little program that ships withmost versions of Microsoft (MS)Windows, called MSPaint, orprofesional choices like AdobePhotoshop. The only program we willbe using and discussing now isMicrosoft Paintbrush.
Ideas/ResearchOnce you've selected an idea it'salways good to research it firstbefore starting to draw it up. Use asearch engine such as Google orYahoo to search for your idea. Forexample, I had an idea awhile ago to
draw up a miniature Roman village. Ihad an image in my mind about whatit was going to look like but I had noidea as to how they structured their
buildings and what colors I neededto use to make it as realistic andgood looking as possible. I spentabout an hour or two searching theInternet, trying to find pictures ofRoman buildings and so on.
The Basic LineThroughout this section I will bediscussing the basics of IsometricPixel Art. The first thing we have tocover though, is how to draw a lineon an isometric angle. The straightline in an isometric picture can go inseveral different directions, really it'sup to you. This of course helps thecreator come up with all sorts of
shapes and fantastic structures. InFigure 1.1 I have created the mostsimple of all isometric straight lines.As you can see, when zoomed out atnormal view the line appearsstraight and clean. Zooming in closeryou can see how the line is formed.
The Rule Behind It AllAll simple isometric lines such as inthis particular example have asimple rule you should always followfor clean results. Figure 1.2, explainshow the simple rule works and howto achieve this with every one of your
lines. The rule takes upon the basicconcept of every 1 pixel you drawmoving in either an up or downdirection, you have to move 2 pixelsacross. Apparently the angle of anisometric line is near 30, but thenagain it could be exactly 26.565.
The Isometric GridYou can think of an isometric planeor 'landscape' as a series of squaresthat have been joined together toform a larger square. 1.5 imageshows us how a normal 2D grid isturned into an isometric grid. Thenormal grid has simple been moved
around, as if it were in a 3Dmodeling space, so that the view haschanged to an isometric view of the'plane'.
Figure 1.5
Figure 1.1
Figure 1.2
by Rhys Davies
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|RHYS|DACreando tu primer cubo isomtrico
Para comenzar nuestro cubo,primero tenermos que dibujar eltrazado. Una vez lo tengamos listo,piensa como si fuera un cuadrado 2Dsesgado en 3D. Dibuja un lado de tucubo con las lneas de las quehablamos antes. Esto es dibujandolneas verticales para los lados, ylneas en ngulo para los bordessuperior e inferior. Puedes ver cmolo he dibujado en la figura 1.8.
Ahora que tienes un lado hecho,selecciona la imagen. Ve al men deedicin, y selecciona copiar. A laimagen copiada, brraleel fondo.
En la figura 2.1 puedesver la seleccin flotante
del cubo que he copiado y pegado yaen mi lienzo. Una vez la tengascolocada en su sitio, tienes quevoltearla de tal modo que haga deespejo del otro lado del cubo. Paraello utiliza la opcin Voltear o Rotardel men Imagen.
Como slo queremos voltear laseleccin de forma horizontal, asque nos aseguraremos de tenerseleccionada la opcin horizontal.Una vez le des al botn de aceptar,deberas volver al lienzo con laseleccin volteada, y moverla hastaunirla con el otro lado del cubo.Bien hecho! ya tienes (espero) tu
primer trazado para un cuboisomtrico.
Para lograr dar una sensacintridimensional a los diferentes ladosdel cubo, utilizaremos una fuente deluz. Una fuente de luz essimplemente la direccin de la quedebera venir la luz, provocando lasluces y sombras en consecuencia. Laluz normalmente est sobre ti, peroen mis dibujos la sito en el ladosuperior izquierdo (trato este temaen otro captulo). Ahora podemosseleccionar nuestro color verde. Ellado ms oscuro del cubo (recuerdala fuente de luz) debe ser un poco
ms oscuro que losotros lados. El ladoopuesto debe ser msclaro que el ladoderecho.
Creating Your First
Isometric Cube
To begin our cube wemust first draw up anoutline. When drawingyour outline, think of itas a 2D square, skewedinto a 3D perspective.Draw one side of yourcube using the linesthat we have discussedbefore. This is doneusing vertical lines forthe sides of the cubeand the angled lines forthe top and bottomedges. You can see mycompleted side for mycube in fig. 1.8.Now once you have got your sidedone and you are happy with it; draga selection around the image.
Next go up to the edit menu andselect copy. Delete background ofthe copy. In 2.1 you can see myfloating selection of the cube side Icopied and pasted on to my canvas.Once the selection is positioned wewill need to flip it so it mirrors theother side of our cube outline. To
mirror the selection we select theImage menu and then select theoption Flip/Rotate (shortcut ctrl+r).
Now we want to only flip ourselection horizontally so we makesure that the horizontal option isselected. Once done click the okbutton and you should return to the
canvas with the selection mirroredand ready to be joined to the rest ofthe cube. To do this simply move the
selection across so the
middle line overlapsthe middle line of thealready made side.Well done, you've(hopefully) justcompleted your firstoutline for a basicisometric cube.
In order to create asense of 3D within thepicture differentshades of the samecolour are used tocreate a light source. Alight source is simplewhere the maindirectional light wouldbe shining from, withthe appropriateshadows, light and
darkness to follow. The light sourceis always up to you but in most of mywork it usually is in the upper topleft of my canvas (we will cover thisin a later chapter). Now we canselect our green colour. You candouble clic on the colour pick tochange its brightness. The darkestside of the cube (remember our lightsource), it needs to be a tad darker
than the other sides. The oppositeside needs to be lighter than theright side .
Figure 2.3
Figure 2.8
Figure 2.4
Figure 1.8
Figure 2.1
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Other Objects (Shapes)
You can have normal pyramids orlong sections of block with triangleends. First up we will look at thenormal pyramid. The sides arestraight up and down at a 45 angle.We can change this angle to makethe pyramid smaller, as you can seein the second example. If you lookclosely you should be able torecreate something similar using thesame techniques you used to createthe cube.
And a cylinder is really made up ofare two circles joined by a middlesection. To create a circle in theisometric view we first have to makean isometric square, making surethat our circle fits within thoseboundaries. The shading as you cansee, is simply a gradient of colours,going from dark to light. Thisshading technique gives the illusionof depth as the 2D object is
transformed using shadows andhighlights.
On the subject of round things, oneof the most difficult shapes to createin the isometric viewpoint is thesphere. Spheres are basically flat 2Dcircles; coloured and shaded in sucha way as to make them appear 3D.The shading is much like the way Ishaded my cylinder. Starting fromdark and gradually bringing thelightness of the colour up, giving anillusion of depth. I have provided thebasic outline and then the completepiece. Also there is a zoomed inimage of the same complete piece.You can see that I've used ditheringthe make the gradient appear lessugly, making it blend in more.
ithering is the process of taking acolour next to another colour andplacing a checker type pattern, orsometimes a random pattern of dotswithin the other different colour.
When zoomed out fully the dots andthe different colour blend quite well,creating a colour that is somewherein the middle of the two, thus mixing
them and making the join looksmooth. Combining Shapes areshown on figures 3.2 and 3.3.
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VIES|TUTOtros objetos y formas
tambin puedes hacer pirmidesnormales o largos bloques conforma triangular. Primero miremosla pirmide normal. Los lados tienenun ngulo de 45 grados. Podemoscambiar este ngulo para hacer lapirmide ms pequea, como en elejemplo 2. Si te fijas bien, serscapaz de hacer algo similar con lamisma tcnica utilizada para crear elcubo.
Y un cilindro no es ms que noscrculos unidos por una seccinenmedio. Para crear un crculo enperspectiva isomtrica, primerodebemos hacer un cuadroisomtrico, y asegurarnos de que elcrculo cabe dentro de l. Elsombreado, como puedes ber, essimplemente un degradado decolores, de oscuro a claro. Estatcnica de sombreado proporcionauna ilusin de profundidad a los
objetos 2D.
En cuanto a las cosas redondas, unade las sombras ms difciles decrear en perspectiva isomtrica es laesfera. Las esferas son,bsicamenete, crculos planos 2D,coloreados y sombreados para queparezcan tridimensionales.
La tcnica es similar al modo en quehice la sombra del cilindro.Comenzando por un color oscuro,gradualmente lo vas llevando a untono ms claro, dndole ilusin deprofundidad.En la figura 3.1 muestro el trazadobsico y la imagen final, as comouna muestra ampliada de sta.Como puedes ver, he utilizado untramado para hacer el degradadoms bonito, haciendo as que lamezcla sea mejor. El tramado es elproceso de tomar un color al lado deotro y colocarlo como un patrn, oponiendo un patrn de puntosaleatorios con el otro color.
Cuando alejas la imagen puedes vercon claridad todos los tonos, crearun color entre medio de los dos y
unirlos sin problemas. En lasmuestras 3.2 y 3.3 muestro sombrasen objetos combinados.
Figure 3.0
Figure 3.1
Figures 3.2, 3.3
Figure 2.9
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ORIAL|RHColores
Uno de los aspectosms importantespara tu dibujo IPAes la correctaseleccin decolores. Imagina tuescena tal y como
la veras si pudieras estar all. Quetenga un aspecto plstico o de
medios tonos naturales, es tueleccn. Lo nico que debes tener encuenta es una correcta seleccin decolores que se adapten a tu pieza.
Iluminar
Lo siguiente es iluminar. Tutrabajo no quedar tan bien comopodra sin utilizar una fuente deluz. Primero elige el lugar dondecolocars la fuente de luz. Puedesver cmo lo he hecho en la figura3.4; mi Sol est situado en laesquina superior izquierda.Colocar la fuente de luz detrs, ojusto frente a tu edificio, nofuncionar bien, ya que al dar laluz directamente atrs o delante,sta no se reparte adecuadamente,resultando en zonas demasiadoclaras o demasiado oscuras.
Como hicimos en el tutorial delcubo, colocaremos la fuente de luzen la esquina superior izquierda.Ahora, imagina tu objeto como siestuviera en un entornotridimensional. Si tienes una caja yuna lmpara cerca, te ayudar averlo. Sita tu caja de modo que una
de las esquinas est mirndote.Ahora coloca la lmpara mirando ellado izquierdo de la caja que te estmirando. Puedes ver ahora cmovamos a sombrear esto? Un lado (elque est mirando la luzdirectamente) is el ms claro, luegola parte superior )porque la luz biende arriba) y la cara de atrs es lams oscura. Sombrear tus objetoscon esta tcnica casi te garantizaconseguir un falso aspecto 3D, quees lo que buscamos en el trabajoisomtrico.
Contorno y brillo
Dibujando el contorno y brillo a tusobjetos, logrars resaltarlos y darles
un aspecto ms pulido.El contorno negro ayuda a distinguirlos objetos del fondo y darle msaspecto de dibujo que si loscontorneas oscureciendo el color delobjeto. Los brillos, por su parte,redondean las esquinas de losobjetos puntiagudos y ayuda a darlems aspecto tridimensional. Sihaces brillar una luz en un objetocuadrado, notars que los bordes
brillan en la luz y parecen msbrillantes que el lado msiluminado. La otra forma decontornear consiste en utilizar elcolor del objeto y oscurecerlo.
Colours
Using and selecting the correctcolours to use for your IPA piece isone of the most important aspects ofthe overall work. Having a brighttoxic green house with purplehighlights isn't the best thing anyonewould want to look at. Just imagineyour building or scene, as it wouldlook if you were standing right there.Whether it be bright plastic style, ormid-tone natural colours, it's still
your choice. The only thing you haveto consider is making the rightchoice of colours to suit your piece.
Lighting
Next up is lighting. Without a lightsource or lights your work isn'tgoing to be all that great to look at. Ifyou were to place your building intothe real world, it would be pitchblack. All your wonderful colourchoices would be lost. To create alight source for your picture firstchoose a place where either yoursun or misc light source would becoming from. You can see how I havedone in F3.4; my sun has beenplaced in the top left corner of the
scene. Placing your light sourcebehind or directly infront of yourbuilding or object doens't really workthat well. Because the light isshining either directly from the frontor directly from behind (where itwould be blocked out by your object),the amount of light is either toomuch or too little.
As we did in our cube tutorial, we'll
place the light source at the top leftcorner. Now, imagine your object asif it was in a 3D environment. If youhave a box and desklamp lyingaround it would help as well. Nowplace your box so one of the cornersis facing you. Now place the lamp
facing the left hand side of thebox that is facing you (seeexample). Now you can seehow we are going to shade thisthing? One side (the onedirectly facing the light) is thebrightest, the second brightestis the top of the box (becausethe light is coming from above)and the last side is thedarkest. Shading your objects
using this method will almostguarantee a fake 3D look, which iswhat we're aiming for in anisometrical work.
Outlines & Highlighting
Outlining and giving your buildingsand objects highlights makes themstand out more, and gives them apolished look. Black outlines helppeople to distinguish objects fromthe background and tend to make
the object look more cartoonish thansay if the outlines were simplydarker versions of the objects color.
Highlights on the other hand, roundoff the corners of sharp objects andhelp the pseudo 3D appearance. Ifyou shine a light onto a squareobject you can sometimes notice thatthe very edges shine in the light andappear brighter than the side whichhas the most light shining on it.
The other type of outline is to grabthe colour of the object you'reoutlining and darken it until its in themiddle of the original colour but nottoo darkened. About 2 or 3 times asdark as the original colour was.
F 3.4
F 3.5
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YS|DAVIE
Aplicando texturas: Aplicar texturas a tus objetos mejoranotablente su aspecto. Dibuja lneas paralelas horizontales (iso-horizontales) en la cara de la pared, utilizando un color msoscuro que el del objeto (figura 3.6). Una vez las tengas, vedibujando lneas verticales espaciadas en una de cada dos lneas.Ahora repite el proceso en las lneas que quedaron vacas,dibujando las rectas enmedio del ladrillo superior (figura 3.7). Yatienes la textura sencilla de ladrillo. Para que parezca ms unladrillo y quede ms bonito, aadiremos brillo a cada ladrillo demodo que destaque ms. Para ello fjate en la posicin de tufuente de luz, e ilumina la parte del ladrillo que recibe la luzdirectamente (figura 3.8).
TexturingTexturing your objectsand buildings make yourpieces more interestingand pleasing to look at.Draw evenly spacedhorizontal (iso-horizontal) lines acrossthe side of your wall,using a darker colourthan the original wall
colour. (Fig. 3.6). Once this is complete, go alongdrawing small vertical lines that jump each line as youmove down. They also need to be evenly spaced as youmove along. (Fig. 3.7) Now repeat this process on thegaps that have no vertical lines, drawing each smallvertical line in the middle of the 'brick' above. Thereyou have it, the simple brick texture. To make it morebrick-like and nice to look at, we're also going to addhighlights to every brick to make them stand outmore. So, decide (or look) at where your lightsource is,and highlight the part of each brick that the sun willbe directly hitting (with a lighter colour; F. 3.8).
Figure 3.6 Figure 3.7 Figure 3.8
Glass: How to create nice lookingbuildings with cool windows? Theeasy way of creating glass for yourbuildings is to use AdobePhotoshop or similar. All you needto do is create a separate layer, fillthe glass area with a light bluecolour, and adjust the transparencyof the glass layer.
Dibujando personas isomtricas
Dibujar personas isomtricas esrealmente una de las cosas msdifciles en IPA. Lo que yo suelohacer puede parecer un pocoextrao, pero hasta el momento mefunciona. Comienzo creando unrectngulo vertical isomtrico, deltamao que ser la persona quequiero hacer. Corto una pequeaparte de arriba hasta llegar al cuello(4.9). Luego creo un pequeo valodonde creo que ir la cabeza. Marcodonde termina el cuerpo y
comienzan las piernas. Entoncesdivido la parte inferior del rectnguloen dos partes. Eso sern mispiernas. Luego vuelvo al cuello, yredondeo los hombros hasta quecobran buen aspecto (5.0). As que,bsicamente, lo que hago es irmodelando una persona como situviera un bloque de madera. Drawing Isometric People
Isometric people are really the most difficult things to create in IPA. What I usuallydo may seem a tad odd but it works most of the time. I start by creating a smallvertical isometric rectangle, about the size I want my person to be. I then cut asmall portion off the top of it until I reach the neck line (4.9). Next, I create a smalloval shape around where I think the head should be placed. I mark where thetorso ends and the legs begin. Then I divide the bottom half of the rectangle intotwo even halves. These will be my legs. Then I go back up near my neck and roundthe shoulders off until they look about right (5.0). So basically, all i'm actuallydoing at the moment is carving a person out of a block of virtual wood. I mightalso bring the legs in a bit, and the body so the person becomes skinnier (5.1).
Cristal: Cmo crear el bonitoaspecto de los edificios con bonitasventanas? La forma ms sencilla decrear cristales para tus edificios esutilizar Adobe Photoshop o unprograma similar. Slo necesitarscrear la ventana de cristal en unacapa separada, pintarlo de azul, yajustar la transparencia de la capa.
Figures 4.9, 5.0, 5.1
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Now I add my arms to the person. Twothin isometric rectangles down eachside of the body usually works.Although, you can bend them around asI have done in my example. Add somelittle hands to the ends of the arms andadd some shoes for the feet. I have alsotouched up the legs to make them a bit
straighter. I also made the head smaller and neater(5.2). All thats left to do now is to add some hair,clothes and facial features. I usually start with the
clothes first. They need to be slightly larger than thebody and any bare skin should be distinguishable fromthe clothing. What I do is create an outline of theclothing 1 pixel out from the original body frame, thenerase the inside line to clear things up. I have myoriginal body frame, then the clothing being added andthen the final product (5.3). Next, add a small face andsome hair. You don't really need to stick with theisometric guidelines when it comes to creating hair, aswe all know hair has a mind of its own and can stickout wherever it wants (5.4). Colouring is all that is leftto do, as well as some minor shading to make theperson look more 3D (5.5 & 5.6).
Ahora aado los brazos a la persona. Normalmente, dosrectngulos isomtricos funcionan. Aunque puedes redondearloscomo he hecho yo en el ejemplo. Aade unas pequeas manos al
final del brazo, y los pies en la base. Tambin he tocado un pocolas piernas para enderezarlo, y he hecho la cabeza un poco mspequea (figura 5.2). Ahora ya slo falta aadir algo de pelo, ropa yrasgos faciales. Normalmente comienzo con la ropa. Debe serligeramente mayor que el cuerpo desnudo, y la piel debedistinguirse bien de la ropa. Lo que yo hago es crear un contornode la ropa 1 pixel por fuera del cuerpo original. En la figura 5.3tengo mi cuerpo original, el contorno de la ropa sobre el cuerpo enrojo y el resultado. Luego, aade una pequea cara y algo de pelo.Para el pelo no debes preocuparte de la perspectiva isomtrica,todos sabemos que la forma del pelo puede ir por donde quiera(5.4). Ya slo queda colorear, as como alguna pequea sobra quele d un aspecto un poco ms 3D al personaje.
Escalar a la persona paraencajarla en la escena es muyimportante. De otro modounos simples nios podranparecer gigantes. Las puertastienen que resultar lo bastantealtas para que pase la gente,como si realmente vivieran ypudieran pasar por ellas. Lassillas deber tener la medidaadecuada para que unapersona pueda sentarse comoen la vida real.
Scaling your people to fit yourscene is very important.Otherwise you'll end up havingthe scene from the "50ftWoman", instead of achildrens playground as youoriginally intended. Doorsneed to be high enough for thepeople, as if they were aliveand could walk through them.Chairs need to be the rightsize for people to comfortablysit on and the actual peopleneed to be somewhat realistic.You don't for example have a5-year-old child towering over
an NBA basketballer askingfor an autograph.
S|TUTORIF 5.2 F 5.3 F 5.4 F 5.5 F 5.6
Ms en Complete tutorial inhttp://www.rhysd.com/tutorial/
Figure 5.8 (copyright 2006 - Kukan Studio & Rhys Davies)
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RHYS DAVIEShttp://www.rhysd.com/
Rhys Davies, autor deltutorial que publicamos en
este nmero, es un jovenilustrador australiano que
trabaja como freelance en elmundo de los pixels. Puedes
consultar el tutorial completoen su web.
Rhys Davies, author of thetutorial we publish in thisissue, is a young Australianillustrator who works as afreelance in the world ofpixels. You can view thecomplete tutorial on itswebsite.
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RUBIKUBISMhttp://www.space-invaders.com/rubikubism.html
Rubikubism es una de las formas de expresin artstica de space-invaders.com,un espacio ambientado en iconos geek como el famoso juego de Atari y los cubosde Rubik. Con estos se realizan curiosos cuadros pxel por pxel.
Rubikubism is an artistic expresion of space-invaders.com, set in a space geek
icons like the famous game Atari and Rubik's Cube. They use it to build pixel bypixel portraits.
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PIXELTEMPLEhttp://pixeltemple.com/
Pixel Temple es un estudio brasileo quecomenz su andadura en 2001 bajo el nombrede Electric Icon Land. Comenzaron diseandoiconos, hasta adentrarse de lleno en el terrenode la ilustracin, y ms tarde en videojuegos ywebsites. Su inspiracin: los videojuegosclsicos y la msica jazz, groove y rockn roll.
Pixel Temple is a Brazilian studio that began in2001 under the Electric Icon Land brand. Theybegan on icon design, to enter fully into therealm of illustration, and later in video games
and websites. His inspiration: video games andclassic jazz, groove and rock'n roll.
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El finlands Tuukka Savolainen es Polyfonken, artistaresponsable de muchos conocidos diseos Pixel Artrealizados para HABBO, que viene a ser un precursorde Second Life en Pixel Art. Ahora dice habersealejado del mundo pixelado para trabajar en juegos deSecret Exit.
The Finnish Tuukka Savolainen is Polyfonken, artistresponsible for many of Pixel Art designs from Habbo,which is a precursor of Second Life in Pixel Art. Nowsaid to have been removed from the pixelated world towork in Secret Exit games.
POLYFONKENhttp://www.polyfonken.com
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Markus Gmr es, adems deartista, un emprendedor muyactivo. Comenz su andaduraonline con una revistaconocida como PopChild, unespacio dedicado a la msicaindie. Hoy, este artistacataln de origen suizo dirigesu estudio de diseo GmrStudio, la revista onlinecitada, una tienda online desus propios productos(tambin bajo la marcaPopChild) y, por si fuerapoco, tambin se haadentrado en el emergentenegocio de contenidos paramviles desde movichild.com.
Cmo comenzaste en el
Pixel Art?
Todo empez hacia finales de
los noventa, cuando decidabrir el portal-web de msica
independientePopchild.com, quea da de hoy cuentaya con 9 aos. Laweb estaba diseada toda enpixel y tambin surgieron ahalgunos de mis primerospersonajes.
Nueve aos es toda una
vida para Internet Cmo
ha ido evolucionando
popchild?
Desde Popchild, crecimos yevolucionamos con toda lamsica actual y susdiferentes olas (indie,electrnica, emo, pop),llegando a crear nuestropropio sello discogrfico,Popchild Records, montandofiestas, conciertos y con
presencia en variosfestivales
Ms tarde
abriste una
tienda bajo
la misma
marca, con tus
propios
productos, lo que
da mucha libertad
creativa cmo est
funcionando esta lnea, ests
contento?
S muy contento, la tiendaest actualmente operativa ytenemos en mente variosproyectos y productossorpresa que esperamos que
gusten a todos y quelanzaremos en breve. Est
Como queda patente en esta revista,
hay muchos artistas de Pixel Art
reapartidos por el mundo, con una
notable calidad en su trabajo. Pero no
podamos dejar de dedicar un espacio
destacado a dos de las mayores
estrellas del sector. Si eBoy es un
referente internacional conocido por
sus retratos de ciudades, Markus
Gmur es la referencia de nuestra
propia ciudad, Barcelona, en la esfera
internacional.
|GMUR|MA
> English interview
starts at page 30.
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basado sobretodo en lostrabajos y las ilustracionesque realizo en pixel-art ybajo del nombre de la marcaPopchild.
Has participado en distintas
exposiciones, y tambin has
aparecido en la prensa con
cierta frecuencia. Cmo
ves la reaccin de los
medios ante estas formas
de expresin artstica?
Podemos hablar de una
generacin "geek"?
Es posible que haya ciertanostalgia y resurgimiento dela poca de las primerasconsolas, PCs y es inevitable
ya que todo de algn modotodo tiende a volver, peropese a eso, no s hasta que
punto se puede hablar de unmovimiento, de echo el pxelsiempre ha estado ah de unmodo u otro, ya que nuevastecnologas como los mvilesse han beneficiado de l, as
que nunca ha desaparecidodel todo para volver aaparecer las modas van yvienen pero lo esencialsiempre perdura.
Tambin impartiste
recientemente un taller de
Pixel Art para la CampusParty, qu tal fue la
experiencia?
Pues muy agradable ysatisfactoria, la verdad esque es impresionante lagente que puede llegar areunirse en eventos de estascaractersticas, impresionabastante llegar all y ver atantos internautas juntos.
Adems es un espacio ldicodel que se aprenden muchascosas, y se hacen amigos,tambin.
Participaste en un juego
contra la violencia de
gnero, Equalis, para la
Diputacin de Barcelona,
diseado con Pixel Art. Qu
|MABarcelona est presente endiversas obras de Markus Gmr,como la representacin de laciudad o el cartel Culs onMars (detalle), ambos enla pgina anterior. En lapgina opuestapueden verseproductos dePopchild, juntoa otras
ilustracionescomo esta,SecretTemple.
Barcelona is present invarious works of Markus
Gmr, as the representationof the city or the poster
Culs on Mars (detail),both on the previous page.
On the opposite page youcan see some Popchild
products, alongside otherpictures like this one,
Secret Temple.
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tal fue este encargo? Has
participado en ms juegos?
Estamos preparando mscosas, pero de momento nopuedo desvelar nada hastaque est del todo finalizado.S la verdad es que disfrutorealizando este tipo de
proyectos en los que seunen por un lado losgrficos con otrastecnologas, ya sean juegosonline, interactivos o juegospara mvil.
Y finalmente entraste en el
mercado de los mviles...
Es un sector muy agitado,
y tambin con muchsima
competencia. Cmo est
resultando este mercado?
Pues es cierto que haymucha competitividad y quelas grandes empresasquizs no apuestan tantocomo al principio, quizs lefalta dar un paso ms a latecnologa mvil para quellegue a la media de otrosmercados, aunque de eso yase estn encargando en
parte los de Apple.Respecto a nuestroproyecto, Movichild
(www.movichild.com),puedes encontrar cientos dedivertidos Childsdisfrazados de conocidospersonajes que por lomenos te harn soltar msde una carcajada!, todo enpixel-art, por supuesto.
Ves nuevas oportunidades
en el gadget de Apple, el
iPhone? Crees que abre un
nuevo mercado?
Seguro que s, como ya hecomentado, la tecnologamvil sabamos todos queiba a evolucionar hacia algoms, hoy en da va todo muyrpido, Apple ha abierto un
hueco por el que seguromuchos se colarn paraseguir sus pasos, por lomenos hasta que llegue otracosa
Por ltimo, quieres aadir
algo ms, algn nuevo
proyecto en el que ests
trabajando?
Actualmente estamostrabajando para variosclientes a travs de miestudio, Gmr Studio,centrados en imagencorporativa y campaas paraagencias de publicidad.Adems para Navidadcontaremos con unacoleccin de nuevosproductos Popchild que noshace mucha ilusin quevean la luz y que esperamos
gusten a todos.
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RKUS|
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How did you start on Pixel
Art?
It began on the late 90s,when I decided to start anindependent music website,Popchild.com, now its 9years old. All the site wasdesigned with pixels, andsome of my first characterswhere born there.
Nine years online is an
eternity on the web How
Popchild has been growing ?
We grow and evolve with allthe current music and itsvarious waves (indie,electronic, emo, pop),creating our own recordlabel, Popchild Records,riding parties and concerts,with a presence in several
festivals.
Later you opened an online
shop under the same brand,
with your own products,
which gives you much more
creative freedom. Is it
working fine, are you
satisfied?
Yes, Im very happy, the store
is now operational and wehave in mind a number ofprojects and products thatwe expect surprises like thatat all and will launch shortly.It is based mainly in the workplace and illustrations inpixel-art under Popchildbrand.
You have participated in
several exhibitions, and youhave also appeared in the
press with some frequency.
How do you see the media
reaction to these kinds of
artistic expression? Can we
talk about a geek
generation?
There may be somenostalgia of the firstconsoles and PCs, and it isinevitable becauseeverything tends to go back,but despite that, I do notknow to what extent can wetalk of a movement, the pixelhas always been there in oneway or another, and newtechnologies such as mobilephones have benefited from
it, so it neverdisappeared entirelyto re-appear
fashions come andgo but the essentialsalways endure.
You also
conducted a
Pixel Art
workshop
recently for the
Campus Party,
How was this
experience?It was verypleasing andsatisfactory, isreally impressive how muchpeople can meet at eventslike this, I was impressedenough to get there and seeso many Internet userstogether. It is also anentertainment area where
you can learn many things,and make friends, too.
You worked in a videogame
against gender violence too,
from Equalis for Barcelona,
designed with Pixel Art.
What about this work? Have
you worked in more video
games?
We are preparing morethings, but for now I cannot
|GMUR|MA
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reveal anything until it iscompletely finished. I reallyenjoy doing these kinds ofprojects where graphicscombine with othertechnologies, whether online
games, or interactive gamesfor mobile devices.
And finally signed in the
market for mobile devices. It
is a very agitated field, and
also with a lot of
competition. How do you see
that market?
Well, it is true that there is alot of competition and thatlarge companies might notbe betting as much as in thebeginning. Perhaps mobiletechnology needs to take onestep ahead in order to reachthe average of other markets,although Apple is alreadytaking care of this, at least inpart. With regard to ourproject Movichild(www.movichild.com), you canfind hundreds of funny Childs
disguised as well-knowncharacters that at least willmake you laugh for sure!
Everything in pixel-art, ofcourse.
Do you see new
opportunities in the iPhone
from Apple? Do you think
that opens a newmarket?
Sure. As I saidbefore, we allknew that mobiletechnology wouldevolve. Everythingis changing veryfast today, Applehas opened a pathto be followed byother companies,until we reachanother newtechnology ...
Anything else you
are working on?
We are currentlyworking forseveral clientsthrough GmrStudio, focusing
on corporateimage campaignsand advertising
agencies. In addition forChristmas we will have acollection of new and reallyexciting Popchild productsthat we hope everybody willlike.|
RKUS||||
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PAUL ROBERTSONhttp://probertson.livejournal.com/
Paul Robertson trabajael Pixel Art desdeMelbourne, Australia.Sus trabajos se basan enla esttica manga.Recientemente ha terminado la pelcula en la que estabatrabajando, que ofrece para descarga desde mltiples fuentes
torrent. Puedes ver el trailer en YouTube (Kings of Power 4Billion%).
Paul Robertson works Pixel Art from Melbourne, Australia. His works are inspired onmanga style. He has end his own movie, avaliable from YouTube (Kings of Power 4 Billion%).
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Jason Huang trabaja el Pixel Artdesde Taiwan. En su webmuestra algunas tcnicas paracrear patrones de fondo.
Jason Huang is a Taiwanesepixel artist. His website shares
some techniques to create tiledbackgrounds.
LOVEPIXELhttp://www.lovepixel.idv.tw/page/main.htm
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ROD HUNThttp://www.rodhunt.com/
Rod Hunt es un diseador afincado en Londres, conocidopor sus diseos retro y pixelados. En la muestra, untrabajo de Rod Hunt para 1st Byte Printers.
London-based Rod Hunt is known for his pixelated retrodesigns. As a sample, one of his works for 1st BytePrinters.
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PIXEL POPULATIONhttp://www.pixelpopulation.org/
Pixel Population ofrece diseos pixelados con losque invadir el mundo. S, s, eso es. Los descargas,los imprimes, y los pegas por tu sosa zonaresidencial. Esa es la idea de Pixel Population, queofrece adems un mapa interactivo donde hacer unseguimiento de esta especie de graffitis pixelados.Llevan colonizando este planeta desde el ao 2003.
Pixel Population is offering pixeled designs for aworld invasion. You can download one of them,print it and stick it on your bored residential area.They also offers an interactive map to track thissort of graffiti pixels. They colonize the planet since2003.
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www.newgeek.escontina en / it coninues in