Pixel art is a popular style of digital art often found in video games. It is typically characterized by its low resolution and use of limited colour palettes. Pixel art is created manually with little automation because it requires attention to pixel-level details. Working with individual pixels is a challenging and abstract task, whereas manipulating higher-level objects in vector graphics is much more intuitive. However, it is difficult to bridge this gap because although many rasterization algorithms exist, they are not well-suited for the particular needs of pixel artists, particularly at low resolutions. In this thesis, we introduce a class of rasterization algorithms called pixelation that is tailored to pixel art needs. We describe how our algorithm suppresses artifacts when pixelating vector paths and preserves shape-level features when pixelating geometric primitives. We also developed methods inspired by pixel art for drawing lines and angles more effectively at low resolutions. We compared our results to rasterization algorithms, rasterizers used in commercial software, and human subjects---both amateurs and pixel artists. Through formal analyses of our user study studies and a close collaboration with professional pixel artists, we showed that, in general, our pixelation algorithms produce more visually appealing results than na\"{i}ve rasterization algorithms do.

Submitted by Pedro Barros (pedro.silvabarros@ufpe.br) on 2018-08-30T20:00:39Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Rowan Henrique Sarmento Silveira.pdf: 3135239 bytes, checksum: f9995bb40cf70914b32cab37280bc4e7 (MD5) / Approved for entry into archive by Alice Araujo (alice.caraujo@ufpe.br) on 2018-09-17T20:12:23Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Rowan Henrique Sarmento Silveira.pdf: 3135239 bytes, checksum: f9995bb40cf70914b32cab37280bc4e7 (MD5) / Made available in DSpace on 2018-09-17T20:12:23Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Rowan Henrique Sarmento Silveira.pdf: 3135239 bytes, checksum: f9995bb40cf70914b32cab37280bc4e7 (MD5) Previous issue date: 2017-06-27 / CNPq / O Pixel Art é um estilo de representação visual nostálgico e simplificado, que remete aos primeiros jogos de videogame e que ainda hoje possui expressividade no mercado de jogos digitais, principalmente através do cenário indie. Caracterizado por baixas resoluções gráficas, seus jogos podem encontrar limitações em representar de forma plena a aparência de personagens, não fazendo uso de todo o seu potencial empático, que por sua vez, ajuda a expressar a personalidade da personagem e direcionar o olhar do jogador em relação à mesma, agindo como um importante elemento imersivo. Este trabalho visa, através de exploração bibliográfica e de casos representativos, resultar em um referencial de design que facilite a configuração de personagens nesse contexto. Para tanto, divide-se em três etapas: Na etapa introdutória (que envolve os três primeiros capítulos), são lançados os conceitos-base para a investigação proposta, partindo principalmente da definição do pixel art e a ação da empatia na relação entre personagem e jogador; a etapa investigativa envolve os três capítulos seguintes e revela-se como a mais determinante deste trabalho, onde são investigados elementos diversos para a construção empática da personagem pixel art, como (respectivamente) elementos expressivos do corpo humano, representação gráfica de personagens e artifícios configurativos passíveis de serem utilizados para alavancar seu potencial empático dentro do jogo. A terceira etapa engloba o último capítulo e a conclusão deste trabalho: trata-se da verificação de uso dos principais elementos investigados nos capítulos anteriores, partindo de um checklist de enunciados relevantes nos vinte jogos pixel art voltados a personagens mais baixados na plataforma on-line Steam (Março de 2017), no intuito de perceber a extensão de suas aplicações. Tal verificação traz um retorno positivo, de forma que foi possível observar a utilização de grande parcela dos elementos e artifícios explorados na configuração dos jogos analisados. / The Pixel Art is a simplified and nostalgic visual representation style dating back to the beginning of the gaming industry, with considerably expressiveness to the present day. Known for its low graphic resolutions, pixel art games may find some constraints in fully representing a character’s appearance,resulting in its low use of empathic potential. The emphatic potential improves the expressiveness of a character traits, therefore it directs the player’s gaze through their looks and behavior as a important immersion feature. This work aims to result in a design reference to facilitate configurative processes through a bibliographic and representative cases exploration. For that, it is split in three main steps: for the introductory one (involving the three first chapters), the necessary base-concepts are exploited for the proposed investigation, encompassing subjects such as pixel art definitions and the empathic relation between player and character; the second step is a investigative one: it embraces the three next chapters and reveals itself as the most important for this work, since it holds elements such as human expressive features, character graphic representation and representational tips for boosting character design by empathic perspective (respectively), resulting in configurative tactics for a design reference. The third step relates to both last chapter and conclusion of this work: it’s about a use verification of the main elements found throughout the research done on the previous chapters, by a checklist of relevant statements applied to twenty most-downloaded character-based pixel art indie games found on Steam on-line platform (on March, 2017). Such verification is taken in order to perceive the usage extension of the configurative tactics previously found, turning out as a positive feedback, since it was possible to verify the presence of a expressive amount of those tactics in the analyzed games.

Project deals with the development of a 2D, roleplaying videogame for the computer platform. Theoretical part of the thesis is focused on background of pixelart in videogames, as well as game and storytelling cliche, while both of these aspects are used in the final project. Practical part is the design of characters, enviroment and scenes, and the complete realization of a prototype for pixelart videogame named ENOUGH, with the visual of retro games for old platforms. Its story is being shown as a cliche as well, though with the strong symbolism refering to authors psychique and on the mental health or memories.

Libero is a 2D video game that aims to explore the concepts of dealing with personal issues such as insomnia and anxiety. It is a 2D stealth puzzle game that takes influence from older dungeon-crawlers and rogue-likes from the 1990s as well as inspiration from modern games designed for mobile platforms such as iOS and Android phones. The game experiments with new 2D normal mapping technologies for a unique take on pixel art. / Master of Fine Arts

This thesis is written for the Bachelor of Arts degree in Game Design and Graphics at Gotland University in Sweden. A method used in graphic design for games with low-pixel density was initially studied in the course Advanced Game Project and has in this work been further developed. In general, since regular size-reduction of pictures often results in visually incomplete bitmaps, the goal of this thesis is to provide a better overview on the process of reduction where the important features of the original picture are maintained throughout the reduction phase.

En esta investigación se analizaron las características de los elementos visuales utilizados en videojuegos independientes de plataforma en el Perú durante los últimos cinco años, a lo cual se formuló la hipótesis de que estas características generan su propia categorización de los elementos visuales, lo cual aporta a la narrativa visual e interacción de los usuarios. Para comprobarla, se analizaron 8 videojuegos independientes de plataforma desarrollados en Perú en los últimos cinco años. Además, se entrevistó a dos profesionales del área para conocer la situación real del desarrollo en la industria y ampliar los conocimientos para el análisis visual. Los resultados del análisis visual demuestran que el 50% de los juegos presentan un estilo pixel art, con elementos similares entre las diferentes entregas; sin embargo, tienen diferentes formas de expresar su temática usando los personajes y el entorno. La interfaz de los juegos mantiene las mismas características y solo cumplen la función de informar. Se concluyó que la mayoría de los videojuegos independientes de plataforma optan por el estilo pixel art para sus gráficas por ser fáciles de trabajar, pero solo se centran en la utilidad y no en el impacto visual. Por otro lado, se determinó la falta de experiencia de los desarrolladores al trabajar sus propuestas, lo que conduce a usar plantillas predeterminadas de los motores gráficos. / In this research, the characteristics of the visual elements used in platform independent video games in Peru during the last five years were analyzed, to which the hypothesis was formulated that these characteristics generate their own categorization of the visual elements, which contributes to the visual narrative and user interaction. To verify it, 8 independent platform games developed in Peru in the last five years were analyzed. In addition, two professionals from the area were interviewed to learn about the real situation of development in the industry and expand their knowledge for visual analysis. The results of the visual analysis show that 50% of the games have a pixel art style, with similar elements between the different installments; However, they have different ways of expressing their theme using the characters and the environment. The interface of the games maintains the same characteristics and only fulfill the function of informing. It was concluded that most of the independent platform video games choose the pixel art style for their graphics because they are easy to work with, but they only focus on utility and not on visual impact. On the other hand, the lack of experience of the developers when working on their proposals was determined, which leads to using predetermined templates of the graphics engines. / Trabajo de investigación

I detta arbete kombineras franska knutar och pixel art. Hur knutarnas storlek och mellanrumpåverkar helhetens tydlighet diskuteras med utgångspunkt i Wertheimers gestaltlagar. I analysen framkommer det att små knutar i kombination med stora mellanrum ger ett otydligt resultat, då färgskillnader och delgrupperingar är svåra att uppfatta. Det blir generellt svårare att uppfatta delgrupperingar i broderier med stora mellanrum än i broderier där knutarna ligger tätt, eftersom färgernas kontrast blir tydligare i de senare. Knutarnas storlek, med eller utan mellanrum, påverkar också tydligheten, än en gång eftersom små knutar gör det svårare att uppfatta färgskillnader och då också delgrupperingar. Utifrån arbetet med ovanstående broderier och analys diskuteras möjligheterna i skolslöjden. Broderier med utgångspunkt i pixel art som är 16x16 pixlar tar långt tid och blir relativt stort. Istället föreslås att i arbete med elever utgå ifrån pixel art med 8x8 pixlar. Detta går snabbare och resultatet är lättare att montera, vilket öppnar upp för denna typ av broderi både som egen uppgift men också som utsmyckning på andra arbeten.

This thesis examines the possibility of expanding the toolset for art historical studies of digital art, doing so by studying if older influential art theories can be used in image analysis of digital artworks. More specifically, the study centers around the application of Heinrich Wölfflin’s objective classifying principles as well as Erwin Panofsky’s iconology and iconography on the digital art form pixel art. The aim of the thesis is to research the level of applicability of these well-used image analysis methods on the art style, arguing for the legitimacy of pixel art as an art form as well as contributing to the expanding knowledge about digital art within the Swedish art history field. The results of the study showed that both Wölfflin’s and Panofsky’s image analysis methods are applicable on pixel art artworks, but in different ways with different prerequisites. The objective classifying principles of Wölfflin as well as the pre-iconographical stage of Panofsky’s method center around “surface level” aspects of a work of art such as lines, shading or image composition. These are aspects that in many ways differ greatly in execution between traditional painted art and pixel art, so for these methods to work there needs to be some translation to terms and aspects more applicable to pixel art. Panofsky’s iconography and iconology are on the other hand interested in “deeper” as well as contextual aspects of a work of art such as symbols or references. These aspects of pixel art artworks function in the same way as most other art, traditional or otherwise, and can therefore be directly applied without “translation”.

I den här studien undersöks huruvida den tekniskt obsoleta konstformen pixelgrafik, eller ”pixel art” fortfarande är ett relevant medium och vilka kvaliteter som gör det till ett självständigt praktiskt hantverk. I en kvalitativ studie intervjuas fyra erfarna pixel konstnärer om deras definitioner av ”pixel art” samt deras egen praktik. Dessa analyseras sedan med hjälp av befintliga teorier inom design och praktisk kunskap. Studien finner att en anledning till att pixelgrafik fortsatt att vara relevant beror på begräsningarna som har sin bakgrund i tekniska restriktioner i gammal hårdvara ger upphov till kreativitet. Det simpla fyrkantsmönstret som pixelgrafik bygger på är lätt för nybörjare att ta till sig och stimulerar kreativ problemlösning. Begränsningarna tvingar konstnären att kompromissa vad gäller val av färg och form. Pixel art har mer gemensamt med gamla tekniker som korsstygn eller mosaikläggning än andra typer av samtida digital konst. Själva utförandet beskrivs av respondenterna som meditativt och jämförbart med att lägga ett pussel eller att spela Tetris. Trots att det är ett medium som ofta är förknippat med nostalgi och en ”retro-estetik” så är det fortfarande en konstform som utvecklas och som fortsatt att vara populär. / This study seeks to answer what makes the technically obsolete medium of pixel art still relevant and what qualities make it into an independent craft. In a qualitative study four highly experienced pixel artists are interviewed about their own definitions of pixel art and their methodology. The answers are then analyzed through the lenses of existing theories on design and practical knowledge. The study concludes that a reason why pixel art has remained relevant is that the limitations that had their origins in the technical restrictions of early computer hardware gives way to creativity. The simple pixel-grid is easy for beginners to get a grip on and stimulates creative problem-solving, forcing the artist to compromise in regard to the choice of colors and shapes. In that regard it begs comparisons to cross-stitching and mosaics rather than most contemporary digital art. The immediacy of managing these restrictions was described as meditative and can be compared to solving a puzzle or a game of Tetris. Despite its reputation for being a backwards-gazing medium linked with retro videogames the artists insist the artform is still being evolved and elevated today.

This essay examines the ways the decorated farmhouses known as hälsingegårdar of Hälsingland, Sweden, are depicted in art from the late nineteenth century Düsseldorf school of painting to contemporary pixel art and how the ways of depiction have changed over time. Three different works of art are analyzed with Erwin Panofsky’s model for iconographic and iconological analysis. Results show a gradual difference in technique and the artist's personal attitudes towards the hälsingegårdar. Starting with the genre painting’s idyllic interpretation of the peasant life as the height of nationalist values to the more provincialist cherry-picking of the late twentieth century naive painting and the final contemporary pixel art piece of ambivalence and distancing from the hälsingegårdar as a means of interpretation and understanding.