Pixel Art for BEGINNERS [Procreate Pixel Art Tutorial] - 双语字幕
Hey, I'm Mikko.
I don't usually do art exercises on this channel because I don't know what step you are in when it comes to your artistic progress.
I'm going to make an exception here simply because some people asked me to give a quick tip on how to begin creating pixel art.
on iPad.
So if that's something you were looking for, after procreate pixel art tutorial, this is for you.
If you haven't yet done a one pixel brush, I suggest you watch that video first.
When you start with a pixel art piece,
the thing that will probably hit you like a truck is the amount of time it can take.
There are multiple ways to narrow down the scope of what you're doing and these won't just help you finish a piece,
they'll help you learn the basics faster.
Let's take a look at these methods and spoiler alert, these aren't just exercises.
In the end,
I'm going to break down this process video into bits where you see me use each one of these techniques in my everyday normal work.
because who wants to make just exercises?
This a channel about making art so let's make some art.
I'm going to give some limitations here if that's okay but it's important to know that these are not rules on how to do pixel art.
It's art there are no rules.
These limitations will not make it easier to learn pixel art but they will make it faster.
I have a relaxed attitude towards art,
but when it comes to learning, I definitely would rather get to the fun part as fast as humanly possible.
So let's get started.
First to note is the resolution.
There are two ways to approach resolution.
One approach is just to have a big canvas and decide the resolution based on just how many pixels you actually need.
If you start a bigger pixel artist this way,
I'd recommend taking one of your characters as a starting point and let that determine the pixel height of other objects.
If you want to do this in hardcore mode, here's the assignment.
Have a canvas of only 32 times.
32 pixels and try to simplify your character to the point where you can fit it into this small space.
The reason why pixel art is so relatable is because people fill in the missing detail in their heads,
but to let that happen, the artist that is you, you have to let go of all detail that isn't absolutely necessary.
The side benefit of all this is that it'll also make you a better illustrator,
because you have to get real clear on what exactly your piece is about,
because that story will answer all the questions of what should and what shouldn't be in your piece.
a See how simple this was?
This was the hardest part.
You this.
Moving on.
Colors.
There are two ways to approach colors too.
One way is just to use whatever colors you want, because the size limitation might already feel very restricting.
But for some people, colors might cause more.
not less problems, so picking a specific palette for your piece might give you enough help to get to work.
There are many ways to create palettes,
but for this exercise,
I recommend either taking a screenshot from an old pixel art game you like or set a limitation for the shading of the piece,
related to the lighting of the piece.
local colors.
An extreme limitation might be, for example, I can only have local colors and shadows.
That's all.
No blending.
Dixas are sharp corners and your eye is drawn to sharp edges in a composition.
Therefore shading an area with lots of low opacity might feel safe because you can avoid making pick decisions.
But in truth,
you might be creating tons of sharp edges that are pulling the viewers gaze to exactly the area you don't want them to be focusing on.
So once again, we're being very clear on what the story of the illustration is and what we want to push through the center stage.
your piece and now we have tools to understand where people are looking.
Quick tip, I'm not saying low opacity brushes aren't useful here, obviously I'm using them all the time.
A fast way to find the color you're looking for is to mix it with low opacity brushes and then color pick that pixel
but it has the right color you're looking for.
But you've done this, tap the screen with two fingers to go back to a clean canvas.
You don't want those other pixels making a mess without purpose.
Remember that there's a color history accessible here, and on larger screens you even have multiple hues that show the colors that were previously selected.
This is handy if you accidentally color pick something else before you have a usable swatch or a brushstroke on screen.
Then there's the question of outlines or no outlines.
This one is entirely up to you honestly.
I only highlight this because when you're working with lower resolutions, space is extremely one whole pixel by themselves.
Also, you don't really have to make a binary decision on outlines because it's also possible to use them in only parts of your illustration.
If you're using dark color for outlines, it will carve out that element from the background and add a of contrast to that area.
So depending on what you're doing, this might work to your advantage.
Let's say you're not using any outlines for background elements, but all characters have outlines to make them stand out.
Especially if your goal is to design a look for a video game,
this might be a handy tool to have to make people pay attention to the interactive elements on screen.
Please note that if you do use full black outlines, you're free to make your own rule of how you go around the corners.
Here's one example of fully black outlines, circling the edges, and then a more economic way that retains more of the original silhouette.
Usually, I personally don't use a lot of black in my finished thesis, but there's a reason why black lines can be useful too.
When piece is done and you have reserved black for only a few areas,
like for example outlines, you can use an extremely dark color that is almost but not quite black.
Fill in the entire new layer with that color and then set the blending mode to lighten.
Then the look of the piece and it won't mess up the other colors if this light
and layer hue is the darkest hue after black on your screen.
Obviously, this is not necessary and it's just the tool I use at the final editing phases of a piece.
Now let's look at these three assignments in order that makes most sense.
First do a character in small scale.
32x32 pixels.
Design the look of the colors with a limited color palette.
Don't overthink this part.
Palette doesn't mean that they can't be changed later.
If you look at the words in this illustration,
I totally did 180 on my own decisions because once they were enough, finished elements in the illustration.
illustration, the illustration itself kindly informs what it needs.
And I just adjust based on that new information that I have.
You have your main element, you have your colors, now you can expand these skills to a full illustration.
One more tip about this illustration face and I cannot stress this next bit enough.
After you've done these 2 exercises of character creation and making a pallet for your scene,
I highly recommend that you limit the amount of pixels you give yourself for the final illustration.
Trust me on this guys, start small.
This illustration is gameboy color resolution, which is 160 times.
140 pixels, it might sound very small, but this illustration already has to begin me a ton of time.
More pixels don't make this process easier,
and especially when learning this stuff,
it'll be harder to learn pixel art specifically if the methods to create shapes are too close to normal digital painting.
and not limited to the methods of pixel art, which is mostly a lot of problem-solving in small scale.
Also, there's more advice on resolution and handy chart on old game console resolutions in this video.
Now, if you paid attention to the process video during this talk, you probably noticed that I go through all of these steps.
in my normal process.
I the composition with quick black lines.
These aren't precise, I just need to see what the character height is.
Then I immediately try to solve the characters first because they're essential for this specific illustration and the shape they require on this
canvas define the scale of all other objects on screen.
screen, what size is an espresso machine in an old coffee shop anyway?
I can't answer that question before I know the size of these little birds first.
When color blocking I start with the reduced color pad.
Even the characters are done with only local colors first.
As Only then I add more lights and hue variety, because the illustration is informing me where I have visual space for extra pixels.
This wall of the coffee shop for example doesn't have any detail in it,
because I know that these non-linear shading lines are already holding enough attention for what the wall is worth.
Crack Paint, which I love to do in my illustrations, would be thematically consistent if I read it on this wall.
But I know that it would probably get too busy and I don't want the texture to be competing with this character.
I'm making this video on my birthday and I just wanted to thank all of you for being here and seeing my videos.
I don't always say this, but I really appreciate a few of you who have left comments on my videos.
That really helps this channel and makes it possible for me to reach more people with these uploads.
If learned something on my channel, consider subscribing.
YouTube, consider subscribing.
this day is like a vague suggestion so pressing the bell will make it easier to
see when I have new videos up or when I'm painting light.
But to those who are not doing either of those things,
thank you anyway and I hope you go and create lots of fun art that gives you a lot of joy.
I'm Mikko and I'll see you in the next video.
Bye!
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