Pixel Art Master Course - Beginner to Expert/Freelance level - Game Perspectives (Part 2) | Mislav Majdandžić | Skillshare

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Pixel Art Master Course - Beginner to Expert/Freelance level - Game Perspectives (Part 2)

teacher avatar Mislav Majdandžić, Pixel Artist & Game Maker

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

52 Lessons (8h 27m)
    • 1. Lesson Introduction

    • 2. 9.0 - Introduction to Platformer

    • 3. 9.1 - Cohesive color palette

    • 4. 9.2 - 2D Platformer Tiles

    • 5. 9.3 - Platformer Background

    • 6. 9.4 - Foreground details

    • 7. 9.5 - Platformer Character

    • 8. 9.6 - Platformer Idle and Walk/Run animations

    • 9. 9.7 - Character Attack/Damage/Death

    • 10. 9.8 - Platformer Enemy

    • 11. 9.9 - Enemy animations

    • 12. 9.10 - Traps

    • 13. 9.11 - Platformer Mock Up

    • 14. 9.12 - Different types of platformer perspectives

    • 15. 9.13 - Platformer Challenge

    • 16. 10.0 - Introduction to Top Down View

    • 17. 10.1 - What is Top Down View

    • 18. 10.2 - Top Down Character Design explanation

    • 19. 10.3 - Top Down Character

    • 20. 10.4 - Top Down Walk Cycle

    • 21. 10.5 - Top Down Grass Tile

    • 22. 10.6 - Top Down Dirt Tile

    • 23. 10.7 - Top Down Tileset

    • 24. 10.8 - Road and Sidewalk Tiles

    • 25. 10.9 - Top Down House

    • 26. 10.10 - Top Down Vehicle

    • 27. 10.11 - Objects

    • 28. 10.12 - Top Down Mock Up

    • 29. 10.13 - Top Down Challenge

    • 30. 11.0 - Intoduction to RPG View

    • 31. 11.1 - What is RPG View

    • 32. 11.2 - RPG Character Design

    • 33. 11.3 - RPG Walk Cycle

    • 34. 11.4 - RPG Tileset

    • 35. 11.5 - RPG House

    • 36. 11.6 - RPG Tree

    • 37. 11.7 - Chest

    • 38. 11.8 - Mushrooms

    • 39. 11.9 - Rocks

    • 40. 11.10 - RPG Mock Up

    • 41. 11.11 - RPG Challenge

    • 42. 12.0 - Introduction to Isometric View

    • 43. 12.1 - What is Isometric View

    • 44. 12.2 - Isometric Grid

    • 45. 12.3 - Isometric Room

    • 46. 12.4 - Isometric Carpet

    • 47. 12.5 - Isometric Window

    • 48. 12.6 - Isometric Table

    • 49. 12.7 - Isometric Vase

    • 50. 12.8 - Isometric Tiles

    • 51. 12.9 - Isometric Character

    • 52. 12.10 - Isometric Challenge

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About This Class

This is Part 2 of Pixel Art Master Course which is created by a professional - for people who want to become professionals.

These videos will cover:

1) Basics of video game perspectives (which are different from illustration perspectives)

2) Animation basics (like walk cycles in 8 directions),

and so much more!

It is recommended you finish Part 1 of Pixel Art Master Course before you dive into Part 2 :)

So far, the Pixel Art Master course consists of these parts:

Part 1 - Beginner sections - covers all around basics to get you started

Part 2 - Game perspective basics - covers most used perspectives in games

Part 3 - Intermediate shading and material study

Part 4 - coming up in future...

This course is divided into sections (each section has an intro). 

Meet Your Teacher

Teacher Profile Image

Mislav Majdandžić

Pixel Artist & Game Maker


Hello, I am Mislav.

I'm a game artist specialized in pixel art. I've been doing pixel art as a freelancer for years and have been able to make a decent living out of it. Now I want to share my knowledge and experience with others so they can do the same!

Making games is my life. Even in my childhood I was creating new boards and card games, so when I finally went digital, it changed my life! I want to share this happiness with others!

I'm here to give you all the knowledge you need to become a pixel artist. I think I have a lot to offer and I will create new lessons and courses as time goes on. 

I believe it's important to live your passion, but sometimes the road to success is long and hard. I'm here to make it easier.

See full profile

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1. Lesson Introduction: Welcome to part two off pigs. Large master Course, the intermediate part. If you haven't watched part of one off this master course, the beginning part, please do so before continuing with this intermediate sections. In this part of the course, I will be teaching you not only how to make your pixel art look better, but also how to make it game ready. I will share with you plenty of tips n tricks that you should use to make your art more optimized so it can be easily implemented into a game. There are four main game perspectives that I will show you throughout this part the platformer top down RPG and isometric perspectives. During first half of this course, my teaching style is the same as it was in part one, the beginner part of this course. However, in the second half of this course, where are showed the RPG and isometric perspectives, I will change my teaching style just a little bit there. I will give you templates that you can study and I will teach you how to break down a specific picks, large style, how to recreate it and add something off your own. The main purpose of this is to slowly train you to become more independent and to prepare you for the expert part off this master course. So if I come up just a little bit too rough in this last portion, please forgive me. It is just a little bit of tough love because I want the best for you. I want you to become the best artist possible. And the best artists are those that are independent. All of the files, templates and project examples can be found under projects and resource is stab. Templates are also available in s spread and pixel at it for months as well as PNG format. So I hope you're ready to continue pixel art adventure. Let's jump into it. 2. 9.0 - Introduction to Platformer: welcome. In this section, I will show you how to create a cohesive color palette and how to create platformer tiles and background and details. By using that color palette, I will also show you how to make platformer character. And it's animations as well. Assauer platformer enemy And it's animations as well. At the very end, I will show you how to make a few different traps for our platform or mock up different types off platform use. And at the end you will receive your own challenge to create a platform. Oh, crap game. I hope you enjoy this. 3. 9.1 - Cohesive color palette: Welcome back in this lesson, I will show you how to create a cohesive color palette. Now, what is that? Well, so far, I have shown you how to create a simple color palette by picking a myth tone and then shifting que messing around with valiant situation to get shadow tones and lighter mid stones and highlights. That's completely again, and you can create entire color palettes. But if you want to go, he's a color palette, meaning the darkest shadow and the lightest highlight or the brightest highlight are the same for all the objects on the image or the entire scene in the game. This means that the darkest shadow for Let's Say, Ah three will be the same of those as the grass, but as well as for the Earth or the dirt it said Run Same implies to the lightest highlight . So what do I want to achieve? Well, let me show you how you can create something like that, and creating these types of color palettes is really important, because if you want a cohesive looked your game, this is a bullet proof way to make sure that your color palette stays the same. throughout the game. Really, really nice technique. So let's go and create a very nice document with tiles. I'm using Vicks. Let it, but you can use whichever you want. The reason is that in the next lesson, I will show you how to create tiles by using that color palette, tile width and height to 16 by 16 pixels. Let's jump into. So far you have first pick the mid stone and then created shadows and highlights. Now I'm going to create our shadow, don't first and then create meat stones from that shadow. Now, because our we need first, we need to think about the environment. It's going to be a nice guy, is going to be bright with very few clouds. This means it's going to be blue, so our atmosphere Klatt is blue. That means that our mid tones are going to get influenced by the atmosphere and our shadows are going to, uh, get think that just a little bit by the atmosphere light, which is blue. So we want our darkest shadow to be in the blue hue. So let's say something ground but human can be to 50 degrees completely, okay, and we want something that is this saturated and really, really dark. This should be okay. Let's keep saturation Lateness down around the numbers like 35 to 35 just in case you want to follow along. So here saturation and lightens Our 2 53 5 terrified lightness is 35 not value. It would be different now. RGB is 69 58 Want went? This is our darkest shadows now. Usually when I create a color palette, I create Leela square off each color and when I lightened things up a little bit, I just stack them next to each other and I'm going to be doing that just now. But I want my darkest shadow to have two places because on our top row, I'm going to create our grass and are bottom row are going to create our earth. So let's go and do just that. Now, if you look here at the Hume well, we are summer in the blue hell and we want darkest shadow and brightest highlight to be like in two halfs off our human. So are doctors. Shadow is here. This means our brightest highlight will be summer around here. So you can see they each take half off our space under here. Well, which is completely okay. In any case, since our grass is green, I will keep the space between our between our shadow and highlight for the green on Lee, for the grass only. And the rest of these meaning from this part all the way here to the top and coming back here down is going to be for our earth. So far, you have used here shifting for like, 5 to 10 maybe 15 20 degrees. All right, now, I want you to break free from those chains. Now, we are going to be using here, shifting by a lot like I'm talking about 50 to 60 degrees at a time. And let's start creating our color palette. I'm choosing just this shadow color, and I'm going to jump quite a bit. So this is almost 80 degrees this summer in our pink issue. But I'm not either. I'm not going to pick a pink color for our earth. I'm going to this saturated quite a bit, and I'm going to increase the lightness. Very nice. Now this shadow really looks like it has been influenced by the atmosphere client, which is again blue. From this point, I want to hear shift even more. I want to make full circle all the way here to the reddish hue. Almost a bit orange, Almost just slightly orange. And I want to increase the saturation because our highlights is, well, brighter that a bit brighter, But that's not always the case. And I'll show you in just a few moments. But I want to increase the saturation and lightness. This should be okay. Um, from this point again, I want to increase. Um, Now I want to hear shift even bit closer to our brightest highlight. And I do want to be careful right now, because once I create this stone, this will be our main color to differentiate the ground from the grass. So do be careful. I think we are getting close enough. Yeah, this is completely okay When it comes to the human. Now, I want to adjust the saturation and lightness. I want to increase the saturation, but I want the likeness to be just a little bit lower. Yeah, I think this should be okay. Very nice. Now, if I just picked this color for our grand. You can already see this is quite a bright earth. But that's fine if you're looking for, like, cartoony look which I'm currently aiming for. And from this color, I want our highlight. Now, this will be our brightest color. So I wanted to be here in the in the yellow here, how we can go with full six degrees, right under Hugh. Um, Hugh Bill for the yellow color. I want the saturation to be really nice and even lightness. I wanted to be a bit lighter and this is completely Yeah, this is really nice. Bear in mind that now when I go over and pick these colors, you will see that saturation and Latin's don't always follow the same curve. Because just look, you can look at the hue bill where we go. So we are always jumping for quite a bit and we start to get we start to slow down once we get to the highlight. Because here we want to start share the highlight with our grass. But we'll get to that in just a moment. But look at this middle part over here, meaning the saturation of value or lightness. You can see we jump from left to right up and down there is no specific curvature. So you do want to mess around and see what works best for your case. Now, for this collect, I do want to extend it even more so our grass which will come here in the middle, shares the shadow and highlight brightest Collett with our earth again. In the next lesson, I will be showing how to create an actual A towel sets from these from these specific color palette. Now, like I said, I want to create a grass meaning we need to start working our way toward the green car. But we want our shadow to be still in the blue Hell, this might sound a bit country intuitive, but think about it. The atmosphere is blow so and the green and blue are really close to each other when it comes to the he will. So we want our darkest shadows to be in that like bluish hue, however, the saturation of lightness need to vary a little bit, so we want to increase both of those this completely fine. Now the live it or not, Even though This is, um, the color off a sky. Almost. This is our shadow for our grass. It will be used sparingly, but nonetheless it's still the shadow tone. Let's go even more now. I want to go even more closer to awards our green, but still not completely. I just want to keep it close to green color summer between keel, meaning light blue and are green color. This should be okay and I want to increase the saturation for quite a bit. But I want to decrease the lightness. So we get this again, compared the old and the new color you can already see in comparison. This one looks a lot more like the grass and this is exactly what I want to achieve. You don't have to look at each of these colors on their own. This is the wrong way to look at it. You need to look at this color and how it looks when you are comparing it to the neighbouring once. And this is something that has to do with how we humans perceive colors. Ah, and if you're interested in the psychology, let me know. I'll create a new section about it it's not it planning, but essentially the way we perceive one color can change depending on the surrounding colors. All right, so we are taking this color again, and we want Now We want a nice, nice green color to make sure we have our foundation for the grass. So I want something in this here and again, I want something a lot brighter, a lot nicer so we can have a good foundation for the grass color. Very, very nice. And I'd say this is quite a McKay color palette. Now when I go and look here a day, Hugh, well again. So this is our darkest shadow. We jump a little bit. We jumped quite a lot, then quite a lot. And then we are again by jumpy quite a lot on our Hallett. But when you're talking about our ground, look, this jump, it's big, it's big, it's smaller and even smaller. So we hear shifting can happen anywhere between in this case, 21 degrees too. 82 degrees. So this is quite a huge jump. But you do need to remember that not all colors work the same. And again, this is something that I might explain the future lessons. But if you compare fully saturated, fully saturated color off, let's say dark blue and bright yellow. Now we have these two colors. Which one would you say that is the darker Well, people would say It's the blue, because for people who can't see the Carl colors for the dull tennis they usually perceive Ah, like blue color a bit darker than the yellow ones. They they don't see only, um, de saturated colors completely. I mean, there are different types of dolphin. It's but you don't need to remember that under here. Well, even though this saturation likeness are completely on a 100% like the valiant situation, just because they're like that, they're not the same one is darker than the other again. This is something that has the with the illusion off copy perceived colors. Nonetheless, this is it for this lesson. To sum it up very quickly, pick this darkest shadow and then jump and create the earth tones. Then this same brightest highlight will be the ones that you are using for the grass and then create the grass. Mittal's In the next lesson, I will show you how to create house, so stay into for that one. But for now, this should be it. This is a cohesive color palette, which will make sure that our game scene is nice and cohesive when it comes to the color palette and the color harmony, I'll see you in the next one. 4. 9.2 - 2D Platformer Tiles: Welcome back in this lesson, I will show you how to create a nice platformer tiles using this could he's of palette that we created in the previous lessons. The process. It is very simple and very similar to how we created this color palette. So we want to start with our darkest color and let's go and pick something that would be, well, I'd say three bite is completely okay. So we are going to be using, um, this space are here really great it later on, as we create even more for our times set. But for now, let's keep it. Ah, very, very simple. I want to create nice outline for this entire top part, right? And we are going to be keeping this outline off the darkest shadow on the top because 40 items or the miscellaneous stuff that you were going to be putting on top of heart. I like trees or bushes. They will have this darkest shadow as well, and this will enable us to ah, blend them in a very, very nicely For this bottle part I do want, like, summer and 1/2. I just want to connecting like so again I'm going to be keeping this left part contact because once I created this part, I'm just going to copy paste, flip them horizontally and make sure they're on that side as well. Now, one thing I do want to point out. There are many, many different types off platform Er's and styles have. You can create them dial sets. Same applies to them. They are so many different types off, Dallas said, that you can create. I would probably spend hours talking about just the types, and it's not really productive. You can always research it, but what people like to dio, they like to create one color for this middle part and then just create an outline similar , like how we did it for the RPG in the beginner section off the assets. But this would be for the platform. Now. This will be the grass they would put some like, I believe, like leaves and stuff like that. They would shade it nicely, and it can be and can look really, really nice. Don't get me wrong, but this if you want your character to be able to jump on under walls, meaning will jump keep in mind that whatever you make it, your game is considered a game design and something's players get subconsciously and it can be a bad player experience if you mess around with that too much. So when we have a title like this one, because our entire outline is the same later, we'll think. OK, I could be over here at the top running around this means because this is the same color and the same style. This means I will be also able to jump away from this vault or even slide down. And if you want, you're going to have that, then go for it. But if you don't want your going to have that, make sure that you don't hear the same colors. But father, this bottom part can be our ground completely. So our player really, really knows right from the start. Okay, Aiken, jump over here. But I cannot slight down because it's changed the environment. Now again, there are plenty off rules when it comes to game design, but this is just one of those things that you need to be careful. In any case, let's go back and create our first stylist. This is again our doctors shadow. Now I want to make sure that this bottom part is going to be our well, our earth. And this stop part is going to be our where our grass will grow Now I just want to very quickly, like outline There are grass is going to be something like this should be okay and then I'm going to use not this blue collar, but rather this myth Stone to try to point out There are grass will be I wanted to be a little bit Kurt. So allow me to create something like this again just messing around a little bit. I will resuming Soviet eso Can he look here in the pre? What happens now? I'm going to pick this stop part. And because now, when it comes to light source for these types of color palettes Oh, he's a color palette is always best toe have the same light source and the most practical one is straight on from the top down. So if it's angle from, let's say top right of the top left, it can get very complicated very, very quickly. So I found that from the top down, it's kind of the easiest. So let's stick to that. We want to color in our top part off this image off this part of the grass. Then we will take our lightest highlight, which is this yellow part and just very, very nicely created. Like like so I might more I might move with just a little bit. I'm looking here how it looks, and I think it's pretty OK, but I didn't want to rotated in the other direction. Yeah, I think this looks really, really nice. Now I will. I will take this entire piece and I will create sort of a template for our grass. I want this out climbed to be in the shadow. And now if I take this part out and I can just take this part of the grass all rather start from this edge and then I can just go and copy paste few times to get nice leaves. Um, now I don't want to have for it to be completely the same. So of course I will introduce our blue shadow, and I will just put fear of these here at the bottle to introduce a little bit off Just a little bit off difference. I don't want these to be connected at all, so this should be very, very nice. All right. I think this for now. This looks really good. It's still not finished because I want this bottom part to be, um, to be connected with our ground. So I will take our shadow like so, and take this lighter tone to it and make sure that here we start connecting it to this earth tile, which will be here at the bottom. I might want to increase our shadows just a little bit. And now, if I take this or here at the other side, flip it around, you can already see were start to get somewhere. But we are still far from finished. Now this middle part again. I will start with our and Ross. These two are going to be just fine. I'm taking the highlight. Then I take it the shadow. I just speaking here from the side and our pilot can be here. All right. So far so good. Now we can even connect them if if we want you. But I'd rather keep them separated. I will take this entire part, Captain Face it, flip it around and put it over here. Now these are connected in the middle, so I just want to break them apart. Very, very nice. Now you can already see this is starting to look on something. So let's go and start creating our towels first. I want to keep my towels over here so I will create 123 new tiles. So when I mess around with one of them, it will immediately replicate itself onto all of the other copies off it. And now, now what I want. Well, I want to create very nice looking the part. So when you look here at the Previa, it's shortening up a little bit. I wanted to look very nice and fluid. So far. It's not by enemies. I am a 20 create even a bit more off our earth to below it. Now, this is something that you should write them used to just mess around a little bit. Um, there are no specific guidelines. You can even see that even I like come back and river kit quite quite a lot of times, and that's completely OK because you do want to experiment with all of this. Now I'm trying to think about I don't want introduced the drink, but I do want just fear these dots to have sort of block effect is maybe perhaps the best word for it. All right, now, this means here at the bottom. Now I want again flip this around and I want to create even more tiles so you can see already here that I can start, um, creating more off my tiles. And I want them to be really nicely connected when I try to create even more off these. So I will go around collect, so you can already see how it comes very nicely. I want more shadow to this. So I will take this piece over here and increase the shadow all the way here. Very nice. So far, so good. If I want to lighten things up a little bit, I will take three lighter tones which currently I do want to make. I will take our light of stone and introduce our highlights on these spots over here because I will be erasing these. All right. And I will take this 2nd 1 and paint in this entire piece. I'm just going to lighten everything by, let's say one degree of shadow. I will keep my darkest shadow and go over this entire part, so I just lighten up everything a little bit. Eso I have more colors to work it and basically so I can use all of the colors, which I have just shown you going all around because I want the darkest shadow and the next lighter tone right next date. Completely connected. Okay, now we can start working on this middle part or rather, our earth many, many different ways can how we can go about it. Um, I can go with this block of you, but it's already went with this part off our grass. Let's go and experiment a little bit and you can see that I rework some of the parts and again, that's that's completely OK. I encourage everyone to do it, so I'll create kind of for rocks here in the middle. I do want to those rocks to be flipped from the one side to another same thing. Read it with grass. Okay, Now, I'm not just going to copy paste again from outside to the other for this part because I do want a bit more off a difference with more variation. Okay. And now I want our highlights. You can already see how it looks here at this side. And this is really important to follow along. Whenever I do this, I try to connect them with these other ones I can remember. Our light source is coming from top. So we want to make sure with our highlights match that and we need our harlots. Which is again with is the same like with our grass. We don't want to overdo it. Just a few different places. Very nice. It might want to increase our earth a little bit here. Not too much. Yeah, just a little bit. I'll thick and connected here. Oops. I'm just looking here at the side. Clearly. Very nice. So far, so good. Now you can introduce even more so, like cracks in between. But I currently want to avoid that as much as possible. Okay. I don't want to increase the shadows over here, so I will go over it one more time. And big, Just few highlights here and there. Not too many. Okay, I'm quite happy with this. Now. I want to extend. If I if you maybe perhaps want to extend this grass, you can certainly do. So you can even take the tile right next to it and work on it a little bit again. I want to take my darkest shadow and just create nice curvature, Philippine coloration again from the top to the bottom. Now, even though this is our shadow, it in its darker than are green, this blue color. I don't want to end here because I want. It's just summer in the mill to emphasize a bit more depth to it. I don't want to overtake our shadows completely with it. And now you can see Yeah, I'll keep it black so I could see even we have. We can have this tell next it to extend our tiles over here so we can take these pieces and connect them. And we already have something. They're very nice toe booklet. You can go in, create even more and more details to dysentery, mage if you wanted to you. But for now, this will be our basic tile set. Now let's go and create a certain just very quickly. We can create our level I do want to add this to to my palace it over here. So let's go and see if this connect really nice able turn off the grid so it doesn't bother you. And I can see even this middle one is connected very, very nicely to these. Now, what happens if I want this to be, um, taller than two tiles? Well, we need another one, so you can take this one over here, and we can actually create this mill piece or here. Now that we make sure that if we want to create only que of these, we have this option available now, you can even keep it over here. Like so it really doesn't matter as long as we keep things nice and clean. So well, go and duplicate all of these. But we're going to create another section for all of these again, starting with our darkest shadow. Nice. And this will be on Lee Earth. Nothing more. Nothing else. I want my great to be turned on, and I want to add these three tiles. So now if I go over here and add them, I want to make sure that I can see in real time What happens with, um, all of heart tiles again? You can look here at the preview. I want to keep this style for the Earth as simple as possible Again. You can mess around all day creating different times with the same colors. But right now, I do want something very, very simplistic. All right, so you can basically take him and this entire part and just basic here. But if you look here, it already has those scenes, and we really, really want to avoid those. Okay, So when I try to connect, um, this bottom part with the top part if I just go over here and always leave one pixel free, you can see already that it creates this seem this team over here in between. And like I said, I want to avoid those. So I always like to connect with shadows whenever possible, and sometimes I'm going to leave them completely. Like, in this case, I connected it over here with the highlights. Again. If you want, you can connect with pallets or shadows or leave it on a few places and then connect him and the other ones help. If we can roll, weaken simply created like this, and it should be again totally fine. Okay, going back to our middle parts. Okay, Now, I know this might be a bit boring to look at, but on purposely I'm not. I'm not doing this as a speed paint, nor am I going to edit it like that because I want you to see the whole process. That and most people think that professionals get it correctly right from the first goal. It's never like that. There's a lot of trial and error to it, and that's actually completely OK, because that's the best way to figure out how things work. And that's also the best way to find what you're looking for. Okay, I'm happy with these pieces. Now. We're taking this part, the lighter tone, and I'm going to go over all of these and right in the next few moments, I'll show you something really interesting when it comes to creating tiles, something that you might not think about it in the first few moments. But it's really crucial to get it right, and then I just want highlights all over the place again, really sparingly. But I do want him. All right, now what happened right now we have what we very much wanted. We can create our house, no matter how wide or told they are. So we can even move this entire piece, even a few of them down. But as long as we have this middle section, we can always just go on and keep replicating them, which is okay, but what happens if we only want to? So we want something that is connected only here, like this sort something very narrow. Well, you can see that currently our tiles have this seam in the middle. I mean, it's not that visible because I was already so much paying attention to it. But you can always fix that by going onto them and just feeling in the space in the middle if you wanted to. Of course. Well, let's do just that very really quickly. And here we go. And just like that, we have a very, very nice style. Now, I talked about in the beginning how if you want the players to be ableto wall jump or stick to the wall that you need to create something that will give the player a hint or a visual side that is possible. Currently, these types of tiles will not say that because we have our top part with You can obviously jump and you have our bottom part where you obviously cannot jump because it's kind in the shadow. Let's go over all of these and clean this up a little bit more again. It's not necessary, but it's always nice to go back one more one or two more times just to improve the look overall for the grass, you can actually go and create uh, these lighter tone and just put it on a few off these bottom parts here, where even though it is in the shadow, you can put it because it you can see how already it goes a bit nicer. If I remove them all together, you can see how it looks a bit. It looks OK, but it looks a bit dull so you can actually just go and create few highlights in the shadow . But not using the lightest own, but rather the second flight of stone. And you can really easily get this nice, really, really nice effect. You can do the same thing here again. You can go over all of these and mess around the entire day if you wanted to. You. I mean, when I create Tallis for the games, that usually do that exactly. But it'll depends how much time you want to invest. But I'd say this troop looks pretty nice if you just want to create a very, very nice style. No, let's go and very click quickly. Create a level, but say a level. I don't want to just erase these because they're just messing around itself. Character starts over here. If you don't want the player to be able to see the ground, just put, uh, this middle section in the ground and you'll be good to go again now and just creating very quickly. This is without background without without anything I do. What? My grit. So I can see it again something really quickly, but really nice. At the same time, you can see how, where, when you have tiles and you need to create levels very fast. There's nothing better 10 tiling, uh, than using tile sets because nothing is faster than that. That's you. Maybe have, um, maybe you have a certain human level below it. Supplier can jump over here and maybe try to see what is there exactly. And here we go, just like that, we have very, very nice and functional tiles. Now, at the end of this section, I promise it'll cover a lot of a lot more things about to deploy it. Former tile sets because there are many, many different tile sets, different types, different types, off platformer games, different views, different angles and quite honestly, even this video you on this lesson is a bit long. But imagine if I try to cover dozens upon dozens of different styles it would take forever . And it's not that educational. So I think this is completely nice. You can see how it looks for far away. You want to hear again using our core. He's a color palette. We were. We were able to create a very nice effect with when it comes to our grass and our our dirt . Over here, I will be creating trees and bushes for, like, miscellaneous stuff at the end, using this exact color palette. So look forward to that. This is it for this video. I hope you enjoyed it. I will see in the next lesson 5. 9.3 - Platformer Background: Welcome back in this lesson, I will show you how to create a background for our platformer moke up game. So first things first. I don't want to remove this bottom part because I want to put some water on it and in order to do so, I need some space. So let me just do that. We will keep using this cohesive color palette, but I want to extend it a little bit. I need a color for our sky and certain shade off our water. And I want a palette for the water, but also our clouds. So let's go and take this blue tone off or grass. Lighten up a little bit increases saturation and lightness. And just like that, we have our sky color. I want to create even lighter tone almost completely white almost, but not completely. Why did just slight blue tint to it? And this will be our highlight color and also the color for our clouds. And here we go currently we care. Ah, foreground. So part of the map that are player is going to be on playing, jumping, moving, killing enemies etcetera. But we also need the background. So I'm creating a new layer over here. And I will rename this letter to background and it will be behind our foreground. And this is the same thing that you would do in a game engine. All right, So I don't think this very nice blue color for our sky and very quickly going to feeling everything. And just like that, we already have a nice background. Now, of course, it's not yet finished, but it should be really good now, wanting that you will notice. That is, I'm not going to create a very complex background because in platform er's like these ones where you are looking straight on to the platforms, you want to keep the background or the foreground very simple. And the other thing you want to keep complex. For example, in this specific case which I'm creating for you guys, the foreground is rather complex. You can see the grass has nice level of details and the ground as well. However, the background will be very simple, or you can go the other way around. You can create the background very complex, but in that case you want to keep the foreground very, very simple. Such cases are pretty common where you let's I create the platforms completely black color . So just one color, nothing else. And then you have some things happening in the background to give it more depth. It all depends on what you want to achieve. But for now, let's keep the background very simple. If the platform you were slightly angled so something like, let's say, an olive boy. In that case, you can create more complex backgrounds and four grounds because they can blend in very, very easily. But due to our restriction, because off our straight on view, we want to keep something simple as something's complex. All right, so let's move on. First, let's create our water. Now you will notice that for the outline of the water, I will be using this same darkest shadow color as I did for the grass and for the ground. So let's go and turn on the Greed Year, and I will just create one very simple like like many available some sorts. Yeah, this should be okay. And now I want if you can see this blue color over here, which we use for the grass, we will be using this same color for our water quite needs, right? And just like that, we share our water. However, it's not that finished. We still need more shades to it. So I will take this color of the sky and go over these parts where we have arm innovative and even take this highlight for which will are going to use for our clouds and just put it here like so already You can see it adds a nice look to it. If you look here in the preview. So what else can with you with these two cars? Well, we can certainly create very nice quality bubbles, for example, so we can take the rounded shape increased size. Maybe this is a bit too much and b to let's say yeah, let's say four. You can take this pilot again. I'm using the same color for the sky is amusing. Here in the water. I can use this highlight or here and maybe even this doctors outline. And just like that, we have really big bubble. We can create even smaller ones if we wanted to. So something like this even indicated them like so. And you can keep ah building upon that. But let's removed. And just for now. But you can certainly do so if you want it now. We already have something really nice. And because off our same shadow you can see that our water blends in really nicely with our with our ground. Simple because they share the same shadow tone or rather, the same shadow color. Okay, let's move on. We need just one more thing here in the sky because currently, even though it looks to empty and we can leave it like that, I just want to add a few clouds. So let's take this highlighted color again. We are going to be using the rounded shape and increase the size a little bit, and you can see here in the previous how it will look. And then I'm just going to put field these next to each other. Like maybe feel of them. We can even increase the count. So let's say something like this, and already it's a nice ship and we can leave it just like that. Nothing wrong with it. However, if you want to add a just ah, a little bit more interest to it. We can again take this darkest shadow and we can go over the bottom part but leaving one pixel in between the indicate this color off our sky. If you want you, let's say put even more details here on our on our cloud. We can take the color of the sky and just indicate the rod, the roundness off our off our client just like so we can maybe put some of them here below . Nothing too complex, as you can already see here in the preview. It looks really nice. It's not overwhelming because we do not want that, because if it overwhelms, if you put like, let's say 100 of them here, you can already see the player will lose focus a little bit from the foreground, and this is not something we want in the game again. This is something in the game is in theory, but nonetheless something that you should be aware off. Maybe we can just put one more here. All right, so just maybe one or two clouds here and there, which, which can be moving, is more than up. This is it for the background. It's rather simplistic, but please do remember when you're looking straight on view in the platform of you, you want to keep things simple, either the background or the foreground. 6. 9.4 - Foreground details: Welcome back in this lesson, I will show you how to it a bit more details to our platform or mock up. So those are the kinds of details that the player can't really interact with, something like trees and grass. But they they really add a nice touch to the overall image. So it's going created those. And just so you know, I will be using again Arco. He's a color palette. And this time I won't be adding any new colors because I will be creating three and the grass for our little mark up here again. I want to start to be the darkest color. And let's go with the three because it's a bit more complex, so it shouldn't be too hard. Even though it is a bit more complex. I want to start with the outline. Something Yeah, something like this should be just fine. Maybe. Ah, higher slope, perhaps. Yeah, okay. And this will be like the bottom part of the three. And I want to add the portion where our lives are going to be. Now, I'm just looking at the overall shape. Well, right. And I'm trying to get sort of like these many bumps to it because doors are going to be the main shapes for the tree and for the shading. I want to avoid big straight lines. Yet I want to keep the three. Rather I'm always looking killer here in the previous, but I want to keep the three on the smaller side. I don't want it to be too big. Okay? Yeah, this should be fine. And I want to decide where the middle off our three is going to be, because I will replicate one side to the other because our shading is from the top to the bottom. Straight on, This means I can shade one side, and I can just copy paste it flipped around and put it together, and then just change few things, too. Break the symmetry, because in such things, in nature you will hardly find symmetry. And this should be completely okay. All right, I'll start with the bottom part, and I need these colors or hear from the basically from the dirt. I could create more colors for our three like, really nice brown color to it. But I'm going to skip this time to keep the color felt a bit smaller. I'm just going to write up the three a little bit, and here we go. So I'm putting the main colors in first, and then I'm going to go back and shade it so it looks a bit nicer. This is the first part, and I'm using the darkest owns possible. And then I'll go back and rework it for this stop part where the leads are going to be. First I'm putting the blue tone, then the dark green color again trying to imitate the basic shapes. And then I'm going to put this nice green color. The yellow part are just going to be highlights, so I won't be going right now into those. Those will be coming on later. But as you can already see in the preview, even though it's far from finished, it already looks kind off part off this entire foreground because we're using the same color palette. All rights, let's go and start shading. We don't bottom part. I want to pull down these. These doctors shadow just a little bit and then use lighter tones to highlight that re texture again. We don't have plenty of space here to break with and we don't need it. So keeping that in mind, I also want to introduce a little bit of this blue here as well, just to keep it a bit more interesting. And I think this part is finished for now. Now, let's go here where the leaves are going to be again, going to start to be the darkest shadow. You shouldn't be afraid to experiment, So please keep some of the parts like closed. Like in this case, where you can see this is an enclosed area, but some of them are going to be open. So if you look over here, I haven't connected with the darkest color I left some of these space to like So you have more space to breathe, so to speak. Okay, now, where the transition is happening from our dark green to light green, I want to change the outline from the darkest one to this dark green color. Okay, slowly, I'll start erasing this middle part just so I can connect it easier when I start copy, pasting it to the other side one If the trick that I like to use when you have the enclosed areas like these ones, you can actually take one lighter tone in this case, the green one and just lightly shaded to break the to bring the simplistic look to it. And if the chief this really nice effect, this is the same thing we did over here with the grass when we added this lighter. Don't to emphasize the shadows a little bit. All right, now let's start building up over here again. Some areas are going to be closed, some areas are going to be open, and the more we go to the top, the less off the darkest colors we are going to have. But we also want to mix the colors. So just because over here we don't have ah, lighter tones, It doesn't mean we can't actually introduce them like this. So something very small in scale. But nonetheless, it can achieve really, really nice effect. We can even extend the blue tones. But be careful when you're using darkest shadows like the darker stones. Try not to have to faster for transition to the lighter tone. So if I put the darkest, let's say I put this more color here, and right above it, we have this, I believe two tones lighter, which we want to avoid. So I would put just one pixel off this dark green to soften it up. So the basically the idea is that the transition between light and shadows should be, ah, a bit more gradual. Of course, there are exceptions, but in this case, let's keep it like so. All right, let's start adding a little bit off highlights. Try to keep the shapes a simplest possible and then maybe just a few pixels here and there again here in the enclosed area to keep it nice. Now, if you know this year we already have a ZAY said really high transition. So I just want to soft in these parts a little bit up. If they're diagonal. In that case, it should be completely fine. Okay. All right. So this is really nice three. Now, I can take this entire part. As I said, copy paste, flip it around and put it back together. And if I just put it completely here on the middle, you can see the symmetry is obvious. I just want to put now. You can do this in many different ways, but I like to just pull it one or two extra pixels in the middle, and already you can see this bottom part has been a bit broken when it comes to symmetry. And this is something that we do want to achieve. A symmetry in nature is, well, really, really common theme. It's actually extremely hard to find something that is complete, symmetrical. Now let's go over this other part and introduced just a few random things to break again to break the symmetry. It shouldn't take too long. Just mess around here and there. No particular rule. Just feel free to experiment. Okay? And I think this is I'll keep it like so. All right, I think this is really nice. We have really nice small three again. You can create bigger ones. But in this little small island, I just wanted to keep it a bit smaller. Now let's great in comparison. Our other big grass or other told Russ, let's move. These three are bit to the right, and again we can start with the outline. Just try to get the basic shape to it and because I share did this. Three. If you look here at the top. It doesn't use these darkest outline. As we are using everywhere else. I'll do this same thing here for the grass. Now, why is that? Well, when you are looking here at the foreground, everything has this dark outline, but are three. Dozens are cloudy. Doesn't in our grass again won't have. This is something that will subconsciously tell the player that. All right, Everything that does have this dark outline I can interact with. So he If he falls here in the water, he will probably die or maybe have to swim. But he can jump on these. However, if it doesn't have these dark outline, he won't be able to jump under three or jump on the cloud again. It depends how you want to code it. But this is something that will be a visual cue to the player. So do keep these in mind. Moving on back to the grass. I want to lighten this part up. Introduce a little bit off yellow and blue here at the bottom. Using this darkling green color, I will shake things like so And just like that, we have really, really simple grass. Now I can take this and again copy faced it, flip it around, connect them together, maybe put it a bit here, lower and in the middle. Put maybe something else. And just like that, we have something that thes, let's say, resembles a grass. If we wanted you, we can introduce new colors. I I'm just going to show you as an example, and we can create nice, nice flowers from that very quickly. The point is, you can relax and just have fun and see what works. You can just miss around. But very quickly we have something that blends in very nice to be the foreground, because we are using the same color palette. All right, this is it for this lesson. In the next one, I'll create some character for our game. 7. 9.5 - Platformer Character: welcome back in this lesson, I will show you how to create a simple character for our to the mock up game. So before I start and create the character, I just want to point out that the bag Hezb e change due to some requests from the students . So we have that fixed. All right now, before I create our character, I do want to point out that you always need to take about the game design. If you look here at our map, this is a really nice, vibrant map, meaning we want to have. Ah, you want to use the color palette for our character with vibrant colors as well. But what happens when you can go? He's a color palette, which uses, if you remember almost the entire hue wheel, of course, in the big steps, but nonetheless. Well, there is one simple trick that you can use to make sure your character pops out from the background in the foreground, and that is using black outlines. And this is what I will be using. Of course, there are many different approaches. You could use different outlines instead of black months, but keep this in mind if this is just one level or one portion off the game where we use this color palette and we have our character designed in such a way that you can clearly see him when you play the game. But on the next level, when you have a really dark level, if your character doesn't pop out from the background, it's rent. The player experience is gone. Players won't be satisfied because if your character blends in with the background or the foreground so that he or she cannot see he's a first character. It's ruined. The game design has been demolished. So when your player looks at your game and looks at the map or the screen in the split second, he already must notice exactly where his character is. Imagine if your character is using the same color palette. Here is our is our map. Of course, this is the character, but I just want to show it. Imagine if you look here like so will you. Naughty is that this is the character, while probably not because it blending stew much with the Bagram And let's say with this character you want to make like, very precise jump. This is another problem because exactly you cannot see very character easier. Your eyes cannot follow it. So with this game design out of the way, let's go and create our character. As I said, I will be using the black outline and I won't be using this exact 16 by 60 Tell our great my character just, let's say one pixel taller just to break apart from this season by season title. Of course, if you're definitely specifications, indicate that you must create your character within those parameters. Please do so do so by all means. But today's game engines don't require that. So let's gonna create first let's start with the feet, or rather, the boots that I will create on the character. I put street pixels up. Then I will keep three pixels in between. Before putting our four pixel, he raised this fart with the pixels and here we go. We share one boat. Now, due to our perspective, I don't want the second boat, which is far away from us, to have this same volume, so I will create a just a tad smaller, as you can see two pixels in between. But this proportion Off the leg is two pixels by two pixels, which is the same as this Legace. Well, but the feet cannot be seen, which enables us to get this perspective. Now I need to put our belt. And here ago we blocked out our feet. Now we need the arms. I will go and created, like so, so putting one pixel to decide to pixels up and to pixel skill. Imagine you have to buy two pixels are fists here that will go and we need the upper arm later as well. I will do the same thing on the other side. Like so again. If I blocked it out, you can clearly see it. Okay, Now we need the upper are I will just go in, put Q and want, like so this will be the shoulder park. And on this side, I want to have one pixel extra here and then tapering down very quickly towards our portion off the body. And I will put extra pixel over here for our neck portion. Now there are many different heads you can create. You can create bigger heads if you want facial expressions like smiles on. Maybe when you damage them to have the clinching face, but currently I don't want it and I will just stop here to indicate what I want with the rest of this body. So if I were to pick, let's say a skin tone which is usually indoor, and she for me, some people use it in pink, something blue here. I like to put it here in the orange and if I were to block out of this part, this will be the body for our character. And of course, these are going to be the arms and these are the legs. So let's go and create a very simple head. So from the right side, our right side, but one pixel to decide, then go all the way to the top, maybe just want pixelated and then start tapering it out from this side. We want to do the same thing, but we want to put two pixels before we go and connected here at the top black. So now we need our eyes. Now you can put again many different ties. That could be big convicts, Paul. I just want to cap two pixels for both eyes. So one big surprise. Maybe just likely, Dow. Yeah, this this looks cuter a lot. Now, let's go and start designing our character. You can take this as a sort of a template and which is completely okay, but let's go and start filling in our cows like I will just keep our skin tone and use it here as well as here. The reason why I'm not feeling in the, uh, the torso with our skin tone is because I will be putting clothes there. Now, let's go and create something in the orange here, like a leather. It will keep the color palette simplest possible. And I'm already looking here at the preview. If you can see here in the preview, can already notice our character immediately. If I were to turn on the game, I will immediately know this our character or here, and know that I can actually control him. And this is what we do want to achieve now. The next step I want to share it. I will take one. Shelton put it here. And then I will create a lighter tone like highlight. Okay. Very nice. No, we can keep out of character like this. but I don't I don't want to break this middle part from from these black outlines. I do want to keep my black off points on Lee where I really need to have them. So on the other side, off our character and I do want to keep them here near the feet. Just because this is a platformer sore player will mostly be looking at a defeat at our far character, like subconsciously. So I will erase this part. Maybe even this. Now, keep it. Yeah, I'll just raise this part. And on this portion, I want to have, like, a belt. So let's take our highlight from the grass and put it here and for our bet. Let's say I want to have it metallic. So something in the blue hell really this saturated and low in value. This should be just fire. Now I can take this same color and I can create some sort of a helmet or home. This would be good. I do want however a certain shadow tone to it. Oh, yeah, This is great. Okay, Now I want to Yeah, let's the defense feel rather empty, so I'll just put like a brace er here and shave like so. I also want to shade our skin tone. So creating one very simple Don't. Over here. Now. Why? I'm sharing here, Bill, Because our helm well, of course, create a cast shadow because it will block out portion of the light coming from the top. So we are putting shadow here, and we are putting set of here below, um, the next simply because, Well, if the shadings come from the top, the chain is going to block out of this portion as well as the cheeks which are here at the side. Now our character doesn't have any mouth or nose. What? We can certainly put them if you wanted to you. But instead of putting like a dot for a nose, I will just take this same shut down and just put it here like so you can clear. See, this is a nose, but it's not very obtrusive, because if I put it like like here, it can be quite strange. So this is also one quick tip. All right, so we have Ah, very, very nice character. I do want to put this metal part or here just giving a bit more interest. Just checking few different shading techniques. Yeah, keep it like so. However, I don't increase the highlight here on certain portions off our character. Yeah, this should be This should be really nice. And maybe here in here is well, I will take this same Shelton and maybe just make it slightly darker and saturated. Yes, I like this one a bit more. And I will also shade these parts as well. And here ago, our character is finished. As you can see, he is not inside the 16 by 16 pixel tile. But it's really nice if you look here in the game. You in the previous. You can immediately see our character. Now what happens if we were to Let's say you raised these outlines. Well, let me show you. I will do three examples. 1st 1 will have the black outlines. The 2nd 1 will have these purple wants. And the 3rd 1 won't have any outlines whatsoever. So you will see the difference very easily. It's so I can fix him myself now if you were tutor on the game. So let's say you don't see anything and suddenly conceded which one out of these three pops out from the background and the foreground the most. Well, if your answer is this most left one, then yes, you are correct. If you are saying the middle one Well, not really. And if you're saying that it's this one definitely not now. This is something that you need to train your eyes for. Because if you are not aware of this many, if you answered anyone of this to you just need to practice a little bit more on Lee on your fairness. So this is very, very nice character now for this character. I will be animating him in the A Sprite. But we will do that in the next lesson. This lesson right? Time is finished. We have our nice character for R two d platform Remarkable gate until Xperia C later. 8. 9.6 - Platformer Idle and Walk/Run animations: Welcome back in this less I will show you how to create a very simple but yet effective walk cycle for our to the platform or character game. More hop. All right, so what do we feel? Well beforehand? I just created where both the I don't walk cycles. However, as you can see, not only did I import my character, but I also supported a portion off my background from pixelated toe desperate. So just in all that, I didn't do anything special, just exporter character, as a PNG saying was for the background or the part of the background. This is just so you can already see how your character will kind of look in the game engine , though I always encourage you to create prototypes in the game. Engine off your choice. All right, so what is the type of this work cycle? Well, some people call it three framework cycle. I person quit for a motorcycle simply because we have four frames. But the reason why some people call it three framework cycle is because you have three different frames and one of those friends repeats two times, so essentially we have three different friends. But you know you want one from use two times, and then you have well, in total four. All right, So before I show you how my character looks and explain, actually, why's it like that? You? I just want to explain that when you take into consideration your game design, you need to keep in mind what kind off a game you want for the players experience. So if you want a high action paced game so extremely fast and snappy, you want to keep the frames off your animations as low as possible. So in this, in this case, the walk cycle is only four frames long, and that's perfect. However, if you're playing, let's say sort of some sort of our slow paced game like a puzzle game and something like that, where you'll really want to put a smudge details as possibly to your character and animations. Then you would create, let's say, eight framework cycle or even bit more. But keeping in mind that our game will have like fighting and if I think should always be snappy and fast and have tight controls, this is while keeping my work cycle 24 frames. So where did I actually get the inspiration? Or very. They learn that I can create such a simple walk cycle, which is really nice. Well, it goes all the way back to Mega Men. Yes, Now I will show you an example. You probably know this guy, and you can only see three frames want to three, but the second and the fourth are completely identical. They're the same. So you can see that these sorts of characters in the old era where the years only few colors. As you can see, he only cares like five colors on him in total. And that's completely fine. And when it comes to his entire body valley from only two shades of blue and that's that's great, so essential. When he goes into a passing position, you can't even know this. I mean the frame by itself. Does this look strange to you? Well, it kind of does, but it doesn't matter because it's part of the animation. Distortion always happens in animation. It's part of the animation principles, and all that matter matters is, does it look good? So let's go quickly and see what is here in this animation. Well, first of all the default. What? You will find the s pride, that the duration is 100 milliseconds. And if I keep it just like that, you can see it's very, very fast and has the discount work. But I wanted to s and really use it. So what I did is I increase it oration by ah lot, actually. And each frame last for 250 milliseconds, meaning these four frames in total last one second. So if you go and see, it looks really nice. Now I can again a trick it around liberated It all depends in your game engine I can go to on 50 per milliseconds and this actually looks even a bit better. So we have first frame, which is the contact pose, which means that the legs and the ours are mostly spare part, but also this at the same time the head goes down by one pixel. So on the passing post he goes back up a little bit. And as I already explained the previous slice of the passive poses where the legs and the arms are switching positions and then on the third frame, he again has the counter position, but for the different. Like as you can see, his arms and legs are in different positions. So on the first frame you can see that he's left arm is in the front and on the third the left arm is in the back. Some advice to the other parts of his body. All right, so what I did was I basically replicated this animation or other, took its principles and implemented here in our character, it's quite simple to do so you can see this is the basic position. Then we have our first frame now, since the design of the character is quite a bit different than from the Mega Man, we have a lot more colors going on, so we have three shades off each color, and then we also have the black outline. So we kind of have to be a bit more careful. We can go really that much extreme as here. The Mega Man. Plus, when you look here at the fight off, the mega meant he is also quite a bit bigger than our characters, so we don't have as much space to work with so many to be a bit more careful. So what did you? Well, one, You can see that the fight of our Celtic has been reduced by one. I basically combined the contact posts and the down pose in tow. One single frame. And as you can see, Theo, ours and the legs are spread apart quite a lot. And in order to achieve this effect, you can see that the this arm over here, I only raised it up a little bit. I didn't put it like over here to decide because it kind of breaks the body a little bit. So I just kept it near the body, but put it up a little bit singles for the other arm. But in this case, since I did want to create this nicer effect are just replicated this arm, as you can see on the other side, just heuristics out a little bit outside from the body because this perspective from this side allows it, but not on this one. Okay, so the 5th 1 is, as you can see, similar to our mega men. On this second frame, we have where the legs are going in the passing position. So basically they start to go one in front of another and same goes for the arms and again , 2nd 4 frame are the same. Identical. And then we have our second counter position. Where are left? Arm is hidden behind their body and the right are is now, as you can see a bit here in the front. So basically, this creates really, really nice effect again, you can play around with the frames duration. I chose 200 milliseconds in this case. So I didn't go with 1 50 or 2 50 And I think this looks quite nicer again. You can tweak it in the game. Engine harbor. Relax. So it's not really something you should be too much worried about right now. But again, just Santic to experiment. All right. When it comes to idle position. Well, when I played, this is just a really, really simple blink. Nothing more. As you can see, he quickly blinks. Now what did I do here? Well, one friend, which is this black frame last for 100 milliseconds. So only 1/10 of a second. However, the second frame, which is essentially well, our idol character design This one last for three seconds so every three seconds, he just blinks very quickly. Now you can create multiple idle animations and then make make a loop or maybe a randomly choose between those idle animations. Maybe after like one minute of animation, he would maybe sit down or go to sleep or something. I mean, you have plenty of things to go around to make your game look nicer, but essential. This is all the rest of it. In the next lesson, I will show you how to create a an attack animation without character again, with without any weapons. So he will be either hitting or punching the enemy. All right, that's it. Until the next video, see later. 9. 9.7 - Character Attack/Damage/Death: Welcome back in this lesson, I will show you how to make an attack, damage and death animation for our platform character or rather, when he receives damage, how he will react and why. So in previous lesson, I've shown you the idol and walk animations, which are pretty simple. And I will stick to that for this mock up just before we get into more complex animations, especially with animation principles after that will be able to create pretty much any type of animation you want. But before it, let's keep it simple. So first I want to show you the attack animation, how it looks. I'll just zoom in a little bit so very, very quick. Quick attack. So why is this well are platformer will have these sort of off attacks. And essentially, when you are playing a game, you want the attack to be as responsive as possible. So you want to be it quick and snappy and short. You don't want to make 20 frames off attack animation and stuff like that in games like this. So let's go over and see our animation one frame at a time. So if you notice here, I have three layers. I have the SFX above and below the S effects about our the special effects, so to speak, that go on top off our player, character and as effects below are the things that that will go behind our character, but still in front, off our background. So this is something important to keep in mind. And when you look at the death animation, you will see that we have aspects below there and you'll see the animation wise that, however, on the attack animation, we have this sort off easy beginner friendly blower, which is completely white color. And it indicates where the bunch is going to be set off our Air Force type of stuff so sort of air pressure. Now, what I do want to show here is the first principle off 12 animation principles and that this question stretch now, I showed it really simple. Now, these are the two frames for attack. This is the ideal position, and in the game, you want code this into your attack animation. But I just wanted to show it how it would look the transition between the idle position and to the attack position. Now when you look at the attack, this is it. The only in between I've put ah, here is these squash and stretch. So what I did here is I basically took this entire character and just stretched him by one pixel and squashed him down by one pixel. So when you are doing squash stretch, you want to make sure the volume of the character is the same, and I'll get into that in more details later on. But for now, this creates this really, really nice effect. So if I slowed down the frames, let's say by double you'll be able to see what I mean. So he basically stretches a little bit and then goes back into position, which is a recall. In any case, he also blinks if you know this on this middle frame and then goes back and settles in into his through at acquisition, so to speak. After that, he goes back to idle position. Now, this entire attack last for only 200 milliseconds, So just a fraction off a second. Of course, in game, you can make it as fast or as slow as you want on. And that is especially something you should do during the testing phase is But for now, this is it for the animation. I also put again this s effects. Ah, and special effect, which is life, he said, Pure white color. I put it under fist, as you can see and on the frame. After I just reduced the amount of whiteness and pulled it one pixel to the right to keep the momentum going. And just like that, we have a simple life attack. Animation. Now what is the next? Well, man, he receives damage again. I put your friends, but in reality, we have only one frame on. That is when he received the damage. He's just going to scratch a little bit. And this is carpet looks. Why is this? Well, let's say we have a trap like a spy threat, and he jumps over it. I want are gonna have to have some sort of reaction to it. Bid the attack from the enemy, or let's say the environment doesn't matter. I just want something universal. There are many things you can do. I just washing a little bit. So it's clear visual cue to the player that the player is now smaller. He received the damage. And because of the this blocked out design, he can clearly see where his character is going to land. Because you is usually in games. When you receive damage, you have sort off. I recall when Let's say you receive damage, you go away from the enemy a little bit or the trip or whatever. In any case, this is something you should be considered. So what I did here is I basically just took the arms. But I'm close to the chest and close the eyes of for character and just pulled the head by one pixel down. This is it again. I won't be creating animations where he just bounces back a little bit when he receives damage. Because that is something that we do with the coding, all right. Going to the death animation. And this is very healthy ass effects below. So first, I'm going to play a few times again. Very, very simple animation, But it kind of looks school, I think. Well, so what happened here? Well, on the first time we have the idol animation first, I'm going to turn off the s effects of they don't refuse you On the second frame, he closed his eyes, pull his arms, just one pixel towards his torso and he went on his knees and the way we did the knees. If you look very closely, we just pulled a few pixels to the left side. Very cooking is so after that he falls down and this is it. After that, nothing else happens with the main body. So we essentially have only two frames off that first he goes on to his knees. Then he falls down and he stays down for good. The only thing that happens from here on is the special effects behind him. And this is it. This by itself is more than enough for your game. If you wanted you, however, I decided, I want more oomph to it. And also to explain one more principle, or rather, one extra tip with animation. And that is using these special effects. So if I turn off, you can see this is all there is to it. But when I combined them, you get this nice effect. So he's soul leaving his body and going away. Now, if you look month frayed frame at a time you can see that when he falls down underground. Only then do I start the animation. So right now, the 1st 2 on the frames of this animation or lots of this ghost or so and essentially what I did, I just replace the white, the black color with the white color so you can see the outlines aren't black, but rather white singles for the ice. And I'd lightened up all of these colors. And this is summer. If you can do in two ways, you can either pick colors, which are when you look at here and the huge situation value. Increase the value or a lightness. You just increase the likeness of four colors, or you can even go and cheat a little bit. If you want to. You can go into for shop, use more stool and just paint over it, or increase the lightness. However you want to do it. It's completely find for these kinds of stuff right now. Okay, so only when our character has fallen to the ground the frame. After we are finally starting to animate this little girls disappear and the way we do it, I pulled him one frame up, erased some straight vertical lines from him and repeated the process. On the next frame, I again increase the size but one pixel and I Essentially you raised a lot of these things . And on the last crime, I pulled it Ah, lot up and just erased most of it. Just so he disappears nicely. So if you take a look at his ghost, this is it sort of up another maybe like a teleportation or something? I'm not sure, but it any case, you can see how these look when you combine them. All right, so this is it for the attack animation Quite quick and snappy singles for the for the receiving damage. And we have nice that animation I want think I do want to point out that in platforms, especially in games where you die a lot, you don't want your that animation to be too long. You want it to be quick and easy so the player doesn't get irritated by constantly watching Is that all over again? In total are that animation last for only one second, and that is completely acceptable again. If you have even faster game like where you die. A lot of times I'm talking, like, a few times a minute. Maybe in that case, you want to make your debt just a fraction of a second. But in cases like this, this should be just fine. All right, this is it. In the next lesson, I will show you how to create our first platformer and probably the last for this markup platformer enemy. I'll see in the next video. 10. 9.8 - Platformer Enemy: welcome back in this lesson, I will show you how we create our character. And when I talk about character, I mean the enemy character. So here we have again in pixelated, though you can create the character wherever you want you, our little character mock up. So we need our enemy. And though two things I want to do is first of all, I want to create sort of a basic enemy, which is, let's say, sludge or slime or something like that. And I will be using the same colors that I abused for the environment so they could. He's a color palette. Essentially, you have two ways how something can pop out from the background. First is using different color palettes, of course, such a czar character used and using black outlines. And the second thing is movement. So animation. And we are going to be using black outlines and our animation to put our enemy character from the background. Quite simple, because I don't want to show that you can still use these same colors in order to create something. And this this will look just fine when we do it. So let's go and create something. So, like I said, this is sort of up slime or slap. So you want to make something in this general shape, and I just want to make sure it's symmetrical, so I'm just going to be building up a little bit. Yeah, I think this should be just fine. All right. So first we need our meat on which is going to be this green color like So now how will our player character know that this is an enemy and not sort of NBC? We need to give him some sort of a visual cue. And this is where we'll put some eyes here on our character. And I do want to use white color. So we made our characters something, something like really angry. I'm just testing out a few different possibilities. I think this should be just okay. All right. So the the main thing to notice about it is the eyes. You'll notice that our garrity has only one pixel paraiso. I do want to keep that same thing on our enemy. But since we have a lot more space to work with here for the face, I just wanted to put alike big eyebrows like angry eyebrows. It will indicates to our player that this is truly an enemy. All right, so moving on, we want to put some shadow. And again we are going to be using these shadows over here and let's see. And I'll also just want to replicate everything on this side. For now, though, I will be fixing the this shedding really early on, and then we want some highlights, so I think they should find again. Remember, light is coming from the top, but in this case, I don't want to indicate the direction off our enemy where he's looking at. So I just want to shift it a little bit to the side, not to keep in completely from us. If I were to keep it completed from up, you'll see that our pilots would be something like this, or even like this. But since I do want to indicate our direction, I'll keep it like so and again. I do want to put some indications out. You know, why am I putting something over here on the bottom? Well, if I put everything in the shadow like like this, you'll notice that our character uses what loses volume. And if I keep just a few portions of these in the light Hey, sort of forgets those layers in between which are quite useful to give him some more dimension. Okay, so moving, gone. I actually want to start fixing shading. I want to reduce the shining on this side, and I might increase it on this one. Excellent, I think are carried. It looks really nice. So what I want to do now is I'll Bill jumping into a sprite, and I'm just gonna copy and based our attack animation. Just one frame again. It's distorted because of carbon based off the candle s. I just want to make sure that when our player player character hits, he can actually, his face actually actually reaches our enemy. So basically, since our enemy is smaller than our character, we want to make sure the face will still reach our enemy. And I think this should be just fine if I were to make our sludge here, or are slime even smaller than it could be a little bit problematic. Now this design is finished. You can still layer more things on top of it if you want to. So let's say you want to add more shadows. You can certainly do so by using these blue color than we can go in it into the purple color. You can make different facial expressions. You can keep layering on top of it if you wanted to other I do not. I just want to keep the design extremely simple. I'm not even changed the design. Just like so. Yeah, I think this this right now, Yeah, this looks perfect, like now, in my opinion. So this is something that you should keep in mind even by using these colors right now, if you look at the big rounded and VCR player character, you will notice this carry this enemy character, but a little bit harder. He does use the black outline, so it should make things a lot easier for our for our player to see. But when we add movement to our slide, then it's going to be pretty pretty obvious that this is truly something to interact with and in this case, the enemy. So I just want to also show you really feet quickly. What happens if we don't use black outline, But we rather again use this purple one. You can see that one character stands out. Ah, lot. Which is this one with the black are tights. And then this one without the black line outlines, but rather these purple wants. He kind of more blends in against something to keep in mind. All right, this is it for our player enemy character design. In the next lesson, I will animate him. So look forward to it. I'll see you in the next video. 11. 9.9 - Enemy animations: Welcome back In this lesson, I will show you how to create few simple animations and explain the design decisions behind them. So here we have our enemy character for our platform. Or you can obviously see again in s pride because it's simply easier to enemy there that in pixel edit for me, at least now I can feel different animations, movement, attack, receiving damage and death. I will go over all of these. They are quite simple. But the design decisions behind them are quite important. So I want you to pay attention now. The 1st 1 is the moment. Here we have four frames and second and fourth frame are the idle position. The idol designed position Quite simple. However, the first enter frame are different. The first time is where our when our character actually moves are anime character moves in the direction in which he's looking at. You can see I just basically squashed and stretched him a little bit. And then on our third time, he goes into resting and also anticipation position for the next moment so you can see that he goes, goes back a little bit, prepares together energy for the next step and then goes again to stretch onto the next step step. Now there are many different types of sludge is and slimes that could be off to click with 10 liquid that can be jumpy. That can be really slow and sloppy, like this one. It all depends on what you want achieve. The reason why I made the moment like this is because this will be our first enemy in our platform. Remarkable. The only enemy, actually. But if this were again, this would be our first enemy. And the way I want the reason why I want to make him slow is toe empower our players. So our when our player plays the game with the main character, I want him to feel or her to feel powerful enough that he can actually defeat this enemy. Quite simple. All right, so let's go to the attack. And this one is quite important, as you can see. See this squashing position before he actually goes to attack? This is a visual cue to our player that this little slime or sludge will actually attack. You can make it as announced as you can or you can make it more pronounced, less pronounced low depends on what you want to shoot, but you can clearly see this anticipation frame before he attacks. And then he attacks. Really Cookie. He basically just extend his body and then set was in that position and goes back to his idol moment or whatever it is now. If you remember our main player character, he doesn't have this anticipation frame when he attacks. He doesn't. He immediately attacks with his fist, and that's that's all there is to it. And why is that? Well, you need to think about what is anticipation and what is the purpose of anticipation frame when you are playing the character. You know full well what will happen if you press the button for attacking. You know, when you press the little button, you will attack. So there is no need for anticipation. Frame on your character, really no need whatsoever because you know what will happen. The purpose of anticipation frame is to give people a visual. Cue off what will happen next when you are in the full control of the character. You do not need anticipation frames, however, on the enemies you definitely want those, because if you're just trying to kill the enemy and salahi attacks and you receive damage and you have no idea what happened, that's your fault. As a game designer, you need to make sure you put good anticipation friends so players can actually see what will happen in a split second or in a second or two after they need to be able to predict what will happen next based upon your anticipation. Friends. And this is why on the enemies, we do want to put anticipation frames before the attacking we do on the player culture. Not because if you put anticipation friends on your player character, it will feel sloppy. It will be it will feel on responsive. So again, for our player controlled characters, anticipation frames are a no go. You do not want them. However, on the enemy characters they are. I must all right. So after its recap the damage or receiving damage, you can see he just goes back early. Live bitten closes his eyes. Here is how it looks again for this type of fast action based platforms, so I want to keep everything really fast, beat the attacking that lasts only for two frames bit receiving damage. The moment doesn't have anything to do with it, but the actual combat needs to be really fast and responsive. And what's he received? The damage you can see he goes and dies. I didn't want to create any extra, drop its apart from these two and create some some sort of freed animation because I want my enemy character to disappear as quickly as possible. And you will notice that on our damage frame, this animation is sort of a similar to death animation. But he actually goes in, disappears. So when you think about it, let's say this damage animation happened few times, depending on how much HP he has, and then suddenly he'll just disappear. And that's completely OK. So quite simple, that animation again squashing and stretching Our character is really important, and I basically just erased few parts off our character on until he disappears. Nothing complex. We'll get into more complex and fluid animation later on, but for now, let's keep it simple and think about the design off our game and this pretty much it. So we have the moment that we're seeing with damage and dying. You don't need anything else for basic platformer enemy again. You can make whatever you want you or however complex you wanted. But generally you want to make the AI off our enemies. In the beginning of the platform, a simple ast's possible. So their moment is predictable. Their behavior is predictable and especially der attacks. This is it for this lesson. I will see you in the next one. 12. 9.10 - Traps: Welcome back in this lesson, I will show you how to create few simple environment traps for our player to respond to. Now I have a separate layer here called traps, and I want to create just feel different ones so I can show you all the design decisions behind them. I will show you one that is barely visible and one that these highly visible. So first, I want to create some sort of our spikes. Now, when your design expects, you need to think about how high can your character jump? Because this will influence how big or tall you want your spikes to be. Right now, we know our care too will be able to jump at least this high, because he needs to get to the next platform. So I want to keep my spikes less a lot less than that. Actually, I usually like to keep them sort of 1/2 off the height of our character. So something along, like the stall, just to keep it a bit more interesting again, you can increase the high decrease of five however you want to. But, you know, for me, this is completely good enough. First of all. You don't want spikes to be coming out of the ground right away. So let's say I have a spikes and the right away. You can see them like so, and that's completely OK. Of course, these aren't spikes just yet, But if he were to go and suddenly they just come out without any visual cues. So if our traps would be behind our tiles, So if our spikes were behind our platform like this and suddenly they just came out, that's bad design again, just as we did the anticipation friend with our enemy, we need to give our Blair some sort of a visual cue that the trap is there. The easiest way to do that is either to leave some sort of mark on the ground. In this case, we can create something like in really liked stone. So if we have something on the ground like this, that's kind of obvious what will happen. This is a good thing. We want this. I actually wanted to be slightly above the ground just because off our perspective, not to break it too much. This will be just okay. First I want to design do things. One I want. I want my track to be completely un activated and then one which is activated. And for that we need to designs first. The fall. Let's go with the Let's go with the open one. So this will be our platform for our spikes or silver minutes piers. And once they are activated or sprung, something like this should be completely okay. There you go. Quite simple. Quite easy. Not not. Do not nothing too much to think about now if it's on sprung. So if it's not activated, we want to keep another copy. You want to remember these positions as I want to keep few black dots to indicate on which places our our spikes are going to be coming out from and this is completely okay. We have done with this part. Now if I wanted you create, let's say a cannon off some source For now, these are what I call vertical threats because you need to jump vertically in order to well evade them. They're also horizontal traps which influence, well, the horizontal cure. So in this case, something like this and it is this way is to create some sort of Ah, Canon that launches well, cannonballs or again, you can make a rose bolts whatever you want to, and let's go and create something very simple. And here is where I'll explain how you can make it more obvious or less obvious, depending what you want to achieve. Write something. Okay, this should be just fine, all right. And again, we need purely black color because this is sort of a cannon. And here ago now this by itself is kind of hidden and player real well, it's kind of obvious, but at the same time it's kind of hidden. So we need to be careful you can, especially if you shaded with the environment, like so he's going to be hard to notice. But because of this black color is a high contrast. People will still notice it to a some degree. If we wanted to make it more obvious, we can do two things. We can give highlights to our cannon, and I mean something really, really light. So something like this should be completely okay. You can obviously see it more more clearly now. Now, if you want to make it even more visible, just put the black offline on the entire thing altogether. And suddenly you have clearly visible cannon's rep again. You can make it however you want to do. And this is it quite simple. Quite is it to do what you do need to keep in mind again is how high can your capture jump ? How fast can your character moved? Because he needs to be fast enough to be able to dodge any trap whatsoever. If you are making a platformer again, if you really want to make the planet character received damage on purpose to learn something that's completely OK, though, speed runners really don't like that just to keep it might. All right, this is it for this lesson. In the next one, I'll actually go and create this entire mock up as a single image. I'll see you in the next lesson. 13. 9.11 - Platformer Mock Up: Welcome back in this lesson, I will show you how to create a simple platform markup using the assets you have created so far. So what do we want? Well, first of all, you need to decide what is the size of the image you want. You. It can be small. It can be big. It doesn't really matter as long as you can put everything you want into that mock up. So why do I want? Well, as you can see, all of the creative few things here, but I kind of want to extend it a little bit vertically just to put a few extra things. I will turn on my grid view, and I will go and create just a few tiles. What's all right? So here we go. Now again, you can keep it. A small auras, biggest like. And the reason why I'm doing the market pregnant because I want to show you something which will serve you well. So let's say I don't want this platform to be as this. I want to be on Lee. Let's say this stop well, in this specific case, then I need to create new tiles. And if you're doing a markup and you realize you don't have enough tiles to work with or begin after I'll set. You can always increase it. So in this special case, I won't be driving over this because if I dio you can see I change all of them and you can actually press tab to see which platform Bill belongs. Which child belongs to which part here in the tile set. So what I actually want to do is I want to math out new tiles by cold in control and just of left clicking. And right now you can see I added, Are new tiles are here? And if I were to draw over these, you can see it's not inflating these ones because I created new ones, all right? And I want to keep these again really simple. So I'll just increase this bottom part like so and just slightly fix the edges like this. I want to keep all of this almost all of it in the shadows and just create 18 layer like so . And this is it just the way that we created really quickly a tener platform for us to work with. Now we can move this around as much as we wanted you. Now, if you are doing a tile based system and you are trying to implement it into unity or any other suffer, if you're sticking to the great, this wouldn't be possible because you can see that are tiles right now skip between tiles or between two grades. You want to make sure if you are doing this for prototyping purposes that you always keep everything where it's very supposed to be again, you can tweak it wherever you like, But I highly recommend to keep everything like this and during gameplay sessions or direct testing faces that you tweak your characters capabilities instead off the environments once you want to finish it. All right, So what s gonna make? Well, I want to have our a little grass over here, so I will need to grab it duplicated a few different places. I can even swap it around, create a few different ones just to keep things more interesting. If you remember, if you recall that I can actually go and create some sort of flour over here again, adding little details like these is always nice. During mock up faces because markup is nothing more than sort of concept arts of the speak , It's not the concept are. But it's kind of similar to it, in a sense that you want to see higher again would look and I really enjoy doing these. So you know, you can take your time. You can do whatever you want to you again. You can. I can actually take this entire three if I wanted to. I can make it over here so survive. I can make it even behind our little grass over here. Or on top of it. You can increase the size off our three if you want it. You. But if you do this, please make sure to fix that. Everything looks as one pixel. You don't want pixels to be in different sizes. You really don't want to do that In the game I saw keep everything in at the same size. But if you do want to resize things, please do so. But again, fix, fix them in. In that case, let's say our character has an option to go something about it like so and we don't know. Well, if this is a one Let's a platform from which our character can actually jump over it. So let's say basically one way platforms. So right now, our character here is kind of hitting it because we design it that he actually has one pixel extra, which is completely fine. But if our care, if you get it, can jump like this and stick it here, it's completely fund, which peaking Go around it again. It's also fine. All depends what you want to choose now. Right now, I want just to make sure my now during Marco faces this wouldn't be obvious. But there again play. It would. So I want to keep my tile just slightly dollar like so. And let's say I want to give some ladders over here, keeping my during mark up things. You can do whatever you want to make. Yeah, it's really just I just want to keep it everything on a separate layer, just not to mess up with the tiles again. This will be a rather simple ladder, but adding details during this phase is kind of crucial because you are making a markup. So whatever you make here might end up in the final game So you want to make sure you have everything in the place. However, whatever you do put in mark up, you want to make sure that it's applicable in the game again. You can change it later on, but you need to keep in mind. For example, if we have letters over here, that means our Blair character will be able to climb them. Right. So this is something to keep in mind during game design. I can actually use these same ladders over here like so if I wanted to keep it more towards the design off our environment and I actually do want to keep it like so. So I will work on top of that sort of a special type off ladders. Well, right. And now I can't even take this Kyle it and just go over a few different spots like so, And you can immediately see how are leathers are more easily visible now. I didn't shave them correctly just yet, as I want to create a nice contrast in Kyla it. I can even take this yellow color if I wanted to and just put him over here, though it will kind of heard the eyes. So let's skip that just to make sure everything looks nice and cohesion. So I'm taking this color and just shading here on top. This will be just a cake. Now you can make more enemies. Of course, you don't have to keep only one. You can only show a portion of them. You can show them in the either direction. You can even take the animations off movements. All right. Said the moment frame and put it here as a sort off up view. You can create more of these. Well, I just noticed I have an extra tile over here. All right, so we can take this cannon. We can create more of them if you want it. You We can even go as far as go to decide we can make them on different heights if you wanted to. And here we go. Just like that, we have a really quick and ice and simple markup game. Now you need to think about what will people see from our mock up game? Well, when they take a look at this, this little map, they will see. Okay, we have our character with fearsome enemies because some traps, different traps. We have nicely the environment. We have some water. We even have a letter to climb, obviously, so you can put a lot more things into it if you want it to. It's all up to you. Have fun with it. I mean, it's a mark of game. It's sort of like I said, sort of a concept art so you can do whatever you want you and this is pretty much it you don't need. Toe also don't need to over complicate things. You can put coins if you want sort of up side objectives or even main objectives. So after you. So this is it for this lesson. I hope you enjoy it. I will see in the next three day when I'll explain a few different types off platform perspectives. I'll see you in the next one. 14. 9.12 - Different types of platformer perspectives: Welcome back in this lesson, I will show you how different perspectives in platformer work. So 1st 1 on the list we have our super Mario, and the view here is straight on. It's quite simple to dio. The only way you indicate the shapes is which shading, so you can look here at this tubes there cylinders, which you can obviously see from the shading. However, if these were, let's say, slightly angle from the top, you would be able to see the roundness on the top portion. Same applies to the bottom part, so you will be able to see something like this color because it's a straight on view. You can only see it like so which is this portion or here, right? Same thing applies to these body parts, which are actually cubes. However, you can only see rectangles because you're looking Adam straight on. It's quite easy to do. This is the most simple perspective in platformer games, and if you are making your first game, this is what I highly recommend. The next one is quite similar, and again it's a supermodel about the shading is a bit different. You can see these boxes have more shading, which enables you to get more around the cubes to get a slightly different effect. But again, everything is still threaten the character. You look at him, it straight on the enemy's threat on this is straight on again. You can see this back portion is threat, but this bullet is actually around it. So if you were, if you were to look at it from behind, you would see the circle quite easy, right? All right. The next one is slain. This is a modern game. It uses some other techniques, such as glow effect here on the sword or here or here. But essentially, the view is still the same. Even though the art is more complex, you can see the bottom part where he will run is still straight on this crosser here, straight on this gargoyle, even though it is quite higher, you can see it. It's threatened. Same goes for this building. For this three everything, it's the easiest way to make a platform by uses straight on view the amount of details you want to put in or the visual effects you want to put it. It's all up to you But the perspective is something else, and this is what you are. You generally want to be looking out for. Now let's go into something that creates a bit more three dimensionality, because when you look here with supermodel, you have the foreground, which are the platforms and the enemies on them. You have the elements which are kind in the background, but they still blend in with the four can, and then you have the background like the sky. It's OK creates a nice effect, however, Here this line you can see multiple layers. You can see the foreground and the background elements that even bigger and more than even more than you more right, so you have a few layers on top of them to create more three dimensionality. Let's go to Mega went to see a different perspective. Now here it's server in the middle and everything goes from there. So when you look here at the top portion, you can see this platformer blood, for you can see it's bottom part. So it's bottom portion, so this generally means you are looking at it slightly from the bottom. But when you look here at the platter, on which the mega man is standing. You can see this portion over here, and this means we are looking at this portion from the top to down, whereas its opposite for this blasphemer. So we're kinda in the middle here so we can see things that are on top. We can see them from the bottom and things that are below us. We can see them from the top, right? This perspective is, ah, bit three care to pull off, but nonetheless it's here. But notice that we still look at our characters straight on. They're not angled. So if our character let's say, jumps over here, we will still see him in the same perspective. His perspective want to distort because if we look at him from a slightly angle like this road over here, we would see more of his help. If he jumps here, we would see more of his bottom bottom of his feet, but we want because the design animations of the character is still straight on. So in platformer games, you design your character and your enemies with straight on view. You achieved three dead three dimensionality with different perspectives, depending on what you want to cheap mooing gone here. We have blasphemous. Also one of the newer games you can see its platform is also slightly angled. As you can see right here, whatever you look at it, it also has a lot off layers. When it comes to foreground and background elements, we have the foreground. You have first layer of the background. You have the second you have like the third and we have like four or five different elements off bank around the steak on top of each other to create this nice three d effect . However, the perspective you can see it's slightly angled from the top. So this is why we can see these portions where he's going to be running on. Even when he drowns, you can see his feet are still in the same line. Okay, so again, he's going to be running in the middle here. But because we put so more dimension toe our tiles, we get this nicer effect of three dimensionality. When you look at the edges, you can see they're angled from one side here summer. They're slightly angle here. They're kind of all over the place, but they're not because we are against slightly angle from the top. If this for one point perspective, you won't be noticing, I'll get into that later. But for now, it this is completely okay, and I think this our style is really awesome. So this is why I included. But again, perspective is what matters. Let's move to, let's say, the older game. Like Principal Jha, you can see that again. You can see this talk about abortion to create again three dimensionality, but they start with only one, and once you can see these brothers were one angle. Discover one angle, even the walls. Here they have only one angle, one angle, one angle, one angle, etcetera. And that's also completely fine. However, when you look here, they use one angle than different, abundant, even slightly different one, etcetera. So you can do whatever human. Let's go on the last one. You can't even if it's a person again, you can see the enemy. It's straight on. View the character straight on. You always threaten you, our boy sending straight under you straight on view, etcetera. But the background elements are not necessarily in threatened Butte, just like it was in supermodel. Here you can see all social, beautiful, big, sloppy. Now, boy, you can see the bottom bashing at the same time. You can see the stop portion. You can see it's side portions and you can see even the bottom portion. So this is a quite interesting perspective, and it has a lot of details. And I hardly suggested to take a look at all boy, if you want, like, sort of a high level pixel art, because it's really beautiful. But the perspective again is what's important, basically can see that from the simple ones bit style like this one or the slain straight on perspective is quite easy in comparison to these other ones. Again, you have, like the blessed us we choose is more angles than one you have, like Prince of Persia that uses always only one. You have mega man. It uses, like from the middle, and you have even our boy that uses, like, so sort of a combination. It's kind of from the top down, but you can see the bottom portions off it because you are kind of far away from them again . Artistic freedom. But essentially, these are the main types off platform reviews. There are a few more, but I think these are the main ones, and then you can combine them and create whatever you want to just keep in mind. You gain three dimensionality ball, introducing more angles to your platformer design. So if you are to your straight on platform like Super Mario, if you want more tried three dimensionality, use more layers like slammed it. Maybe there's the foreground elements that will block out the character when he passes straight. Right, But again, keep it fun. Do keep in mind also that styles like our Boy they have a lot of details obviously will take a lot more time to make them, Let's say super Mario, but nonetheless decide which tall you wanted, depending on what type of game you wish to make. Now, if you want to make an exploration game, which is the like the main hook of your game exploration, you want three dimensionality as much as possible to create an ass traffic holler again. It's not necessary. You can create nice exploration games completely with straight on you don't get me wrong. It all depends what you want achieve with your game just to keep a few things in my I mentioned all of these things. This is it for this reason. With this, with this, we will conclude our platformer section in the next lesson will give it the challenge. I'll see you in the next one. 15. 9.13 - Platformer Challenge: welcome back in this challenge, I want you to create a platformer markup game. So basically, you just want to create a concept art of some sorts where you will actually provide with a simple image off your platform markup. So please be sure to use at least one character and one enemy as well as a few different tiles. And then you can add as many details as you want. You can use any color palette you want. You don't have to use this cohesive color palette it I've used. But please make sure you have fun. Also, you can use any perspective you want. It's all up to you after you finish the challenge and you created your markup, please be sure deposit and share. It'd are people, so we can see it. 16. 10.0 - Introduction to Top Down View: welcome In this stuff down your section, I will show you how to create a top down character and how to animate him. How to create grass and their tile and basically create a tile set. Ah, how's our vehicle and a few different small objects. In the end, I will be showing you have to create a simple game, mock up and challenge you to do the same. 17. 10.1 - What is Top Down View: Welcome back in this lesson, I will explain to you what I consider a top down view to be in pixel art. Now, the reason why I said what I consider to be simply because there is no general consensus on what top them you really is because some artists consider a an RPG via to be a top them you , while others don't etcetera. Now I will explain to you what I consider to be a top down view, and then I will give you what other people consider top down you to be. And I'll give you essentially my explanation. Now you can pick and choose whichever terminologies two to the best or makes most sense to you. However, in this course I will specifically stick to my own explanations and terminology. So you you know what we are talking about? All right, So first things first, What I consider a top down you to be is when you're looking at the objects, characters, maps or basically the entire game Onley from top down, meaning there is no angle whatsoever. So you are looking at the object completely from top to down so sort of a bird like view with no distortion or without any angle. What, sir? So here you can see one example of it. This is called the Doctor. I believe this is a game I played when I was a kid. You can see the perspective. Yes. The shadows might be slightly moved a bit to decide just to create that illusion of death. But if you look here at these rockets, if you look at this land over here, this trees or bushes if you look at at this play, you can see everything is only from top doubt. Nothing more. You cannot see the bottom portion of the ship. You cannot see the front off the ship. You can only see the top side of it, and that's all. Another example would be, well, this whatever, whatever this is I not sure how it's called this game. I found this image on the Web. If anyone knows it great and essential, I think this is about something destroying buildings or maybe in farming. But you can see how these houses look because I try to remember these because I will show you what other people consider to be a top down view. houses, while I consider him to be an RPG. In any case, you cannot see the doors off this off discuss whatsoever. You can only see the roof, which does make sense because we are looking at it Onley from top to down. Another example would be over 9000 zombies. I believe it's called on steam. It's a problem shooter and why? I said, It's well, top down view is usually used for shooters. So if you look here, this is a shooter you can be. It can be even space invaders, so to speak. The sources, I believe about destruction so it can also be like a top down sugar. And here we go Now if you look here at the tiles so I could find the clear one. So this one, for example, you can see it's completely straight. There is no angle. If we had an angle, it would look more like this, but it doesn't because there is no angle to it. We are looking at it from straight up to down. You can even see how the characters look, though I'll explain the characters in the in the next lesson, you can see the character's head and shoulders and arms, but you cannot really see its face. I mean, try to think about it when you're looking at objects only from top to down would you be able to see the face, while not really, unless the person is looking up. So this is essentially of the entire view without any distortion. So not one perspective, one put perspective or two point perspective. Nothing like that. Like that. So this is what I consider to be a top down view, right? So there is no distortion whatsoever. You look at things only from straight up to down and here a few examples what I consider to be an RPG view, not top down view. So this is a happy life drifter. Awesome game, by the way. But you can see it's angled. You can see this statute. For example, if this were angled from top to down, you will only be able to see this portion overhears only this rectangle on top. You wouldn't be able to see the rest of this statue basically right. So this is what I consider to be an RPG view. As soon as something gets like a lower angle that you can see other things off that object or other perspective that object. I consider that to be an RPG view. Here's another example. This is a character. Now you can see this stop down around cycle. This is Barmaid by Pedro, my dears. I believe you can see this is an RPG character in my own opinion. Holler According to him, this is a top of you. So again, there is nothing wrong with terminology on any side whatsoever. I just wanted to understand there are different opinions. So another example would be this house again made by the same person. You can see how the houses look. You can see the doors, you can see the windows. However, you can see how the houses look from top down. You know, this is what I consider to be top them. You and I consider this to be an RPG view as soon as it's angled. But again, some people consider this to be top down house. So it's up to you to choose which every, like, I consider this to be an RPG via and I'll cover that in the next section. Now there is one very interesting perspective, which I call distorted perspective or combined perspective. Look at this over here now. This is a quite a game. I believe it, Zelda. And if you look at the floor, it's completely top down so you can see these styles don't have any. Let's say thickness to it. But when you look at the walls and you look at the door, you can see there they're angled, but they're not angled in only one way. They're angled in all four directions. So you will find find plenty of games where, like this entire bottom portion is hidden here than in black, and only one side is angled and that's again are fidgety in my case. But what I want to say here is a look at the enemies. If we were to remove the background completely, you can put this and these enemies on a platform. Try imagining platform Here on the bottom, you can see the perspective for the characters is like on platform you, right? So we are combining basically more perspectives in tow. One. You can see the character. He looks like an RPG via character so closest to this one. The enemies, their human platformer view the tiles, the floor tiles they have, like top down you perspective and these walls at the side of have, like, distorted one point perspective arpeggio. So when you find something like this, it's quite interesting to look at simple because there are so many things going on, and this is something that I wanted to mention just because there are many just because there are certain amount off views, it doesn't mean you cannot combine those views or other perspectives in tow. One game on, right. So feel free to experiment, as always, have fun. So this is all I wanted to cover in the next lesson. Let me explain to you how a top down character we look in my own personal opinion. I will see you next time. 18. 10.2 - Top Down Character Design explanation: welcome back. So in this lesson, I will explain to you how to design a top down your character with game design in like back off your thoughts. Now, why is this important? Well, before you go and design anything, you should always think about the game design, meaning before you start drawing pick, slot threat, thinking about what type of game are you making and top down view or perspective is mostly used for top down shooters, and this is what I'll be creating a game markup off in this section. So before I start creating new character, I just wanted to show you one of my old works, which I created for one of my clients few years back for based on some reference image. So again for a top down shooter. Now, when you look at this character, you will notice he doesn't have his head, his arms, his borsa, but you cannot see actually his face or even legs, and this is all you would be able to see. This character is so for high resolution. Then I will create for a mock up. But I wanted to show me this so you can try to wrap your head around the decisions behind game design and character design. So if I turn on the legs, you can see this is all the rest of the animation. So why is it like that? Well, when you are creating a top down shooter, you will create your character only in one direction. So this is all the race to the design. It's static. And then you would use the game engine to rotate this image or the sprite based on position off your mouse or input keys or whatever you choose it to be. But essentially, you are not creating an animation for different directions. You are creating only one character in one direction and then use the game engine and according to rotate him, because that's kind of the most practical way now when you go and see his legs. Now, there are many top down shooters, but you can't even see the legs. But I think it's kind of necessary to make it a bit more interesting. And when he is moving, you can see the legs. If I were to turn off the layer for our character, you can see how the legs show and This is all the rested. When you combine them now in game engine, how would this look? Well, on one layer, we would have the character and under layer below that you will have these legs now because my client asked for it. I put it on the same layer. And this is why you can see the legs look like they do. But essentially, this is how it would look. And now you can start imagining he's a rotating and shooting etcetera. Now, wanting that you also can create if you wish is a shooting animation so you can see on Lee his arms move, his body still stays the same completely static. And again, I exported these on all the same layers. But if I were to approach this, I would create one layer for the body, another layer for the hands, or rather the arms and then one for the lex. But again, the client, I'm not sure in which engine hey worked. But in any case, this is all the rest. It now in top down shoulders. You do not want too much movement on the player character because from game design part of you, what is the player thinking about when he's playing a top down shooter. While he's thinking about enemies that have coming his way, he's thinking about projectiles come his way. He's trying to shoot and aim it. The enemies. This means you want minimal movement under player character, so it doesn't distract her player in a bad since, like in a bad way. And this is all you need. So you only need ah, leg movement when you are actually moving. And then when he's shooting, you can just make a projectile come out of his gun. That's older is there isn't even need for, like arms moving, So this is what we'll be creating pretty much in Big slot. However, I will create a character much lower resolution to keep it more simple. But yeah, this is all the rest of it. In the next lesson, I will show you how to actually create a character from scratch. I'll see you then 19. 10.3 - Top Down Character: welcome back in this list, I will show you how to create a top down character from scratch. Now what I did here is just prepared a simple canvas. Each tile is 32 by 32 pixels, and I have plenty of times to work with because we are going to be creating a tile sets later on. So the background is in one simple color. It's like surfer in the middle when it comes to of grayish color palettes. So when you look here, it's just completely. This saturate the great color somewhere in the middle regarding lightness or value, however you want to put it. Now let's go and create our characters. So for the head, I will use a nice bright skin tone. And the reason why I'm using the background in such a dark color is because it's in the middle section off values. So no matter what I decide later on to create my tiles with, maybe it's, ah, vibrant color, maybe eats Kali de Saturated. I'm kind of making sure that my design regarding color palettes with character sits somewhere in the middle, so even if I have to rework it, it won't require that much feeling fiddling around. So, yeah, let's go and start creating our character. Now, this is my style. And you can just take a rounded brush, maybe increase its size to maybe seven or eight, and we can just put it here in the middle. Now, from here, I do want to mess mess around a little bit with this, so I want to extend this just slightly and I want to replicate it on the other side. All right. I think this looks really, really nice. Yeah, maybe. Maybe just my one more pixel doubt. Yeah, this looks great. So, essentially, it's five pixels on each side. Then we are while essentially connected. Now, when it comes to human heads, if you want to keep the proportions like realistic In that case, the head would be slightly longer than its wider. So something like this. But, you know, I don't think there's any need to complicate things, so I'll try to keep it as simple as possible now that they have my human head. I want you create some shoulders and I'll use nice kind of bright blue color. Well de saturated a little color. But for metal. This would be quite bright, in any case. Maybe this such a slightly. All right, I think this is great. And now all Jem's. I'm just gonna extend this a little bit, and these are going to be our shoulders. Now I'll create just one side, and then I will replicate it on the other side as well. So is it just copy. Pasting it. Now I will need a shadow tone because this portion I will use for our back essentially abortion that you won't be able to see that much. Sometimes it's not even visible at all. But it is in this case, I'll keep. It's likely visible, and these are going to be so far like shoulder pads. So I want to make sure I shared it nicely. And I will just dark and this just slightly. This looks a lot better now, and I will be using this same color here, at which is, like, where are back is for our arms as well. Yeah, rather. I can just simply use my skin tone. I see nothing wrong with it. And I'm just trying to aim for the middle. Now I need something to represent a weapon. I'll just keep it very highly saturated. Green color? Yeah. Who knows how long it's going to be? So I'll just design a simple shape for far weapon. I think this will be completely okay. All right, Now we have, sir, for base for our character. I don't just you raise this portion. I'm looking here A decide to see the Previa at the same time. Nobody. If these are shoulder pads sort of protection than they, they would extend a little bit more than where the position off the actual like shoulder is . So, yeah, I don't think time I'm pretty happy with this. Now. I will just Yeah, let's say I want to create a here, and I'm just gonna mess around with a strange concept here. So let's go with maybe like a blond. Yeah, Let's go it. Let's say this is an old man for some reason, and he is quite old now. I want to lighten this up quite a bit, even more so, Yeah, this is a nice color, so I'll just go and shade where we'll actually put where his hair would be. And let's say he's like, half bold for some reason this is fine. Now take, like, half portion off it. Flip it around. Let's think this from this side over here. Now, just erase this portion, and then I can connect them. And here we have a nice character. Now, again, this isn't finished yet. I just want to block out of the character for now. So let's go. And essentially, I want to put some shadows here. I will take this skin tone and create a shuttle tone to it so I can shade abortion off my arms or here. All right. Now, let's say I want some sort for gauntlets here for some reason. Again, I'm just messing around with a lot of different concepts here because I just want you to feel relaxed, because at the end of the day, you can create whatever you want to write. Now, let's go. And maybe a shadow time. Maybe. I want this to be a little lighter. This is better. Then I lead a nice skylight. So maybe this could be even in the opposite direction. This can. Maybe a dark doctor color. Yeah, I think this one looks even better. Okay, Now I want to dark in this a little bit more again. This is, like sort of a trial and everything. You can extend his chin if you wanted to. You if you if you do this, come ever and you do extend his chin a little bit, then you can even, um I put some eyes here if you wanted to hover. I don't want to do that. So I will try to keep it like so like this Quite a bit. Now, let's go over here and create some sort of gun. Now, see, this entire character is all sort of a mix off different things. I want to keep the consistency on this stranger than strange design and just mess around with this a little bit. So let's go and maybe create something in purplish tone again. I have no idea what kind of material this would be, but, you know, he doesn't matter, really. So let's go and create a nice shadow toe, actually, maybe slightly darker, and this would be great. Now let's create a lighter tone. I'm just looking here at the side of you to see what can be made. All right? Maybe, just maybe, it's a bit too dark in comparison to our character. So what I will do now is create an outline completely black around our character because I'm thinking about the tiles, which I'm going to create, and I think they're going to be in more vibrant colors. So I want my character to fit in. But since this is a top down shooter, it's completely fine, too. Add some blackout lights. Now let's create a big round with a green tone to it and see how character looks. If I were to remove the black outlines, you can see the design in itself. You know, it's kind of weak. If I added some shadows, we are game engine or whatever. It would look a little bit better. However, for now, I want to keep it like so, and from here on out now you can choose where you want to put your offense. If you wanted to, you can even put them here to emphasize the head of the character. You can put him here as well. You can feeling this middle space. You can live it out now. It all depends what you want to achieve and what you want to emphasize Now, I'm slightly worried about this gun off a sort, so I'll just river the colors a little bit. And I want some really, really blood bright colors, but on the opposite side of spectrum. So maybe something, Something in yellow color. And maybe I want to outline this gun as well. And here we go here ago. We have a nice, simple character. Now, what I just did is created a outline on a wrong Blair. So I'm just gonna fix that really quickly, So I'm sure it's on a correct layer. All right, but apart from that, I think this is pretty much it. So we have, like, really strange character. He's really old. His maybe from a future coming to this. Let's a lifetime. But one thing I do want to increase here is Are these groundless or here? I think they're just barely visible Simon Emphasis in just a little bit more. And maybe some pilot color as well. Back in This is great. Maybe even the skin tone will have nice pilot. Not too much, however, and yeah, I think Yeah, I think this character looks looks really nice. Maybe I won't increase this yellow color even a bit more so it's more saturated. Yeah, I think this is great and I'll just remove. I'll just remove these highlights from the skin tone. I'll keep them all right now. I'll connect pretty much the Stoller's on merging downing toe one layer. So the character and the outlines are on the same layer. And yeah, I think this this looks right now if you want it to you, you can definitely increase the length off the arms if you wish. So if not, who cares now? This pretty much it for this character. I know we took out a little bit longer than expected, but I just wanted to show you a whole process how it goes because, you know, I just created this character from my imaginations. I didn't have any reference images or anything like that. You just go and Mr Randall, maybe to see what you can come up with now, I have, like, really, really odd combination of things here. He's really old. He has, like, are more when it comes to his shoulder pads. There he has some leather gloves. Then he can some futuristic type of gun, you know, create whatever comes to your mind just relaxing here for All right, This is it for this lesson. In the next one, I will show you how to actually animate this character or rather have to add movement off feet so we can create the illusion off movement because we won't be animating his arms or his head or anything like that. I'll see you in the next video. 20. 10.4 - Top Down Walk Cycle: Welcome back in this lesson, I will show you how to create a walk cycle for our strange character isn't here. Now we essentially need only six frames when it comes to walk cycles where we are going to show the position off our feet. Sometimes it could be less. Sometimes you could beam or the Pentagon watching again Want to achieve, please feel free to experiment. However, I just want to show you a very, very simple wall. So what we are going to do is create each leg. Since this is a symmetrical design, weaken, Just bring much like copy paste the position off our legs, which means we can replicate and duplicate them. Now we want to have two frames. Where are one leg is in front of our character. Then we want two frames. Where is behind? And then we want one in the middle for, like, a transition type of thing. So let's go and create this. So first, let's go and create the position off our right leg. I'm going to show you here The preview. I was going to look so right over here. This is the reason why I left some off space here at the bottom. Just we can see the feet when it comes. So first we have one frame where the right leg is mostly in front of our character. Then on the second frame, we are just going to be able to sit barely so you can see how it goes then on the doorframe . The leg is pretty much here so far in the middle off our character. So this would be the passing position. And then when it comes to going back, then we are going toe under four friend. We're going to reveal our leg here at the back again. Not too much off it. This is more than enough. And then on the fifth frame, we're going to reveal even less if it so just to make sure So you can see how it looks right now. Maybe when it's up here, like so we can indicate. And here we go. Just like that. We have one simple leg. Now, if I were to replicate this on the other side, I need to make sure that the frames don't overlap. Rather, they're reversed is well so on the first frame there. When our leg is basically here in the front. The left leg would be here behind, so we can just pretty much they just think club based it. And on the first frame, we can just put it over here and then on the next frame, we can again take this position over here and then on the second frame, weaken. Just place it over here on the dirt frame. The legs are in the passing position as well as on the sixth frame. So this is why on these two friends, we don't have anything. And then again, on the fourth and fifth position is basically where are left leg is going to be here at the front, Right? So I just missed Missed it for one friend, like so And then on the fifth frame, it's like this. This is pretty much shit. So here we have a nice character walking a simple walk animation. It doesn't need toe. Be complicated. Don't overcomplicate things, especially for top down shooters. We have a nice character. He's old, you know, when his moment you can have, like, these position off the legs animating. And basically, when he is shooting, you can just spawned projectiles from he's gun or rifle or whatever this is. All right. This is it for this lesson. I hope they enjoy it. I will see in the next one. 21. 10.5 - Top Down Grass Tile: Welcome back in this lesson, I will show you how Tikrit simple tiles for our top down shooter. Now, when it comes to creating tile sets, Intel maps, this is something which is project base. This means that if you have a need for huge towel sets with big amount off customization, go for it. If you don't have reduced your time needed to create the game and just keep the tile set small. Now when it comes to top them shooters, I usually find that small tile sets are usually the best ones, so I will create these ones in this specific section. Now, when it comes to our PGE's, however, I like to have a higher amount of customization, which is why, in the next section arpeggio, I will show you how to great, bigger tell sets and how to make sure they blend in with each other seamlessly and with a good amount of details. But for now, let's try to keep it a simples possible. So what you might know this is that I feel my character here, and I like to put him on a few different spots, which I'm going to use to create our tile sets. So let's go and create our first style. Now. This is going to be so far, that's a grass style. So something, perhaps something like this. Now let's see how it looks now. I put us in the wrong Let's turn to make sure that I only cover what is behind. I think this color looks quite nice with the color palette for our character. So let's go with this one. Now what I'm going to do first here in pixel at it is and my tile here at the house, that list which is quite simple. You press a or pick this small liken hold controller command and just left click, and it will be added here. So just like that, I have added it. And now I can choose this style and I can just painted here. And whatever I change on one of these is automatically replicated under arrest in these. Now let's go and stop shading for this portion. I want to hide my character. Open up my grade years so I can see what's happening up. Some people like to see this great. Some people don't. It's all up to you now If this were an RPG view, I would go and start creating different shapes like these ones which indicate the grass that is, you might have noticed these shapes are clearly visible, like they have nice thickness to it because, like, they are some sort of a leaves. And I don't want it in my top down shooters. So I'm just gonna back up and create a very, very nice and simple indication that this is a grass style which could be made just by creating nice vertical lines in varying lengths. And make sure you overlap sometimes with the neighbouring tile, of course, is if it's just one big self. Why you cannot really overlap unless you put it. We still pixels, but I don't want it. So essentially I have one shadow tone we tried put here. And then I'll create another but highlights stone. And this is Britain much going to be mine tile. So maybe something slightly lighter, slightly darker. Yeah, this should be great. Now why am I doing this? Well, I don't want to have a big amount of contrasts when it comes to my tile, so I'm very careful when it comes to my positioning. Make sure that none of these spaces has, like two huge off a gap between. And when I put my character here, you can see how this style looks already. Now, if I were to put some shadow here bill of our character, which I'm just very, very quickly going on, do you by reducing the A pass ITI and creating black color on that layer, so it's kind of transparent. Now again, this is something that you should be doing it pixel art. But this is something that you should be doing like the again mentioned. And you cannot already see how our character pretty much look in the game and I really like this. All right, so this is it for our first style, which is the grass style. Now I will be creating a tile set, but before we do that, we actually need at least one more tile, which I'm going to show in the next video. I'll see them 22. 10.6 - Top Down Dirt Tile: Welcome back in this lesson, I will show a healthy create a nice dirt style which is complementary to our grass style. And then I will show you how to create a tile set in the next lesson. So here we go. How should we go about choosing our colors for our dirt style? Well, it's quite simple. You can just take this midtown from our grass and then just here shifted towards like orange Hume. And when it comes to saturation of value, try to stick around as close as possible to this initial grass saturation value. And then you can just pick what you think Looks fine. And here we go. We have a nice color when it comes to our dirt. Now you can see how it looks in comparison to our character. And to be honest, it looks looks really nice. Now I will go and choose this color, and I will add this tile toe are tell set over here at the side based it on all positions, Haider character as we did with our grass style and then keep the style minimalistic, just as we did when it comes to grass. So we just want to indicate texture, nothing else. This is a top down. You you can't really see the angles you wanna be able to see, um, such huge bumps from let's say rocks and stop stuff like that in this particular view. So you want to keep the details to the minimum? All right, so let's go and create a shadow. And if I were to create something big, like some sort off a A picture like this one now, some people might like that. Some people might not like that. Personally, I'm not a fan of this type things, So I'm just gonna go back and start creating, as I said, minimalistic type of thing. Now you can go and create just small little bumps like these ones which might indicate the shadow off certain rocks or little bumps in the earth, and then just adding some thickness to them. But don't overdo it. You want to be really, really minimalistic about this part, So just add one or two, maybe on the entire tile, and then I will go and recreate this thing with highlights. So basically, repeat the process. You are essentially creating some sort of noise. So to speak on the texture. Let's see how our character look Now it is. Do this for like a farmer something then you can certainly add some sort of, ah club feel Look to it. But, you know, as I said, try to keep it simplistic. Now you can see how this looks again. If I create a layer with reduced capacity and I just spent in some of the shadows, you can see how the character with pretty much look and I think again this is quite quite nice. So this is it when it comes to creating our 1st 2 tiles. Now we are going to combine these two tiles into tile sets and essentially one tile map, and this is what is coming in the next, less I'll see them. 23. 10.7 - Top Down Tileset: what? Come back. So in this lesson, I will show you how to create a tile set. Rather, tell map out of these two different styles how you can combine them using a few simple tips to make sure they blend in which other seamlessly. So let's go and start creating. So what is the first step? Well, first step is picking these 2000 and then you essentially need to surround a specific tell with the opposite one. So in this case, it would be like this one. So basically the dirt tile is run by the grass and vice versa. Now, if we added like a turtle here, so let's say some type of water then you would actually need and you would pick both of these and then you would combine them with each other. So essentially each style would need to be combined with the other ones. And this is essentially something that you should think about. So just adding another element into your game increases the workload by a huge amount. So just to keep it simple for this section, I'll keep to just these two. All right, so what is the next step? Well, I like to turn on my great view and essentially, I want to create some sort of a ring around all of these. But if you know this right now because essential all of these are this style. If I paint over it the program, or rather, the software automatically rework this one as well. So what I want to do is, once I've put this one here, I want to add it as a new tile or here, so, like so right. So now it's here. And if I paint over it and change it, this won't change because I have a new tile over here, which is really, really useful, right? Okay, so let's go and recreate it. So I like usually to take this entire tile, which is 32 pixels. Find the middle portion, so find the middle, which is on 16 pixels. So this is one of it. And this is the second portion that I can just take and divided in half. And essentially this portion is going to be in the grass, and this one is going to be under there, and I'm gonna overlap them in just a few moments. But why Is this so important? Well, if this were divided in half, so let's say this were divided A symmetrically so something like this. Well, once I explain to you the trick behind why am divine again? Why I am dividing it in half. You'll see why it wouldn't work when it comes to combining with this specific one. So let's go and actually start creating. So I want just a little bit of texture to this again. Grass texture, not too much. And then I want to take my dirt and just extended and combine it with the grass little bit . Then I could take the grass and just shaded here near the ends, and I can do the same thing with Did they hurt again? Don't overdo it. We're trying to keep it simplistic. So keep that in mind. Now you can already see. I have just like a little bit too much off the shadows, so I'll just you raise them. Some of them. At least I met, keep the others, and then I might even go and take the dirt and create like small pockets off dirt inside as well. Alright, And just like that, we have a nice tile. Now, what is essential here? Well, we can basically take this style and replicated on the other side. But be sure to market is a new tile. So it registers. Here is a new tile. Then you can flip it around and we essentially have 2000 blend in nicely. Now. The reason why you want to do that is to make sure they blended with each other nicely. So But what you can do is you condone, actually, take this portion and you can just change this these middle ones or out of this middle portion just slightly. But make sure you leave this portion the same because this portion where the grass connects to the dirt is what is going to determine if our tiles are going to be nice and blend even that we're going to blend in a nice and seamlessly or not. So let's go. And now we can take this same tile. We can take it here and now. Please watch this. If once a registered of course is a new tile. If I just rotated like so you will notice that the grass pattern is no Logan vertical. It goes for Izon Tal And this is something that you definitely want to fix. If it happens and it's going to happen if you are using the same technique when it comes to picturing in the grass and this is OK now again, Just changed these slightly. Now I can take this style again. I could market here is a new one. I can just flip it around. And now I already have half of my tiles done. Now we need to connect these two. I can just take this grass, connect them in this way. You want to make sure that this last pixel over here is connected to this one over here. Now, how you want to go about connecting this to is up to you. But you don't want to go outside this little imaginary square, so to speak. Okay, so you don't want to create something like this because it wouldn't blend in nicely. When when we go a little bit further. Run. All right, so let's go. And Mark, this is a new one is a new tile, and then I would connect this to again. I'm keeping inside of this little imaginary square, and I think this is okay. Now I can think this same part, and I can replicate it on the other side again. Market is a new style. Flip it around and then I can just repeated the process on the opposite side as well. Now you can notice that the battery in the grass doesn't change here because we didn't actually rotate it. We just flipped it around. In other case, we just created want tile and then we are just going to flip it and rotate it. And here we go. So, just like this, we have a nice nice little tell. Now, once this is finished, if you don't like anything, you can go and mess around a little bit. If you if you wish. To you. It's a lot to you. You can extend certain things. You can connect them. You can add a little bit more off the grass texture. You can do whatever you want, basically, at this point. So now how the days to connect? Well, let's go and try to create in nice, smaller little map and I'll show you where the problem begins. So now where we need to connect these two portions So essentially, we, uh, something like this. And now if we were to connect this to we don't actually have a tile which connects them so you can see that we are missing something and you can see it's not here. And this is why it's important that it's in half. When I mentioned this, why should keep this half? This is the reason why because now we are going to create our second tile set. Now, this is the first style set 11 wants We create the second tile set. We will have a tile map, so let's go. And great it is now a nice little nifty trick that you can do here is You can take these ones and just put him on the opposite side. So right here this combination of the grass and dirt is on the right side here. You want to put it to the left side, OK, so you essentially want to make sure that these to blend in nicely. Now, I'm just gonna mark this as a new tile. So if I were to let's say, put this style or here or rather, this dollar here and this style next to next to it. You can see how they look next to each other. You see, they blend in extremely, extremely well. You can essentially have ah bigger and amount bigger amount off tiles that blending nicely . And it's quite easier now. You don't have to keep it on half, because if we didn't keep it on half, you can see that the equilibrium would be gone. So if just one of these were, let's say over here, you can see how they wouldn't blend in nicely. So even if this this one were like this, you can see you wouldn't have that many options because the reason why it's like that is also you have to combine them with these edges as well. So right now I just want to. As I said previously, just take these portions and put him on the opposite side and I want to mark them as new ones is new tiles. Now, if I just go and put this doll over here, you can see the ratio off the grass and the dirt is wrong, and this is very connect this to Okay, now I'll go and create a nice new tile from this one. And this time I will again connect these two together. So I will take this grass and I will take this pixel addicts, this pixel or here. So this too. And this imaginary line here is where it's going to be. Well, once I connect them, you can see that these two are gonna blend in perfectly. So I think it's just easier to show you what I mean. Then I can take this grass texture. Then it just quickly plight. Then I can. They protection just slowly combined them. Here we go. So now we have this over here. If I were to take this one over here again, it's the same story. You're just replicated creating. You tell for me to make sure it doesn't work like this. So it doesn't happen. So you want to make sure you registered the new tile? If you're working with pixelated and then just flip it around Now you have to tell sets. Now these style over here, you're gonna get it from this portion over here. So essentially this one. So because we make sure that everything is well on half of it. So because we kept our Tyler here on half. This means that is gonna be half of it here as well. And that's gonna mean when we connect this to at the address, they're gonna connect on this half white points. And that in the future means that once we create these over here, these are all on halfway point as well. And these are here. They are in the opposite ratio off these ones, all right. And this enables as they essentially they have the symmetry in opposite sides, so to speak, right? So the ratio off the grass and the dirt is basically just switched around on these edge tiles while it's skeptic the same on these middle tiles. I hope that makes sense, because right now we can create pretty much anything we want. So now let's just go and mess around a little bit so I can show you. I'm pretty sure I showed you this in previous beginner level lessons, but we are gonna add some details on top of these. So we are gonna have to go one step further. I want to make take my character and essentially put him here so we can see how he looks on this little map Over here we can create small sections of grass or here they don't have to be big. So let's go and take this portion and we can take this portion here. So again, this is really important because right now, if we just take this corners, we can make something out of them. And if we didn't make that, you can see that we can even take this one. And this is all because we kept the ratio here 50 to 50. Trust me, you contrite making this in different ratios, but you're gonna have a lot of trouble combining them to be a similar. So this is a really, really nice time saver. So you can like place maybe, Ah, chest over here or some sort of up potion. Or maybe creature trapped, who knows? But essentially, this is the easiest way to make our tile set that works in Dublin Shooter. Now we still it to make some things, so I will probably create extra objects here on the map so we can start creating them, though they will be on a different layer than the bag. So this is going to be the background and under layer on top of it. We are going to create this and call it foreground. Now this is a a foreground background in the same let's say perspective as a platformer, but basically background is the thing that is further away from us, and the four grand is a thing that is closer to us in this case. This is going to be, um maybe some sort of like this. It's sort of an item's. I'll come up, it's something and I'll create them in the future license. Now this is it for this lesson. I will be creating some objects and details to put onto this background, and I'll do those in the next videos, I'll see them. 24. 10.8 - Road and Sidewalk Tiles: Welcome back in this video, I will show you how to create few more different tiles. Just we have more of them available. Simple because of some of you asked me to do this before I start making some objects. So I'll just backtrack a little bit and do few more towels. We can see how you can make something else except like simple grass and dirt. All right, so let's think about our little world over here. And I decided this would be like so, Sarah Strange. Mix off everything and anything, but it still needs a certain cohesion in order for this to feel like one actual world. So what I decided to do is well, since we have a gun like futurist a gun. But maybe this is a time traveling some sort of our old man. I decided to make maybe like a simple street. Or rather, we can make our simple road and maybe sidewalks. Just You can see how those will combine with the grass and with the dirt because not all tiles need to be made into tile sets. So I previously said it. If you plan on having a two different tiles like these ones on the top. Then, in order to combine them, you need well, basically make this a to least thes nine sections or rather eight around this middle portion. And essentially, if you want to make another style, you would need to combine it with the other two, and then you would have to combine this first you with the 3rd 1 and then if you had more, means more combinations as well. But what I didn't mention is that if you decide to keep a specific tile for only one purpose, you can get away with a lot off. Let's a time saving trick. Simple, because if you know those, let's say two tiles will never touch each other. You know full well that in that case you really don't need to make this. So let's go and have some fun creating more thous and I'll start with the road and then I'll just simply add maybe a sidewalk. All right, so first things first, we need a some sort of a road, so I'm gonna pick some color and essentially, I'm taking this myth down for the for the dearth. I'm going to go in the blue in the blue hell. And then maybe, uh, this saturated quite a bit and dark in it quite a bit. I mean, because if this is an asphalt, then it would be quite dark and yeah, it could be even document this. But I think like that completely black or very close to it, you have very little difference. So I like to keep things slightly lighter for this specific reason. Already told you that if you want to keep the colors like cohesive, you can keep the saturation like similar. But when it comes to such difference in materials, when you compare the grass under through the asphalt, then you can certainly go a bit further. That so if you know what is this? These two colors. So try looking here at the background colors, so you can see where our thirties you can see where our grasses that really similar. But then you can see the asphalt is way over here. Because if I kept it here in the similar saturation, you can see, even though it might not look that different When you compare this to you can clearly see that this one, if I perhaps dust around them. You can see how quite the different they actually look now if when you start shading making some extra details, the difference is going to be more and more noticeable. So let's just keep it at higher D saturation in this case. So I'll take this stop color. I'll just raise this going to dig around, and this is going to be our well, essentially is going to be our threat. Or rather, the portion of ST let's say, just a portion off a road. Maybe it's an intersection and goes over here. Now you want to keep in mind how many tiles it's going to be wide because are you need to decided where the middle of the road is going to be Simple, because are you want to put those white lines that ah, market the middle of the road? All right, so let's go and mark this as a new tile. Now I'm gonna paint over all of these, at least for now. So now if I change anything to anyone that all changed, Okay, so let's go even a bit more. So what else do we need? Well, usually when you have a road. You need a sidewalk. So right now I want my road to be only four tiles white. So this entire place is actually I needed. And I want another tile for my sidewalks. Excellent. Now just keep them all around this entire road on old sides. Now, I just with some green color over here, but I'm going to rework that. So how are we gonna make this sidewalk? Well, simply, I'm gonna take this color off the road. I'm gonna lighten it up Ah, lot and just shoot at you a little bit. And I want sidewalk to be not completely white, but rather light gray color. And just like that, we have a very, very easy sidewalk. Now, how can we make this a bit better simply because of right now, these two don't feel at all. So it simply said the amount of details doesn't match. So I am keeping everything as the low details as possible. But you still need at least some of them to make this look a bit better. So right now I'm decided that I just want to darken a little bit more. This sidewalk and I think this looks this looks great. Now what I need is some sort of a shadow, and I'm just gonna put one outline on tile. And what's gonna happen is that right now you can see how they look. If I just put on two sides, one pixel. But if I connect them on all sides, you can suddenly see that everything is two pixels actually wide. So there are many ways you can go about it. You can, for example, take this entire piece so essentially you can create multiple tiles. You can create three different towers. You can create one for the horizontal one for the vertical. And then you can create another one for this intersection. Basically, right. So for these edge edge tiles now, if you don't want up, let's say spend more time on it. You can just get everything as one tile only and be done with it, which is what I'm gonna do right now. So let's go and create some streaks here on our road again. That completely white because they, too, were in there. It's, you know, it loses some of its color. Placid can have some scratches, but I generally don't like using complete white coloring pixel art, but rather always slightly de saturated. So you want to find the middle, like here, the middle portions and you wanna add two new tiles and the top one is going to care once people streak over here and the bottom one is gonna have one over here. So now if I take these styles, you can see that once I combined them, they will result in this nice little streak. So if you want now, you can simply take these ones over here and again mark them as a new tile, and then you can just throw. Take them now in the game engines, the Pentagon which one to use? You might not have to do this manually, but rather congest. Simply take the values off the Thailand and just swap them around. But if you don't, you know this is certainly a a option. Now, if you want to go in more than this, you can create different like patterns over here in the middle on the cross section. I'll just keep it like So now how hard is going to let say Combine with these other tiles? Well, if I go and take for example, this dirt you can already see it looks quite OK. It's not there yet, but what we want to do is take again new tile. And we want to take this shadow tone and just make one or two pixels off it just to create some shadow. Now I tend to find that one pixel in these kind of scenarios is a mord enough just so they can you You can see how they separate a little bit from the sidewalk. It gives the sidewalk a little bit of height, which is always nice. Now you have to repeat again this process for all of these tiles and again for the X value . You will need a new one, and essentially, it's going to be like so and this is just very quick and easy tip. Now let's go on and say you have, like, alone over here. So if you want the stars to be like so now, notice that I'm erasing this stop, um, shadow part simply because, you know, I just wanted to show you a few different solutions. So the 1st 1 is the definitely just make some shadows and you are pretty much done. But you can also make this. If you know that these towels are always going to be next to the dirt and only next resort , you can even make and keep these all the same. But then, under tiles themselves, you would create the shadow tone like so during this case, you will need you move the stock portion and you get the same result. But you keep the number of tiles less when it comes to combinations of these two. Because when you look at the side, then you will need again, As I said, vertical, horizontal and then one for the edges. So it all depends. Have you decided to approach is it's all up to you. But I'll just keep it, um, for now, without these shadows. And let's see how if I combined them with Onley grass, how they will look, you can see and the process will they build much the same. You can just take the shadow, tell off the grass, and then you can just added over here, and this again also enables it to be a bit better than you can just erase these ones and you could see how they look, I mean, this is pretty much a really minimalistic type off think, but, you know, if this is something you were aiming for, you need to be a aware off that there are fewer different combinations and how we can achieve the same thing. And it's always a good idea to just experiment on a few different things to see how they will look. You can see that I have created my character over here on the right side, and I'm just erased the black outlines so you can see how the character looks without him. And if I put them over here, or even over here, you can see how the character but blends in or rather stands out from this entire environment. Now, if I were to make this for a game gym or something like that, but I don't have a lot of time, then I would keep it like this. So even without shadows, and then I would use this transition, these transitions between the dirt and the grass to be that same transition over here because we can just replicate what we need to like. So again, it depends on how someone is taken care of there alone. So you know now, if you want to add more the right you can take maybe bottle days, maybe make a few cracks, then maybe this one doesn't appear everywhere. But maybe on every, let's say 10th or something like that may make few different cracks. You know, basically making a variety off different tiles. ISO is always nice. You can either make different tiles and then randomize them between just They can give a bit more texture to this entire world. Or you can just make the tile. And then on the separate layer, you will create Onley this, um, crack. And then you can put it as a separate object on top off the top of the tiles. And these are old solutions for your game. However you wish to call it so this is also nice. If you decide to keep it like this, then maybe can create another tile which maybe has, like, few different grasses going over it like so maybe it also happens and few of those maybe it happens and feel them. You know, it is all up to you at the end of the day, so this is it for this lesson. I'm sure you come to create a simple road and simple sidewalk and have to connect them with these two existing tile sets. It all again is a city. There are a few different ways you can pick and choose whichever you like the most. Then go with it if you are really short on time. So for a game gems and stuff like that try to keep the tile set a smallest possible and the simple as possible and try to see how you can combine them in such a way that they are. They look OK and they look good, but at the same time you minimize the amount of work you need to get that. If, however, you are working on a big project which you know you're working on it for months or even a few years. In that case you can make his biggest style set as you want. But remember, towel sets are basically here to make our life a lot easier and to make the game ah, lot quicker. So the whole point of thousands is making the game a lot faster. So, you know, this is something you need to keep in mind, so you don't want to overdo it. But if you have more time, feel free to add more tile sets. All right, this is it for this video I will see in the next one. 25. 10.9 - Top Down House: welcome back in this lesson television. You have to create a top down house now. This is a technically, it's really useful when it comes to creating top down houses. And you know, it's something that you can make quite easily quite quickly, with even more it orations that are possible with just a little bit of fixed Robert. So I'll be sharing. You have to create a small house or other small roof and then how you can expand on it. So let's create a new layer and rename it to house. Awesome. Now I'll be using four tiles to make my roof. So let's go on and do that. I will be using black outline in the beginning, and essentially I've created a square and I will be dividing this square into quarters. All right, now that to finish this, we need to decide what will be the color off our roof. So I really like orange color. So I'll do something in that. You awesome. Now I've used for the character directly from top to down light source, and if I were to do this with the house, it would look well, something like this. The light Or rather the highlights would be near the top, or rather near the middle off this roof. Since you know this, roof tiles are pointed putting to the top, meaning this is the closest to us this middle portion, and this would be the portions that are food away from us. So essentially I would shade. I would shade this entire roof tile in such a way. But I won't be using such a technique, obviously, that these are just scribbles lines. It's not finished, but this would be the positions off lights, or rather, the highlights in the shadows. But in my experience, and for my style, that I really like is that I usually take an angle for houses, at least an angle light source basically top left light source of top right, however you wish to and I'll be choosing a top left light source, meaning our entire top left part portions off our house will be in light and bottom and right portions will be in shadows. This is really is a way for you to decide where the shadows are going to be. So we are taking this myth stone and we are going to create a shadow tone, and this is going to be in the shadow and very easily. These quarters are quite useful for deciding again where the light will be and where the shadow so be so we have to well do essential tones. And now we can combine them into one. Actually, I'll make this just a little bit darker as well. Awesome. So I'll take this lighter tone, and I will be using this lighter tone to texture the roof tiles in the shadow and how they do that. Well, first of all, live one pixel off empty spaces, so we don't use the speaks ALS, and we don't use these pixels. So one pixel should be empty near the black outline. And let's go and start from this. And this is our This is going to be a roof tiles. So we have. This is essentially square for before pixels with top edges removed. This is quite uneasy roof tile to make. And then all we have to do is replicate this roof tile on these entire quarters. What you get near the edge, of course, probably won't have the space to make an entire roof tile. So you can just, I make sure eats. It's in the same height, if possible. If not just of this left while you're just going to be one pixel, that's completely OK. And there we go. We have an entire roll off roof tiles. Ready now what? You make a new roof talk again, living one pixel space in between. You want to offset them a little bit. Food for just one pixel is enough. If you stack them just directly on top of one another, it tends to look a bit strange, so to speak. And now we just repeat the process. So again you could even make one tile. Different will be different and then just break it off into another tile again, that's completely OK. Not all roof house need to be exactly the same, but these middle ones I'm should be. So there's a least a pattern that you follow, but the edges. They can be pretty much whatever you want to. All right now, to clean example of it. As I said, this is an extremely easy technique, and quickly you can make any car roof. So let's see, and I believe this should be it maybe one pixel here. Awesome. So, just like that, we have an entire quarter off our roof tiles. So what should be our next step? Well, we need to take sure the other quarters, so we only have 1/4 finished, and we need them. We need more of them. So you can take this entire portion like, so you can erase the access the excess and rotate this one and just placed over here Quite a nifty trick. Then we can use well this copy, which is going to be here. But as you noticed, the colors don't match. We need to colors. First of all, this they're grant. Don't so to speak should be in this color. And currently it's using it foretells. So we need one color for the tiles and one color for the bag and sees the house are lighter than this background. Don't we also need to make a new color? So we are taking this myth down and we are going to make in light of color. And now we have off color for our 1000. The light and pixelated comes with a nifty tool called color replacer and essentially take the color that you want to be replaced and then new colors. Essentially, you have a darker color in this case, so the styles and the new color on top of it, and you can switch them with this. So if pipe use this color place tool to so colors, you can see that it will only change the color that I've targeted, which is a really nifty till now depends on which is after use. You might have to do this manually, but, you know, this is just something that, well, I'll save you some time. And then we do the same thing for this background toe. And there we go. Just like that we have. Yes. Let way. Have any tire rooftop. Now, If you want to leave blackout clients, you considerably do. So I will be removing them in just a few moments. But this is essentially what you're going for. You want to make sure that your entire proof house is at least a little bit textured. So what is the next step? Well, we need to add highlights, So we are going to again take this tone from these from the styles in the light and just put some highlights on these roof tiles in the shadows. Nothing. All of them, Just in some of them and the new Europe Repeat the process. This is also the opportunity for you to introduce some variations so you don't have to replicated them. You can just go with whatever feels the best year. Now, you could put pilots on all of this, but, you know, I think it takes tow. Look a little bit better if you don't overdo it. And then we do the same thing for the lighter once and again. We need an even lighter tone. Maybe one over here. You can just pick few of these a random once, and then you can use the highlights in different ways also. So you know this that on some of these I use this like like that Tetris style. And some of these I use different ones. Sometimes I'll just use one pixel. You know, it all depends on what you feel is the best at the moment. And once I put just few of these highlights, we are almost finished with this basic house. All right, That's pretty much it awesome. And just like that, we have a very, very simple house. Now we need to use shadows. So this time we will be using this shadows on the beginning one the background tone. And we are going to use it on the top left corner and here in the middle to achieve um, this Grady int since you know, as I said in the beginning, from the middle to the other edge, it's basically an angle rooftop. So the further away we go to the bottom, it should be darker. So I live to effort, says this, but just putting one shot of tone over here now what else can we do? Well, we also have these black outlines, but if I just put this shadow like so you will see that it looks a bit strange. So we need an even darker tone of shallow. And this is what will be using for the rest of these. Now this great And over here you can pick and choose whichever you like the most. You can either choose this lighter shadow like so all you can use this darker shadow like so Personally, I like using this darker one a little bit more and just like that. We are finally finished with the smaller house. Now, how can you use this template to create bigger houses? Well, since these are divided into tiles, we can essentially take these corners and extend the house a little bit. And then we need to make these middle these middle tiles. And then you can essentially create however long houses you you want and let's go and just make these middle tiles. So we need to connect these and again, this stop tile is going to be in the light and the bottom one is going to be in the shadow . Okay, so from this Quinton, you just go and feel in the tiles and they probably won't connect perfectly, which is completely okay, in which case you want to make sure that you finish the neighboring tile completely like so And then you can just put one strange style here in the middle. If you want to save, sometimes again doing this same thing for these portions, then I'm just going to offset this a little bit and make this strange tile here like so and then we just repeat the process. Now, this time I might want to put these over here. Just so we have a little bit of difference, then I might want to put this in the middle. Essentially, I'm trying to change the position off this one pixel with higher roof tile in different positions just so we can break it up a little bit. And we have just one more row of these. And essentially, this stuff wants I don't have the space. So in order for them not to be, like, completely almost square like erectile again, I just remove the top edges like so and then weaken just again. We need these highlights, but we'll make them in just a few moments because we can just take this style and again we can just rotate it like so. Then we can change the color off these roof tiles that we just increase it. We can then change the big Ratto, and we also need to change this time even these shadows on the edges, like so Then we can just take this one and connected or here and And if you know this, it lines up perfectly because we made sure that it lines up perfectly over here, and then And then again, it's just a matter off adding these highlights in few places. And just like that, we will have a bigger house finished. The position of the highlights is always on the top left corner, even though over here we are putting them in the bottom right. I now this is just in terms off, shading on how correct it is. It's not that correct, and I'm well aware of it. But I'm choosing this for stylistic preference. And this is something that I'll talk about in later lessons. More advanced lessons where you can essentially, really cautiously choose to do Iraq shading. If you look, if you think it will look a bit better, this is something they dented you quite often in, Let's say, animal and cartoons. All right, so there we go with just a simple integration. We have a really, really nice double. Now again, if you want to make them bigger, you can just see that these line up perfectly and then you can just make as big or as long houses you wanted to. You can rotate it down. This you can do either way again mention or even Bixler directly. So Essentially, you have the option to make, um, big houses. But just creating a small one first, then creating this myth myth style. And then you can just pretty much do whatever you want. All right, This is it for creating a house in the tub. Dario, I hope you like it and I will seal in the next one. 26. 10.10 - Top Down Vehicle: welcome back in this lesson, I'll be showing you have to create a car or truck or something like that in top down view. So we already have, like, a road over here so we can use that as a reference to how big we want our our car to be basically. So I'm creating a new layer again and I'm going to put car and I'm just going to decide how big I want my car to be so I can just turn on this grid and now it all depends. I mean, I think this is like, a really, really a relative size, because in games the proportions really are to death. Realistic, like most of the time. Unless you're playing playing like a three D realistic RPG, then yes, but in pixel art and two d arc specifically, you know, realistic proportions aren't always there. I mean, look at our character in comparison to our like house. If you want to make a realistic truck, it would be probably like this big, pretty much more or less. But since I want to keep everything within tiles and you can see that it's two tiles, wife, this entire well, the half of this road. I want to make sure that my tracker car is just one big selling with So again I'm putting a rectangle to indicate in this real probably break away from this a little bit late. Run. But what did you win it? Well, there are two ways you can do this. You can go either on if you are a total beginner and you're ready made it to this lesson. Then you can go to Google and let me just do that very quickly. And you can just google a car or a truck that you like and just add top down view or talk view. So I'm just going to like the car stopped view, and I'll be just taking the, like, one of the first cars that I see and putting it here in the pics lead. As you can see, it will shutter stuff. I won't be using this image of what altogether, but I'm just going to show you what I mean. So what, you have your car, you can actually resize it to the size that you need it. So I guess something like this should be, Yeah, this should be very much perfect. And I'll just use it here on a separate clear, and then what you can do it is basically, you can trace around it. Second, just trace the outer edge off off these, um, off this car. Then Once you finish tracing, I wouldn't be doing this entirely, but essentially wants you do the tracing off the car shape and let's say the position of the window, maybe the position off off the lights in the back, or maybe the glass windows over here. Then you can use this like is a template for you to continue making a car. Obviously want to make a specific car. Then you you can just race over it to, you know, save time. But I always encourage it to practice your basically practice your eyes to see what they're drawing and essentially use. This is a reference instead off Just racing, however, is have said, if you are a total beginner by this point, uh, this is just a nifty three for you, too. Speed up your workflow. Okay, so this is just something that you can do as a practice. Please don't do this. If you are trying to really, really improve Azan artist because it will be a bit detrimental. But again, this is just a nifty trick that you can use, especially even later on. If you are a freelancer and a client, ask you to make a specific a car. Then, in order for you to meet the deadlines and be quick enough, you can dress, trace it and then just adapted to do the resolution that you need taking care off the details. That unit. All right, so let's go back to our car or a truck. Let's say vehicle and let's go and start making it. So either side, this will be like some sort of a strange truck. So this back portion will be like there the stuff where we can essentially put some stuff if we want to. And this stop portion obviously is going to be where the lights are, where the glass are with the driver cities, etcetera. So first I want to. Let's say I want to run this up a little bit again. Now, this is something that you can pretty much go nuts, how they say and just have fun with it because we essentially took a rectangle, and right now we are just going to block out the most important portions off a car. So we need some lights. So I'm just blocking out the position for the lights. Then we need a space where our well, essentially in the space where we can put our glass and it tends to go wider as it goes near the bottom. When you look at it from top down view, then we need some glass for for the doors and weaken. Just emphasise it a little bit like so we don't have to overdo it. I'm just making sure everything is lined up. And then we need a portion that will indicate the heart off our vehicle. And also, I can put here like some sort of a like space where he can just go through the roof off the car or rather, the truck, and this is really nice. Then I can just put some places for our off our tires. And again, this is something that I'm well aware of that I'm going outside off outside of these 2000. That's completely fine. You don't have to limit yourself, Father. If you do wish to limit yourself weak, unjust? Well, like in a little bit. And then just perhaps you can try living like so But, you know, for vehicles and stuff like that, it's OK to live well a little bit more. Because if we are to drive this, you can see it fits really nicely on half of the road again, if you look at it, this from realistic perspective, as you can see, like, the proportions are all off. But that's completely OK for games, especially duty in picks a lot. Okay, so I believe we can start shading very, very soon, and I just want to put this a little bit more so he has more space to work with in the back . I mean, all right, so now we can just shake this or other colonies. Since I picked orange color for the house, I can go it a blue collar for or truck and I will use a dark blue color for shadows. So for these portions, maybe not as saturated, awesome. And then just to speed things up, Yeah, I need to pick it again. So and all right, here we go. Then I will need a color for our glass. And this is pretty much an extremely light What color like So you can put even some highlights if you reached you. This can be completely bite, but like so, um, this portion or here needs to be completely black. We need some lights and we can put yellowish lights over here. I'm just blocking things out. We will need tires to be completely black, so any to redo it is eso then putting some lighter tones, perhaps here on the top, and the and again, Since we are using such a stranger backstory so to speak, you can do with this truck whatever you want. So if you want a red light to be here in the mill, you can just certainly put it there. You can do the same thing here in the back, so, like, so you can do the same thing with this yellow color. And now we need more depth to this portion so I could take the Smith down and pick a color between these two so summer in the middle. And then I can just shade it like so awesome. Now I need a highlight color, so I'll take this middle and create lighter, turn to it and then just go around around the few places to you indicated shape. This is a very, very squarish looking truck. But that's completely OK. Perhaps over here as well. Now, putting these culottes, we'll give it, um, more depth, as you can see already. And we might need a little bit more of these, like so, Actually, I might make this even darker. And there we go. So, just like that, we have our vehicles. So this is something extremely simple. Nice. Not personally. I'm not a big fan of firm creating vehicles in all honesty, but, you know, this is something that you can really do quite seem. All right. So this is it. This is how we created a very simple vehicle. Well, in the beginning, I thought it might be a car, but this is obviously some kind of a strange truck. And yes, this is old arrested. I hope you enjoy this lesson I was seeing the next time. Well, I'll be creating just a few simple objects from the top down perspective. I'll see you then 27. 10.11 - Objects: All right, welcome back. In this lesson, I'll be showing you how to create, like one or two simple objects. And what is the logic when you are trying to create different objects in top down view? So here we have, like our car and our characters, so I'll create a new layer and let's call these objects and I'll create this specifically here in the truck, since I only made space for it. And what can we go with? Well, let's go with of us. So we need something in the brown hue, and now you need to visualize how the object will be looking when you are looking at it directly from Dr DAO. So let's take an example. We have a cold or a cell in the raven. You know how the cylinder looks. It's rounded and elegant. It basically, but it's stopping bottom are around it. So even if this is a cylinder now, obviously I'm just making an example here. So if this were a cylinder like so when you're looking at it directly from top to down, you would only be able to see this stop portion, which is circle. So similar goes for the Coney, even though it's pointed from at the top, because when you look at it directly, the cone would basically appear as a circle. And again, this is stuff, too, just to think about every time when you are trying to draw from top down view. All right, so we need of us. So I'll make. I can make a big or a small Woz. It'll depends. Let's make it really big. There we go now. This is obviously really, really big bus, and now what do we need? Well, first of all, I need another smaller circle here in the middle, and I can just call releasing completely black. Now, from this point again, if the lighting is going directly from top to down, then you can just take distant and just gradually start darkening it and then make another shadow like so. And there we go. Now this is a rather's real, real simple of us, and you know, it's quite easy to do. It's basically just two circles and colors in between, and if you want to share it really even a bit more than you can just place meat stones over here, this still depends um how much details you wanted to be in your style. And there we go. So, just like that, we have a very simple waas. Now again, what you want to do in your game? It's all up to you. So you need to take about objects. Division creates. So right now we went with a vase. If you wanted to have handles, you can simply just extend this a little bit. Now, remember, if we're looking at this waas directly, the handles might be something like this connected to the body of the WAAS. Right? But since you are looking at it from straight from the top down view directly, we essentially see that tiny, tiny portion off it. Okay, So what could be our next object? Well, let's make a really, really small chest, for example. Says that's quite a popular item or an object you have. And let's use these same colors just for the sake of it again. There are many different types of chests in different um, we're essentially different in different shapes and sizes and also different materials. So since you're using, like this brown color, I guess it's made of wood. And now when it costed chests again specifically because of their types. Sometimes you will be able to see the lock off. This just so if we have a lock, it might be visible over here if it's that angle. So if the doors are surrounded and angled, you wouldn't be able to see this at all. But in games in the game design, if you really wanted player to notice and recognize this as a well, basically the chest where he can look for items in that case you want to make sure it has some kind of a visual cue that it indicates that this is a chest. So this is a very easy way to do it. And let's say this just is around it a little bit so we can do it like so and it even has around it address. Now we need obviously more shadow tones. So I will be Isn't giving more of these? In this case, I will survive but the positions. So here we go. We have a little get a bit strange just and this is, you know, usually enough to indicate something. Obviously, this is a really, really small chest, so you told Depends on what you're trying to dio. If you want to mess around with it a little bit more again, this just is angled. So this is the top, and then it's basically angle towards the bottle. And this is what we are essentially trying Teoh emphasize with these latter tones, I think so and then I usually like to emphasize this a little bit, so this is how you usually leave it, and you might even extend it a bit more like So maybe put some highlights. And there we go. We have a really, really simple chest now. How things look from tabling well, you can see the house even though it is angled. You achieve that angle with shading, but when you look at it from straight down, it's essentially a square or a rectangle, and this is a really simple mindset that you have to get into. I mean, our car is basically our rectangle with like rounded edges here and and protruded tires. But dub diarrhea is really simple, really simple, because you just need to think about how it would look the record from top to down. So that's all you need to worry about. If you are not sure how the object looked, you can basically just google it and type top down view and see how it looks. All right, this is it for this lesson. I was seeing the next one where I will create a really quick mock up off this game. I'll see them. 28. 10.12 - Top Down Mock Up: Welcome back in this lesson will be showing you how to create a simple markup game from the tireless and objects that we already have. So I will be focusing or here on this portion. So I want to extend this like so we need 123 4000 very least for our wrote. So I want to make sure we remember that we have two tiles in between these white streaks. Then we could also make it over here. Why not? And let's see. So here we go. We can essentially think these ones now creating game markup is basically just trying to make things look more interesting. Once you have your base styles and some basic objects on, then you can just go around and have a little bit of fun with it. Just putting this this tell with this crack to make it look a bit more interesting. Not too many of them. Then we can just but this over here. Then maybe we can take our house and put it the house over here. Now let's make it a little bit longer, like so. Now let's make it extend completely. So date can't even see the end of it now similar to what I did over here. You can make it. Um well, essentially can make it. Yeah, extent, maybe have a few different roof tiles. But, you know, at least try to make sure they're angled at the same way, because right now the shadows are facing top and the light of stating bottom. So if you are going to do that, you know, you can just take this one they could like so and then you could just flip it around. And what you have a very simple house made. So let's go back to this portion and just make it into a ground. Like so then we can move our houses. Let's say these are like small. I'm not sure how we called them pavilions, I guess, like a few small of these, maybe you have the barbecue beneath it or something like that. I need to fix these like so and then we want Monte, perhaps like a few patches of grass over here. And we need the edge, of course. Well, a bit too much and again you will need to decide where the edge is going to be then we can just take these few patches on makes something different, like so essential. This will be our mock up, which is why I'm not bothering with extra details here above. However, they will be able to see this one. So let's make it quick. So then what's almost? So let's make our vehicle. We can leave this vehicle or here. However, we can perhaps rotated over here now just very, very quickly. Weaken. Just take the color. Replace. Until now, if you were in photo shop, you can just use the here situation and real adjustments which, well, actually sick, but all the time. But here I will take the stone and just pick it twice and just change the hell into something else, perhaps something like this. And then I can just go and paint over it. Rick were very quickly. Essentially, the point is, when you have the mock up, you basically just want to make it orations as many iterations. It's possible again in Photoshopped. This is something that's done like extremely quickly, But, you know, we can't always choose everything all right, and they have another color so we can just take this color looks up and essentially already . If you have two different tracks again, you can do this for many different trucks, etcetera. But for now, I think this will do just fine. Similar? You can do the same thing for houses. So if we wanted to have a blue house, we can just take and start from the lightest stone, which is this highlight, and just place it somewhere in the blue Hell and we need to be the house or here and then just go from there. Now, this is like a very, very quick way for you to have more. It orations very quickly. Now the blue color is way too saturated, in my opinion for this, but so it could be saturated a little bit. But essentially, this is how do you make it aeration. So what can us else can we do? Well, we can take our objects like this big vase and put it just in few different places. If those vases vases are something that you can actually break to May to get an item or something and putting them on a few different places, good means something. Similarly, you can do the same thing for the chest or the box. And then we can even make a few simple flowers and don't over complicate it. Just putting it like so will be more than enough to make it just that a little bit more interesting. Just in a few places. Then we can maybe make I read one. Maybe this one grows on the dirt and on this right side over here, then you could make different, different ones, etcetera. So you can even make different patches off the grass. Or here again. If this is something that you are going for, you know, it's your mark up you can do. You can just have fun with it and see how it goes. And all right, let's say, um, this is currently enough. So basically, Justin, more cup. You want to make sure you have different things, deciding which character you want to use. In my case, I believe, um, you can see if the character goes here. You can just perhaps put one NBC over here if you want to indicate their enemies. And essentially, I'll just remove this one and I will be using on this one like so and maybe he's going over here for this For these, um Waas. So let's say he went outside of his truck and is going here. All right, so this is pretty much it for for our top down game mock up, and I hope you enjoyed it. So the point is yours. The objects and thousands you created during this challenge. And just add a few extra little small things just to have a bit more variation. It shows that you have more objects when essentially all you did is change color. So for the truck in the in the house and even these flowers, all we did was change color, nothing else. Again. If you're using Photoshopped, this would be quite easy and quick. If not, it will just take a little bit extra time. I hope you enjoy this. I will see in the next one. 29. 10.13 - Top Down Challenge: welcome. The challenge for this section is quite simple. Create your own top down view. Gave a mock up. Once you finish it, please be sure to share it on the discord server and in the Q and a section and please remember, be relax and have fun. 30. 11.0 - Intoduction to RPG View: Welcome back in this section, I will explain to you what is the arpeggio? I will show you a RPG. Can ITER design its work cycle in all eight directions than an RPG Tallis? It house three chest mushrooms, rocks and some other things when creating an RPG markup at the end. Off course. After all that, you will receive the challenge off your own. I hope to see that Enjoy. 31. 11.1 - What is RPG View: Welcome back in this video, I will explain to you what is the arpeggio by my definition and what will happen with the teaching format from this moment onwards. So first, what is the art material? Well, this is one of the game perspectives which can vary a lot if you remember the previous two sections. The platform review where if this is the character, this is how you look at the character so directly at the character. If, however, you remember the previous section which is the top down new section, the same character, your camera or your view would go directly and look at him from top to down. This is the top down perspective. Anything in between is the are pretty view. Sometimes you will sit on the 4th 45 degree angle. Sometimes you is. You will see this a slightly higher angle or at a slightly lower angle. There are different possibilities and you can do whatever you want for your own game. And remember, you can always combine perspectives to get our certain unique look to it. So here a few games that you can take as an example off the arpeggio I've already mentioned the hyper right drifter. If you see this, that sure, here, you can see it's topside and it's site. So we have the top portion and we have the site portion off it. This is what you can see. If you were looking at this from a platform of you, you would only be able to see this red portion. If you're looking directly from top to down, you would only be able to see the stop portion. However, in the arpeggio you can see Bottle does. Another example would be Pokemon. So you can see here at the the buildings. You can see that you can. You essentially see the roof of it, but only one side of the roof again. You can mix and match. If it's a slightly higher angle, you would be able to see some portion off the roof over here if this was a slightly higher angle. If this disquiet lower angle, you would be able to see a big less of the roof and a bit more off this wall. But essentially you can see that the wall is representing Hears of this wall is representing the side portion off the object and the roof is obviously this case, the top side of the object, and this applies to everything here similarly for the characters. Another example would be Moonlight er. This is one of the new games, newer games from the moment off, recording this video and you can see the similar thing over here. The reason why I picked this one is because one well, if you research the game or played, you can see that when her character enters the building, the perspective is slightly different. But more importantly, look here at the door. Do you serious? This is called for shortening. This would go slightly more towards more realistic perspective, and that means whatever is further away from us, it looks smaller, and whatever is closer to us looks bigger. This is what they applied for this door, for example. They also did it here for the boxes you can see it's slightly angled and this can be done if you are aiming for that style and it you don't have to do it. However, it's not needed if you are aiming for a different style. So if you look here at the document, their doors are completely fine the roof. The entire building is completely okay and it looks good. So it all depends on what you want to achieve. The big difference between two perspectives, a realistic perspective and the game perspective. Those are two different things. Realistic perspective. If you wish to research it, you can Google one point perspective, two point perspective and three point perspective, and it's essentially one of the easier rules. How to create a realistic perspective if you wish to draw it realistically. However, for games because games is an interactive media, it's not one still image you are moving throughout the world. This is why some perspectives are simplified so everything can look cohesive. Okay, this is one of those perspectives are pretty view is one of the game perspectives as a metric few. It's a similar thing. Platform review. Top them, you all of those things. Our game perspectives. Okay, this is all there is for the RP jovial section when it comes to perspective. Now I will talk about what will happen from this video on words when it comes to teaching material. Up to this point, I have shown you pretty much every step of the way when I was showing You have to do certain things. However, from this point I will be showing you what I've done in a more simplified manner. But I will be explained to you how each of those things have resulted. How did I come to those results? And I will be showing a few different things and few tips and tricks along the way, as I usually do. But I will not be drawing everything from the ground up just to show you specifically how to create a just one simple style. Rather, from this point on, I want you to become independent. I want you to develop your own style. I want to break free 100 plus videos after this point, are more than enough for you to get comfortable with big slots with software. If you are still not comfortable bits after, please keep on practicing and he falls. I will be sharing with you so you can study this in more depth. If you want to you I will be sharing them in a spread format and pixel edit form, so if you have those to suffer, you can research them in a bit more debt. However, if you don't have these Softwares, if you don't have this programs, you will not be able to follow along in the same way that if you had this problems that said the tile set and everything with those details I will be sharing in a PNG format. So if you want to import the PNG in another software, you can certainly do so and then recreate whatever you want for your study purposes. Okay? This is all for this video. I will see you in the next one. 32. 11.2 - RPG Character Design: Welcome back in this video, I will explain to you RPG character design more specifically my own style for a specific purpose of teaching you the RPG walk cycle. So this is our character. It's not the finished design. I will be showing that in just a few moments. But I wanted to show you that there are many, many different styles. I've shown you the previous video that you have one character designed like a polite lifter . You have totally different design for documents. You have another completely different design for moonlighters and they're completely different desire for this course. Important thing to get out of this is that many different styles literally unlimited. Whatever your imagination can come up with, you can do it. This is one off the key important things, that you are completely independent and that you can create whatever you want. However, for this video, I will be showing you my own style rather more specifically, one off the styles that I've used previously. And this is the character. I'll go into this battle position because I will be showing you the walk cycle in the future videos as well as the other possible directions. But for now, let's talk about the design itself because this is the arpeggio. We are looking at this character slightly angle from top. This is why we can see most of his head like the top portion head, which is why half of his head is essentially just hair. However, you can put anything you want here. Helmets, hats, different different haircuts, essential whatever you want. The bottom part off this had is, of course, his face. You cannot see the mouth, though you can simply put it there if you want. With different shading techniques. Noses also not visible, though, when you know where we can shade it in there can look like he has denounced below that you will see that you cannot see he's neck at all because it's covered by the head and by the chin. When you look at the rest of his body, you can see the shoulders. You can see the arms. You can see the fists and or other Hisense, and you can see his legs and a little bit off his shoes on his feet. This is how he would look like you will only know this, that for this specific design. I didn't place black pixel over here just to break his. I had a little bit in a sense, that the head blends in a bit more natural with he's upper body here on the side, you will see that I've placed the outlines for a female character in a similar design. So for her specific example, you can see that the arms are a little bit Tina. So if I place a this character right next to her, you will see that, for example, you can see four pixels here for his can and upper arm here on a health three pixels. However, with the female character, you can see a little bit off this space over here for the shoulders. And in his case, not really. Not because he doesn't have watch white shoulders quite honestly, more differently. He has wider shoulders. This is why we have this extra pixel indicating that shoulder and in her case it's just slightly narrower for the legs. Also, there is a little bit of difference. You can see that his legs are more spread apart and hers is more closely connected together . What you can do with these designs is all up to you. But this will be one of the challenges. But I just wanted to show what exactly this is Underside. So what is this character? Well, you can see his front view, So if he's walking down the map, you can see his back few side you and diagonal abuse. These are the ones that you will be using in the RPG view. Now you might be asking Well, if the character can move in eight directions up, down, left, right, and diagonally, why is there only five of these? Well, because three of those you can flip around in whichever software you're using. If the character design is a symmetrical what I mean by that well, the character over here, you can see that 1/2 is completely identical to the other. If you flip it around and the these two portions off the front, you in the back, few are unique because you cannot really flip them around. However, if I want this character toe walk to the left, all I all I need to do is, um Well, you can essentially just flipped him around. That's that's pretty much all you need then you are good to go. All right. So if I go over here on flats and click on this here folder like I won and if I click over here too, check these side colored Um, can it do? You can see if I flipped him around. Now he's suddenly walking to the left. Similarly, he can walk to the right. Same thing we can apply to. These characters are here, so he's walking down, right? And now he's working down left. This is why these three. You can just flip them in the game engine for the other side. That said, this won't quite work If our character E. Has a symmetrical design. This means if our character here has an eye patch on, he's let's say, Yeah, let's say he's a left eye over here So he said, a patch like So now we cannot sleep it anymore because he's let I in this case here isn't visible. But if you flip him to decide so over here now, this is the left eye. This I would be in the eye patch. However, this one wouldn't. So if the your character design is asymmetrical, just keep that in mind that you will have to keep an eye on these details. Otherwise it will work just fine. Okay, let's placed something on this character to give him more depth. And that would be he's colors. This is covered. He looks when we shed in him. Which colors? If I used well, when you initially open a sprite and a document, you will be given a color palette. This is the default color palette. This is what I've used to create this character. I will be showing you my own personal touch on this character. But for the walk cycle and specifically for teaching purposes, I've used on Lee these colors over here, so you can easily replicate them if you want. So if I go here and explain the shading off this character, if I go over here on the legs, you can see that from the knee all the way down to the sleeves. It's like, however, these three pixels are here that are in the shadow, are indicating his pockets. If I go over here on his hands or fists, you can see that this is in the light. And this big sell shadow here is here to indicate that it's a closed fist for his chest. His just is beat out outwards because, well, anatomy. This is why it's in the light similarly for his shoulders or in the upper arms. When it comes to his head, you can see it. I've added some pixels here in the light of down to indicate where the light is it in the most, and also in the same time deciding on his hair style. Some parts are in the shadow. I won't be going and exploring each other in every pixel. And when it comes to his hand, you will see that this portion over here. So between the eyebrows before the nose starts going outwards, you have this invitation. This invitation here is indicated with this shop for his ears. The top part is in the light. Then the rest of it is in the shadow cheekbones which are right next to the eyes or here are in the light and everything below. It should be in the shadow. And then we have the place where the nose would be. And if you want Martin or, in this case, chill. This is everything in the light when it comes to his backside, you will notice that the head is obviously different and this entire abortion is in the shell. Because this is where the skull is starting to go towards the neck. So this portion should be in the shadow. Um, I shared it. Of course. This is all in the animation. So just a second frame. You will notice that everything about him is mostly differently shaded when casting his back the portion of his bag that that in the light is the stop. Abortion, which is there were here and everything. You know how the back goes, curves the spine. This lower portion lower back is in the shadow. Then we have the bath chicks and those are going to be in the light. And because of that, well, they are shaded in the light. Everything below it is in the shadow underside view. You can see what I'm talking about. So this portion over here is in the shadow, and that's this portion over here. This is how the skull would go. And I tried to make an interesting find, a cute character design. So I hope I succeeded in that you can see that our character has chest forward. This is why this portion is in the light, like in the front few, then below it should be the Bali again. If you want a fat character, make belly a bit wider and this is the same thing which is here in the life so you can see how everything is coming up together. When it comes to his Sal, use similar. Think you can just go inside and instead of documents that that will be giving you and see how each and every pixel works for this case. In this case, this to last one. You can see that our character is slightly angled, so it's a quite unique perspective or other angle which most people are used to creating. What are you going on this well, first of all, his feet are on the same pixel line, so to speak here, they're on the same path horizontal path here as well here as well, though not real. But for this case, ifthis for this one it isn't. This indicates that his direction is going diagonally. Similar thing goes for this other top direction. If you look at his legs, you will notice that one off. These is shaded a bit darker than the other. This is to give it again a bit more depth. Similar thing happened over here and whichever hand is further away from us, I've cut it only half when it comes to its with. Because you don't really see all of it. This is why this hand is just the same as everyone. Every else. But this other hand is hidden. Same thing over here, but on the opposite side for this last one. So the upper diagonal movement, you will notice that you cannot really see his I you can see his ears and a little bit of nose, but you can't really see his eyes. This black pixel over here is his eyebrow ridge. But you don't see the eye or the people's. You will see the styles where you have those eyes. But for this my specific style, I don't usually put them there. Okay, this is all for this specific character desire. Now what would I make different? Well, if I tried to keep this care to style the same, but just add my touch to it. This is how he would look, so this is the desire, and this is how I would created the character. That same character, however, would recreate it. That said, this also isn't finished. I would steal, perhaps make a few adjustments to it when I see how it functions within the game. But most noticeable difference is that there are no black outlines, not a thought. The black outlines are swapped with the shadow tone with the darkest Sheraton. So if I take close to look and show you the place where the black outlines bore here for our character's face, essentially where the black car Klein is touching the skin, you will see that it's just a darker skin color except the fist are in this case. I'm using the color off the shirt to indicate sleeps. When it comes to the hair, you will shoes to our green pants to our gray shirt. Everything is just darker color On some places, however, it will notice even darker color than the shadow outline. This is just again to give it just slightly more depth. And in some places like this one, you will see that wit light I break this shell line. Um, I could do the same here on this other side. But I didn't just to show you that there are different ways we can approach it on some places, I've put some highlights to give it. Give it in more depth. So here, on the shoulders, or rather upper are here on the just here on the nose. I put some highlights. Similar things goes over here so slightly above the eyebrows and here on the fists. So I essentially took this character and which shading. Just give him a bit of different style. You can also see that the hair is slightly different by using different shading and colors . Now, some of you might like these design more than the previous one than this one. And some of you might even like the flat color design. Everything is totally fine. Just keep in mind that whatever you do, it should match your style over the world. That's all for this video. In the next video, I will jump into explaining the animation for this RPG character and you will notice that I will be using this character design. I will not be explaining, uh, the last one because for the animation purpose. It thus have just a little bit too much details. And in order to avoid possible confusions. I've used this design, but nonetheless I wanted to show you that even this design can be changed into something else. And even these design can go again in other directions and look even more different. So it's up to you to experiment. Just have fun with it. Remember, this character here uses the colors from the default color palette in the ESP. Right. However, this one doesn't. I even changed his eye color. Most of it are the same colors, but some of it I've used my own ones. Okay, That's all the risk for this video. I will see you in the next one. 33. 11.3 - RPG Walk Cycle: Welcome back in this video, I will be showing you our character animation. So, first of all, we have the flats. So the flat colors. I will explain the movement off our character over here, and then I will just place the colors on top of it. So let's just focus on the moment itself. If you go over here on this folder flats and open it up, you will see five things or hear front, back side downside stops the downside and the upside of just diagonal movements here at the end. So let's go over our 1st 1 the front you. So we have 10 frames in total. And this is something that you may not used to be because up to this point, I've shown you 246 and eight frame walk cycles. This time we're going with tell friends and mind you, I could feel God with even more frames or even less frames. Just feel free to experiment. So this is the animation. This is how it looks on our first frame. Our characters is essentially coming from our previous position, which is this one, so you can see that he's starting to move towards the first step, so this is sort of the idle position on the second frame. On third frame, he is taking a first step. And what? What is it doing first for? He's taking his leg and putting you up in the air and preparing to make his first move or other piece for step when he makes that step. So this leg goes in the air and then takes a step. When that happens, you can see that his other leg goes back of it. And which shading turn on. You will see that this leg also becomes a bit darker, but nonetheless. Let's just right off for now. Look at his arms from this previous position. He's just starting to prepare from, like, a passive position to this counter position, remember? Right are and left leg going front and the opposite can an arm or army like go in the back . The principle is the same. The walk cycle is all the same when it comes to arms and legs. Our had also jumped a little bit to indicate that step, and then he goes, and the rests a little bit on this position. This is why he goes down a little bit and then goes back to his Hey started to essentially transition back to his idol position. And then everything happens identically, but for the other side. So he brings his leg up, takes a step, rests a little bit or rather, goes down the that step and then goes back to his opposition. And this is essentially how it looks like you can spit it up. You can slow it down. That's a lot to you. Let's go and take a look at our back for you. It's the same thing, however, over here when he takes his step. Rather, he's like goes in the air. You can see that or hear it disappears because you can't really see it's hidden from the body. And then he takes the step forward again. If I show you have it's shaded, this is how it would look. It's pretty much the same again. You can just go in here and just watch these animations until you research them and study them a bit more. I will just cover the key points that I think are important when it comes to our side view . This one should always be more. This one should be quite a bit familiar with you because you already done the platform review, so I won't be going too much into this fella. But this copy looks from one friend to another. And I think that from this side view, I decided to make him a bit more cute, so to speak, where he goes on the idle directions, something happens. He brings his leg up in the air and takes a step and goes back, and same thing happens. So this is called it looks and same thing over here. That's all the rest of it. Um, it's quite simple. What you get familiar with this walk cycle, but you definitely need to do this and draw this on your own. This is why I've left the tire right side for you to experiment with. And even with the other character. If you want to make a female one, do it. If not, create Iran male character or a female character, it's your choice or even some kind of far humanoid monster, perhaps, and just try to make a book cyclery. But again, that's where the challenge I will go into that a bit later. So if I put the colors on top off our walk cycle, you will see this helps quite a bit with the illusion off depth when it comes to character moment, because over here, when our characters takes, he's like up in the air. You can see that because our feet or our history is closer to the ice. Now I can put a highlight on his feet that will indicate that this is in the air. It's not going back like this one, because take a look at the horizontal pixel values. So this is the midpoint. I will be taking a red color to indicate where the position of their feet are currently, and he takes a step up so the shoe moves up one pixel, but also at the same time. This one also moves what picks up up from its original position. So this one was just one pixel up from its original position, but also does this one. However, because this sure is shaded in a lighter tone, it creates the illusion that this is closer to us, and because this one will become shaded in a darker color, it gives the illusion that it's further away from us. This is why the shadows and highlight those are important because they gave the illusion off. That and the same principle applies on all of these. Okay, so you can take the attachment or this file and just go and look through this animation and trust me when you look at it enough, you will start seeing some small mistakes which our purpose there. So you can know these things that you might do differently. So please do them and see how it looks. Don't be afraid to change things up. This is all for study purpose and essential for you to improve upon. And that's all there is. This is the walk cycle. So we have the front, back side dia going down and diagonal top movement. You can see everything over here, so the flats or the flat colors are this one. These ones and the other ones are colored. If you want to break them down into small, tiny bits, just click here on this for the riken, and it will drop down everything. Here you can see the timeframes. You can research them on your own. You can see how they function each and every one of them. I try my best to keep them on the same frame. So, for example, you can see that all of them go down in the same frame. They go takes, they go, take a step in the same frame and then they jump up with this position counter position in this frame and then they go down. So they all move at the same time, taking the same steps. Hopefully, that will help you out to see how everything works in all directions. That is all for this video I will see in the next one. 34. 11.4 - RPG Tileset: Welcome back in this video, I will be showing you how to create rather explain to you how I created a simple are projectile set. So if you go in pixelated and download this file, you'll see this and perhaps even a bit more details than currently various. Because I will be explained you more things and creating more things as we move along these lessons in this section. So this is where I'm going to start my story with. So I have only two Tirsense Or rather, I have only one. And that is the grass over here. If I press tab over here, you will know this that every tile has a little number 2012345678 etcetera. Over here, you can see the outset, which I've created beat. This means that you can actually take anything over here and just being mean, however, your life to you and you'll notice that some of these things over here are the same things as over here. So, to be more precise, look at this. This one over here. So this style is number nine. You will also see that the style here is number nine as well. In other words, it's the same time I essentially created grass to dirt transition and then use the same things over here. So tell number five is this same style number five over here. So these two are completely identical. So you can see these two are the identical for these diagonal wants. So up left a privately down done right. I was using these ones, but in the opposite position. So here it stopped left. But here is bottom, Right, This one over here, Number 12 is top right? Or here but its bottom left over here. So in the opposite directions and same thing applies for these ones over here. So number one here. So this one is essentially this one on the opposite side. But in the middle, it's just a simple their style. There's nothing to it. I didn't place any details on it. What, sir? No shading? Nothing. The details currently are only here on the grass portions off it where I've placed some shades, too. Not to explain how these styles have come to be quite easy. Just pick one color for the green color. There are two ways how you can approach creating tiles. One is create a base color similar to what I did here and then place details on top of it, which I will be doing and explain to you, because that way I can create a lot more assets. The other way is for the tiles themselves to be highly detailed. This type of style is usually used when you are creating a game, which is mechanically dial based. So if you take a seven game were tiled themselves are changed right away. Then, in those cases, I recommend doing highly little towels as they are. However, for this type of style, I like to keep everything a lot cleaner so I can add details whatever wide want in a game engine. Because, for example, if I took, um, this tile over here right now, and I placed a certain detail on it, that I would be stuck with death detail on the specific positions, No way, no matter where I place the tile. So if if I go over here and show you, you can see that the pattern is quite easily visible. And yes, you could combat this in two ways. Bottom which is just keep it clean and added details manually. So if I wanted to add the same pattern I would created here underside and then if I want to add it, I can just places literally, anywhere else here on the map so I can place it or here or here or here or here, etcetera anywhere that I want. Another way to combat this is to take this same tile so you can sit, take this one and just make another lefty version of it so I can make something that looks just slightly different. And then I can take this style and place it somewhere else, unjust some positions. And then you can make dozens off these different iterations off it. But for my own personal taste, I'd rather keep these objects separate with that said it will depend upon in which game engine you are making your game. It will depend upon your implementation process, the pipeline, etcetera. So it's all after you to see with your coders programmers off. If you are doing everything by herself, think about it, how it will be implemented and then go with the best possible approach. Personally amusing unity engine the most. So in my case, I keep the house is clean, it's possible. And then just at the details on top of them. All right, So these are the tiles. Have they look by themselves here on the side? You will know this that I have just want transition from grass to water. In other words, you can create more details if you want, especially at the places where you know you will not be placing more details. For example, if a place a flower over here. So over here for a place, let's say Well, let's say Ah flower, not you. Continue shaving it. I know that I want that floor to be put always on these grass tiles. However, I know that I will never placing flowers here, so I don't need to put them over here. And if I take this style and copy based it, you can essentially see how it would turn out Discovered. Look, this is called The transition towards the water would be like so on one side you have these grass patterns. If you go and take a look at them more deeply, which I'll explain to, you have to do in just a few moments below them. You can see that we have dark shadow for our ground. Then we have darker shadows, even still, because these indicate the creases be between these, let's say piles off there or the cliff sides. And then these portions indicated it's somewhat rounded. If I go over here in the water, you can see them even shaded here. But they're barely visible. But if I didn't put place these things here, it would have such a depth to it. All right, So how do you approach and break down a certain style? Well, first of all, remove the highlights. Remove whichever color has the least of it. So, for example, for our for us, this is the highlight. So remove the harlot. Um, just you can take the middle, which is this one which are the color there is most take that color, and then you can just paint over these using a paint bucket door. Now, suddenly everything looks quite a bit simple. Um, to make things a bit easier, I will just erase all of this so we can focus on this time. So we remove the highlights first, then you try to break down and see which is the next color There is leased off and your essential wanted you is break down everything color by color. This is the myth dose of currently we removed the highlight. Now we could remove the shadows. Perhaps, and you can see what we left. It is this. Then you can undo and do the same thing for this other color, and you will see how it looks. And then you can going inside and try to figure out what is the pattern off it all. Safer room. Remove the pilots and take another color. Perhaps read one. You will see that this leave over here is one ship this leave or here is another ship this live or here is another ship below all of these etcetera. So try to break everything down in simple shapes and then see how they are shaded. When it comes to these pillars off dearth or ground beneath. It's quite easy to see that. Well, since this is right below the grass, the grass is casting a shadow on top of this cliff. So this is why this portion is here in the shadow. The same colors is used over here to indicate the differences between these pillars of dirt . And these also extends here below the ground. If you can see, however, I've used colors for, well, the blue color because off the off the water, that said, if the sky wasn't clear, if the sky was cloudy, the color off the water would be different, and thus everything below it would be different as well. So how would you simplify this one? Well, again, you can erase the pilots, and now you have only three colors. You have the shadows, the myth down and highlight. That's since you all you need to see in order to shade Santic. If I were to ask you right now, this ship over here. So this one, um, this one over here. So these big pillar over here on which ship does it remind you most of when it comes to shading, the answer should be cylinder. It should remind you mostly of cylinder and perhaps slightly towards a cone, because the light is getting directly here So you can see this lighter tone over here. This is the like to tell, and then it curves from this point on towards the back. In other words, there is the transition between this latter toe towards the shadow and then even darkest portions off it essentially crevices between thesis pillars. And then sometimes you might want to put Hallett here to give it again, just slightly more texture or detail. When it comes to the water below, you can see the waves are hitting and going into these crevices. This is why you can see that these forces are here are also the highest points because the water is going inside. They're essentially the vase are hitting and also giving shape to this. Let's call them at dirt cylinders. We're here because this same shape you can see that the shadow like so so you can see that the shadow of the pillars is matching the shape off the waves. So whatever is the lightest, the waves are gonna be further away from it. And whatever is the darkest the waves are going inside. This also helps it to give it again, more kept. The whole thing about shading, thinking things shape is that you are trying to recreate three dimensionality on toothy surface, all arrested and then for everything below You can see that we are essentially just replicating the shading off a cylinder, but beneath the color. So we have a lighter tone. So this portion over here, this one this would be the same abortion off these circular as over here, and this pilot would be discovered and the shadows are visible at all. Except these doctor wants. So the crevices are over here. The darkest shadows and everything in between is essentially this well, mid tone eyes also the based on for our water. And it's kind of giving this illusion because, well, we have the highlight, which is this portion we have the Kravice, which is this portion, and everything in between is giving us our brains and information. Yeah, this is the Make it on between between these two things. If I were to remove these colors entirely so like this this discovered to look like it still looks completely okay. But just by adding these few details, you will see that it gives a bit more. They mentioned it. I didn't create transition for all these on purpose because I just wanted to show that you can always add more details if you want on places where you think they will be needed, however, are places where you don't think you will need more details like this one. You can give it more time and energy. Invest a bit morning. Even here on the water you can create. Perhaps, um, looked kind of rocks or stones that are outside of the water. Or perhaps you know, some statues if it's some kind of facts, is that the hoodlums? But that's all there is for this specific time. Now, there is one important tip I want to give you there. Is that when I personally am creating tiles, I'm creating it like this so you can ignore the miscellaneous things and houses and characters these discovered toe look like So if you press time, you can see that I have some sort off a map over here, and you will see that anything that I changed over here so on this one automatically changes on all of these additional ones as well. So everything here and also here as well this is called create tile maps. I don't go and create essentially this style and then try to pace it over here Now I just create something that would look like, um, this soul. So this is my starting position. I would just create something like this, and then I would use this shape, so to speak and recreate essentially essentially this ship over here. And then I would start adding details onto because this way, all the details are ad over here will automatically be pasted or here, if you again. A sign house. Did you can see these Don't have any numbers while these do. But this is the tip that I'm giving you, because what's you create tiles in this way? You can immediately see if something is wrong. If the transition between these two tiles is a little off or between these two, I want to fix it here. It will automatically update here as well. This is how I do it. And the reason why I placed grass that extends upon the dirt a little bit is because again , I just wanted to experiment with a new style a little bit and also the same. Thank you, but quite simple. This is why I used the same tiles from this side over here. If you want to get more unique. Look, you wouldn't be doing this. You would probably be removing some of these details and changing certain things to again make it more unique. But for our purposes, this is what I would recommend you doing all right, and then adding details on top of this, which I will be doing and explain. You have to do these things. And again I will be adding more details than these ones. Step by step. That's sexually. How we would approach. So for the tile set, create just something basic. Assigned these things to your tiles over here. If you don't have to do this in big, slight press A is the shortcut or use a top press is a tool. Take this, Tyler here, control, and you can add them here. So whenever I click here, you can see it keeps on adding these thousands here, and then you can place those styles and create some sort of markup for your tau set and play around with it. And whatever you've changed here, it's automatically changed. Or here you can even create multiple different shapes and multiple different little maps to see how it would work in different scenarios. So, for example, if I were to take huh, let's say these two things. And I wanted to check how these how would disconnect, for example, in a scenario like today? So if I wanted to check, how would this quarter look like this is how we do it And again, everything a change, or here with automatically update in all the other town maps. This is a really neat way how you can check in, see in real time how it would influence your tiles and house. It's in a game. All right, that's all for this video. I will seal in the next one. 35. 11.5 - RPG House: Welcome back in this video, I will explain to you how to create an RPG house. We have two houses here, one on the left, which is sort of finish house and the one on the right, which is sort of a template from which I created this house on the left. I will be showing you how to create things in two different styles. One is this one which uses patterns, and the other style is going to be a bit more painterly, so to speak. But before we go into details, we need to understand the construction off our house. So if I turn off this layer, you will know this. This is our construction base. So these is our roof. So the blue color is indicating our roof. And what is brown here is indicating. Well, the rest off the house. How did I get here? Well, remember that in the Arpege of you, you are able to see the top plane often object and the site point Or, in other words, the top part and the part on the side. So if I go and try to recreate this quite easily, we can ignore completely our roof. This is how it would look like. So we have the front portion, which is essentially the wall towards the street that we are able to see. This portion is what would be the site portion, including this, but this one. So this book portion over here, but not something at this point to be worried about. And the rest of this portion is essentially the ceiling. So the sealing off a room suppose this house is just one big room. This upper portion would be the ceiling. These extra lines are nothing else than the construction for our would, as you can see over here. All right, so how do we get this specific roof style? And what if you want to do it a bit differently? If you want that completely triangle shape. Well, first of all, extend your house a little bit, but let's do it here on where it's completely white. So we don't have anything to be worried about. All right, So let's pick some dark color and divide our house into the site portion and they talk portion. Then we can just essentially take this same shape and this is it. This portion over here. He's over here. So it's this portion, the side portion, and this one is the ceiling, which are talked about just a moment ago. Wanting to keep in mind is that the character needs to feed in the house. When you are creating the door, make sure that the character fits in. So for the specific case here on the side, when I'm creating the house, I need to make sure that the character fits in. Don't make it specific on one pixel, because if our character has suddenly a helmet or haircut that makes seem tolerant design for a few pixels, you want to make sure that you have that you want to make sure that he can just fit in the doors. So let's say the doors of this and we can remove our characters so he isn't in the way. Now let's go and talk about the roof itself. So there plenty face can you can go about it. But if you want to make a triangle of shape proof so the classical wants, then decide where the middle of the houses our house is 54 pixels wife. So on 27 pixel, we are going to be in the middle of it. This is the middle off it Now go here on the edge of the house, extended by just one or two pixels diagonally from the point where the meat in the middle because the roof goes over the edges off the house walls because well off the rain so it can fall down. And then Mika lights straight towards the middle off it the middle of the house and just watch where the midpoint waas. So we are strengthened point over here. Then you can take this same color you can copy, paste it, flip it around and connected Over here. Now we have the base off, are trying a little. Then we could copy paste it again and just bringing up over here all the way to the edge. So essentially you are taking this same shape and connected it to the top partial off off the house as well. Then you can just connect the roof like so, and you can divide it here on the middle. And that's all the rest it. This is how you would get a a simple roof for your house when it's triangular However, if you want today to be differently and have your roof ah, flat portion and then it slopes down. Well, in that case, the approach should be a bit different. Remember this midpoint that we were taking as a reference to have long this slope is going to be well, we are going to do the same thing. But this time is a reference. This is still the midpoint. We are essential deciding where do we want the slope to begin? So suppose we want way wanted to begin here. So that means up to this point, it's going to be like this. Then we can take it up to the middle and repeated the same thing. Copy, paste, flip it around and then copy Base it again and just bring it up. So it matches this portion like so. And then again, you can just connect. And then suddenly you have these type off roof how you choose to add details up to it. It's a love to you, but this essential. How would you get two different types of ropes And I just wanted to show you the triangle one in case you want to go and explore in that direction. But for now, I believe this should be just great. So let's go back to this house design and talk about How would you get from this? Let's a skeleton of the house construction off it to this. Let's start Well, since we're already talked about the roof, let's start with the roof. You already see how it would be made. The only difference is that this roof I've given it a bit more that because even the roof has its topside or top planet side plain. And to differentiate this I've created this side portion so you can see that let's use a different color. Perhaps this one. You can see that over here this is the side portion. It can be sharing a different color. This here is also the site portion. This is the top portion. So this is the site portion or the top force, and this is a top portion top portion. Now it's a top fortune in this sense when it comes from top to down, but it also slopes to the side because of it. We're giving it a different shadow. Now you can see that under side. We have these places where the rain would fall down. So if the rain falls down, it would essentially go into this place or here. So these were here, and it full it would go down the drain. Now, I didn't make the drain, but you can certainly do so. So if you want to extend it all the way here at it down, you can do so. It's all after you play around with it. Okay? Lets go and explore this, um, side plane off the house. So we have the construction of it here. You will owe this that we have this line over here that indicates the bottom line. And if I turn under house, you will see that this line stays are here. This means that I've moved the door inverts so that we give more depth to the house. Essentially, I'm moving the door inside the house just a little bit to give it more. Well, depth. Essentially, In this case, even our portions with wood construction have the topside and the side place. So you'll notice that this here over here has the topside and the site plane. Remember what I told you. Remove the highlights to keep things a bit simple. So if I remove the highlights completely, so in this case doesn't have to be. Now you can see that we have and even the shadows. Let's remove the shadows as well. Nonetheless, it misses is messed up just a little bit with the doors because I've used the same colors. But regardless, you can now see that this portion essentially is divided into two pieces. You have the top portion and the side portion here in order to create a bit more death. I just placed this, um, would would construction on top off the bottom, based with construction again just to give it more dept. I was placing the shadows underside so on the left and the right on the left and right and below the construction again, just to give it a bit more depth. However, when it comes Teoh the connection to the ground itself, you will know this that on some places I've placed the shadow, and at some places I've removed the shadow. This is in order for the house to blend in with the ground itself a bit easier. So it's easy now. The house if you want to see how it would look like if I didn't do this. This is how it looked like. It would, you know, really be joining this way. It gives a bit more relaxation to the ice. Hi. Oh, if you want again, you can place more grasses if you want to connect it even a bit more. For some reason, it's completely okay to do now. The door itself is quite simple again. Remove the highlights. This is what you will get. It's essentially just dark offline that indicates the shadow. So if I remove the doors, this is the shadow. And these are the doors themselves. Dark shadow, some lines that indicated it's a good picture, and then some highlights to indicate again. Just the mood detection. That's all there is to it. And I want to give him just a few highlights on the wood over here again, just for the grain texture of the food. Nothing overly complicated. And if I go on over on this side, they will know this, that even here on the sides, I've given it the same color for the stop portions. There is the same color again, just for the texture sick, nothing else. The only difference where I essentially shaded decide is here right below the right below the roof. If I remove this, come completely so if I make it like so that's also completely fine. And it looks great, so you can do that as well. I just want to give it a bit more off a different look, so to speak. You can see how the construction looks like and how the house on top of it looks like. Now it's time to texture it, to give it more shading. And to see how it will look like if you go with this right over here, I'll explain to you how to create these stone. Or here you're such a health. Three colors. You have the shadow, the middle and the highlight. The mid stone is the same. So this is the myth down essentially this color over here or this color. Okay. See, this is the Mr the Highlights and everything else comes from our character around. The pilots don't themselves. I toned it up, don't and down just a little bit. But the shadows are the same shadows on this character as you can see. How do you create things? Things like that? Well, it's quite simple, really. Choose, Um, just one place that's going to be your well block blocks of stone. So let's say I have two blocks is done over here. First place thes shadow thrown around it that plays the Maidstone units like this then highlights the top portion. You don't have to, like, carry down right in the middle to give it more diversity. You can just leave the sides dropped down a bit more than the Millie's and then do that in different ratios. So this one goes down, perhaps a little bit more. This one does it. You will see. Another important thing is that were these two connect harlots. This is where I would use this Maidstone to break this shape a little bit. And some places you will see that I break this shape even when it comes to connecting these blocks of stone. So if I have to block system over here, I could use this middle and break the shape over here as well. Just a little bit this way. They blend in a bit more natural, and this is all there is now. I did play around a little bit. This'll whole portion as its hole. But this is just the general approach. Make the shadow offline. Put in the midst all in between plays the highlights on the top portions off it. However, here on the topside, I place the highlights in the middle and where the highlights should connect. Don't place the shadow between them, but place at the middle again. It doesn't have to be on all the places. So, for example, here I live really left the shadow. I didn't place the middle, so just play around with it a little bit and see how it would turn out. This is how you would get these stone pictures. This little window over here is quite simple. It's always easily for just cut and paste it outside, soaking research it on your own. This is how it looks like. That's all the restates. It has two colors. It has the shadow don't for our stone, and it has black color for the depth. Essentially, the light isn't revealing anything inside, and that's all the rested. However, if you want, you could be placing perhaps some eyes in there or you couldn't put place. It's a furniture in there if it's visible. Nonetheless, this is all arrested. Simple curve line, some based it to give it more depth. Essentially, this portion or here serves to give us the same thing that the wood is giving us over here . So this portion, right? In other words, this portion or here is the same. That it would be Underwood over here and the side portion off the wood over here, So this one would be the side portion over here. That's all the risk for it. For the spurs speak specific part. You will know this, that right below the roof and like right below this would construction. We have only the solid shed of color again because the roof or this will construction is casting a shadow down on it now when it comes to the roof pattern. So if you might take a look at it and stink, it's quite complicated, but it's not. So let's break it out. Remove the highlights as usual. You will see how it looks. Remove the shadows and you could see how it looks. It's essentially just thes rectangles and this strange shape just repeating all over again . So if you bring this back, you will see that this shape over here is the same shape over here. This shape in between them is the same ship over here. So if I just take, um, this pattern, let's say from the meal it's not really relevant. So from the middle over here, this is the same shape that happens everywhere else, see, is the same shape, the same exact thing. High, essential, just created, wanting. Then copy pasted all over again. OK, now, if you want to replicate this ship, it's completely fine. You can look at the positive or negative space again removed. The highlights will definitely help you out here as if you take suppose the specific portion. Look how it looks like That's all the re street, my correcting will the middle shadows on the side and even darker shadows on the diagonal edges if you take thes other ship, which is the one that connects on it over here, or rather like so it's the same thing. So if the same thing is just a different lifetime, and that's pretty much all the rested, So if you just bring this together, then you can just extend them if you want in different directions and create a wrong pattern that's completely fired. But that's the top better off this entire house. The one thing that I do want to make sure, however, is that highlights are placed on some places just a bit differently. You can see that on this middle portions or this portions. It's always the same. Harlot is on the same position. However, for days the ships over here, you'll sometimes find the highlight here. Sometimes it's a two pixels off someplace, just one big. So sometimes in most cases, there isn't even a highlight. So if you see here no highlight here, no highlight, no highlight. Just one highlight do highlights everything in between the hall, it's etcetera. These highlights were placed. Men were essentially placed here manually and that on some of these like hero as well, I place the piece. This is just something to break the pattern completely, because otherwise it lives just to same. Even like this. It certainly could have some improvements. So if I was to take this chimney over here, I can place it here on top and just connected a little bit with the house so funny to look just fine. If I wanted to place this chimney here on the side, I would have to extend this Jimmy, too essentially connected with the slope of the roof and covered the same angle. So it's pretty much the same like like so right. But nonetheless, that's the top portion off the roof. Better if you take the side, it's again. It's completely the same. If I remove the highlights, you might notice that most of these are completely the same in some cases, like if you look at this shape. So these five pixels and then these six pixels, this is the same shape that's over here. That's over here, etcetera. It's all here. On some places I've purposely broke that shape to again just to break away from the repetition. Because human brain recognizes the repetition quite easily, and just a few small details like this. So here or here it just helps a little bit with that boring nous off the designs of to speak. And if you know this this portion over here as well, it's mostly the same thing. So you have the shadow If I remove even this lighter tell from this portion you can already know this, that most of these are the same. See this shape life from the Tetris that shape, It's here, It's here, it's here, It's here, It's here. It's