Category: Pixel Art

Mega Man 2 Quilt

The Mega Man 2 Quilt Project.

In 201X, a Mega Man fan on reddit posted photos of an amazing hand-made quilt, using the Stage Select screen from Mega Man 2.

For years I wished that I could make such a quilt.

In 2023, I asked my friend Melissa if she could help me with the project, and she agreed.

Months of planning, shopping for fabric, measuring and cutting, and sewing ensued for many Sundays.

I replicated the art from the game at 1 inch per pixel, resulting in a 96×96 inch quilt. It was a fun project, and I learned a lot.

I couldn’t have done it without Melissa’s help!

QUILT, Mega Man! For everlasting peace!

– Dr. Light –

Inspiration

The original inspiration, this was posted to Reddit in 2016 and went viral on social media; I eventually found out about it and was amazed. What a cool project.

Whoever made it did such a good job, I became obsessed wanting to make one of my own! I hope mine turns out as good…

Long-time readers of my Facebook may remember a few years ago, I bought a ripoff of this quilt from some shitty e-commerce popup store who had stolen this original image to mis-represent their product, and shipped me the “Wish version” of the quilt, which was just a printed fabric version done in a cheap poly-cotton blend.

I wasn’t happy about it and got a refund through PayPal buyer protection, thankfully. But it didn’t quench my desire to have the real thing someday, somehow…

But it would be years before I could put the project together. Then, last summer, I asked Melissa, who is very crafty, if she knew how to make a quilt, and talked to her about the project, and she said she’d help.

Melissa is awesome. She is very generous with her time and I can’t thank her enough for sticking through the project and seeing it to the end.

Design

To ensure the colors were correct, I took a screen shot of the stage select screen using an emulator…

… and then grabbed the portraits of the eight Robot Masters and arranged them.

Actual dimensions: 96×96 pixels. Each Robot Master’s images is 32×32.

Based on the dimensions of Queen and King size bed comforters, I set each pixel to be one inch.

This thing’s going to be 8 feet by 8 feet when it’s done! That’s huge!

Laying it out, pixel by pixel

Looking closely at the original project photo from reddit, it looks like they cut out each and every pixel for their quilt as an individual square.

I didn’t take that approach. I thought that would be a lot of fabric waste, thread waste, and so much more labor that it would take forever, so I figured it would be best to economize. I don’t know whether that was the best decision, but it’s what I did.

To reduce the amount of cutting and sewing, I combined pixels wherever possible, grouping square areas of the same color at 2×2, 3×3, 4×4, and 5×5 inches.

I hoped that using different square sizes would create an interesting kind of patchwork appearance. But mainly I was just trying to be efficient.

Manually going through the image and deciding how to group the squares together was a meticulous and time-consuming process, taking many hours spread over several evenings, but helped to conserve both fabric and labor.

Once I had the squares blocked out, I had to count them all — accurately — so that I could calculate how much fabric would be needed.

Design sheet for Bubble Man
Air Man design sheet
Quick Man design sheet
Heat Man design sheet
Dr. Wiley design sheet
Wood Man design sheet
Metal Man design sheet
Flash Man design sheet
Crash Man design sheet

Materials

The fabric, before cutting

Picking the right fabric was SUPER important. Absolutely critical. I wanted 100% cotton fabric, and it was important to get the colors right. I am amazed at how close to the actual screen colors I was able to get with the fabric.

It took a few weeks of shopping and hunting online to find all the right stuff. I think I spent about a month shopping at different stores, if not longer. In the end we found everything in local fabric stores: JoAnn Fabrics and Pins and Needles in Middleburg Heights, OH.

The process of selecting the colors from thousands of bolts of fabric was painstaking.

I probably spent a good 6-8 hours standing in store aisles, just looking at different hues and shades, comparing, testing them against each other, and comparing them to the image on my cell phone screen, to make sure I was getting the closest match that I could find.

Being obsessive about getting the colors right was the only way I could have been happy with the final product.

Melissa was awesome and super patient, and I guess it’s a good thing she has a similar love for crafting that I do. She gets it, and I really appreciate that about her.

I took only very slight license with color. The main difference being that the light and dark red colors (most prominent in Quick Man and Metal Man) look a bit more purple/maroon/magenta in the screen capture.

But I think that going with a truer red was definitely the way to go. These colors not only look right, they look very good together. The color gamut of an NTSC tv set isn’t 32-bit RGB color anyway, so even the emulator is taking license to some degree. These colors are as true as they can be.

Some of the panels, pre-assembly, bagged… “in kit form.”

I think we took 4-5 weeks of Sunday afternoons just to measure and cut all the fabric.

In total there are 4613 squares of various sizes comprising just the top side of the quilt. If we went with all 1×1″ squares, it would have been 9216 squares, so my design layout cut that down by almost 50%.

This meant much less cutting and much less sewing, much less thread, and much less fabric needed since there will be much less seams than if we had made it out of 1×1 squares for the entire thing.

After cutting all the fabric, we counted out the squares for each section, and put them together in ziplock bags. These “kits” helped Melissa keep the project organized by putting all the squares she needed to assemble one section together in one bag.

Quick Man, Air Man, Heat Man, and Wood Man kits.

Bubble Man is the Top-Left section, so we did him first. This is how it looked once completed. This was the first section, so I was really excited to see it. The colors look really good!

– B – Get Equipped With Bubble Lead
Melissa opted to work on the center section next. Dr. W. for some reason.
Dr. W in process.

Progress was slow at first, but we seemed to pick up speed as we made progress. I’m sure we were figuring out how to work more efficiently and as we gained experience, we got faster. Bubble Man took two Sunday sessions, and after the 3rd Sunday we were only halfway done with Dr. W. 

Looks like all that effort I put into selecting the colors paid off.
Dr. Wily completed. The blue is so close to the color on the TV screen. I think this is going to turn out really great! 

Melissa surprised me by completing this section during the week, so when we started on Sunday #4, we already had two sections done, and ready to start on the third. 

Melissa picked Heat Man for the 3rd section to work on. This was how much we had completed after Sunday #4.
The Heat Man Design sheet (printed)
Heat Man completed. I think he’s supposed to look like he’s about to blow a fireball out of his mouth, or something.

– H –

Get Equipped With
Atomic Fire 

The Squares that will become Air Man.
Air Man progress…
Air Man halfway completed.
Air Man at the end of the 5th Sunday session.

We would have completed this sooner, but we kept getting knocked off of the moving platforms by the Lightning Lords…

Message from Dr. Melissa. Air Man completed! She worked all evening on Sunday #5. Get your weapons ready!

– A –

Get Equipped With
Air Shooter. 

Back planning

Meanwhile, I still had to come up with a design for the bottom side of the quilt.

I could have just gone with a simple, solid color bottom, but I couldn’t resist the opportunity to do another large image paying homage to the Blue Bomber.

I decided to do this jumping Mega Man sprite. It was hard to decide which keyframe to go with, but in the end I thought this one seemed like the most victorious and happy. That’s the spirit I wanted to capture.

This image scaled up to 96×96 inches pretty well if I used a scale factor of 3 inches per pixel. With almost all of the squares being 3×3″, assembly is greatly simplified.

Back to the top

When we get to work on the bottom half, I expect it will take much less time to complete. 

Quick Man progress. Sewing Sunday #6.

Melissa has gotten quicker at sewing, too. I think most if not all of this progress was made in just one afternoon. it looks to me like her skill with getting the seams to be straight and the seams to align has improved, too.

I spent this afternoon cutting out hundreds of squares that will make the back. I laid out, drew, and cut something over 400 squares, by myself, in under 4 hours. That’s much faster than I was doing it when we started.

It’s so cool to see our skills improving with experience! 

Quick Man with his design sheet.

I don’t remember how many Sundays of cutting we put in on the project, or how many Shopping Sundays. I do know that we were sourcing material for the project in August – September, and by October we were into cutting.

Then we took a long break because it wasn’t convenient to get together during Nov-Dec due to holidays and what not. So how much time has this project taken so far? I’m not sure. But at least 6 Sundays of sewing for 4-6 hours, times two of us working together, plus whatever time Melissa has been putting in on it on her own, plus the time I spent on my own time to create the design docs and laying out and counting squares…. it’s a LOT of hours! 

Quick Man, completed.

Melissa finished it during the week and surprised me when I stopped by the next Sunday. Well, I wasn’t all that surprised. She’s been making great progress on the sewing during the week. We’re getting a section completed every 1-2 weeks.

-Q-
Get Equipped with
Quick Boomerang. 

Wood Man. This was how much we had finished after a Sunday afternoon. Wood Man has a lot of 1″x1″ squares, so a lot of sewing, making for slower progress. 

Wood Man, completed.

Melissa needed a Sunday to herself, but when we got together the following Sunday, she had completed Wood Man.

-W-
Get Equipped With
Wood Shield

Flash Man, about 1/2 completed after a Sunday afternoon’s worth of work. The progress with this one was pretty fast.
Flash Man completed.

-F-
Get Equipped With
Time Stopper

Get Your Weapons Ready!

Crash Man completed.

-C-
Get Equipped With
Crash Bombs

Get Your Weapons Ready!

Look how good Crash Man turned out!
Metal Man, completed.

Melissa had to take time away from the project in Summer, so nothing happened from about July until October.

But then…

Melissa surprised me by sending me photos of the completed quilt! She has done it! Beaten all 9 Robot Masters and added their powers to the MM2 Quilt!

-M-
Get Equipped With
Metal Blade

Top side, assembled.

Melissa finished assembly of the top half and bottom half on her own. Without cutting and counting and sorting squares, she didn’t think there was much for me to do, so she took it on all by herself to complete the rest of the work once I had cut and counted all the kits.

I would have liked to watch her sewing technique, because there’s a lot of skill involved in using a sewing machine, especially doing it effectively. It’s something I would have liked to learn more of at a younger age.

This thing is HUGE. It’s hard to appreciate just how big it is, being that it is a 96 x 96 pixel image. Keep in mind, each pixel in the original image has been blown up to 1×1″. For scale, at the top and bottom of this photo, those are COUCHES.

The bottom side

I didn’t get to see any of the progress of the bottom side coming together. A little sad, but the surprise of seeing it suddenly completed makes up for it.

Now… the only thing that remains to be done is to join the top and bottom, with some batting between them, and my mission will be completed.

Quilt, Mega Man! For Everlasting Peace!

Reflections

Compare/contrast. The original that inspired my project.

Their light blue is a lot more saturated and cyan-aquamarine; ours is more sky blue. We also went with a more contrasty pair of colors for the flesh tones, with the darker being a lot more red than what the other project used.

The inspiration quilt from reddit

Both are beautiful, and I’m very impressed that ours turned out every bit as well as the original. I think we did it justice!

The quilt by Melissa and Me.

I think their light blue works better for the Air Man and Dr. Wily and Flash Man panels, where it is used for a highlight or two-tone paint job effect; the lighter blue that I went with, I think works better on the reflections on Metal Man’s helmet crest and the reflections on the glass visor on Crash Man and Flash Man’s helmets.

I like the greens that I picked a bit better than what the original quilt used. And I think I like my yellow slightly better as well. We both opted for more reddish colors than are in the NES palette for Quick Man and Metal Man, who are a bit more magenta and purple-y. But despite how the screen capture from the emulator may look, I think that what the two quilts picked for reds are truer to the intent of the game designers and truer to how I remembered and envisioned the characters in my mind.

More than anything, I’m blown away at how well all the colors work together in the image. They were really chosen with great care. I went back and forth with 4-5 and even more candidates, eyeballing them, comparing them to each other and to the reference image that I had on my cell phone, to ensure that everything was as close to perfect as I could find within the limitations of what the fabric stores had in stock. It’s perhaps the easiest to take for granted part of the project, but the color picking was absolutely critical and extremely successful.

I think the color picking and the sewing were equally important in contributing to the end result, and I couldn’t be happier with both.

The reference image, built from screen capture obtained from the Mesen NES emulator on digital RGB output.

Looking at the original colors screen-captured from emulation, I think our “wood grain” matches the contrast in the NES, and their light blue is a better match for the NES.

Of course there IS no true color. Every NES displayed on a NTSC (or PAL, in Europe) CRT TV, which used analog signals and the color rendered on every screen was slightly different due to differences in both calibration and manufacturing. So there’s really no “true” color when it comes to NES palette and NES graphics.

What you get in emulation is usually very accurate in terms of how we remember we perceived the color, but of course it’s digital signal, and usually displayed in RGB color on an LED or LCD screen. Very, very similar to what we saw on our TV sets in the 80s. And yet, in reality, quite different.

End

It made me SO unbelievably happy to take on the project and work on it.

Every day that I worked on it, every little bit of progress had me vibrating with joy and excitement. I was bouncing.

Yes. It is such a nice thing to have something and care about it and work on it and watch it develop over time and then finally be completed.

End.

Pixel Art Chess Set: Communicating function through design

My five year old nephew started learning to play Chess recently, as I discovered on a visit a few weeks ago.  We played two games, and I didn’t have too much trouble beating him, but for a five year old he’s not bad. He knows all the pieces and their basic moves and their relative value.

I thought it would be fun to build a video Chess game that he could use to help learn strategy and how to see the board. So this is my latest project. I’ll be posting more about that as I work on it.

My first step was to design graphic resources. I didn’t want to spend too much time on it, just a basic “programmer art” chess set, that I could use to build the program with. Of course, it didn’t end up that way, and I’ve gone down the rabbit hole designing variations on sets of minimalist pixel art chess men. It’s too fun and fascinating not to.

My first attempt was actually rather good, I thought. I went for 16x16px representations of the classic chess pieces. I drew them very quickly, but was very pleased with my results, particularly the Knight.

I could have stopped right there, but it was so fun to make this set that I wanted to continue exploring and see if I could refine my pixeling technique further.

I decided to search the net for images of chess pieces to see what variety there was, and found a lot of examples of beautiful sets. I started to take notes and to infer design rules for chess men:

  1. Chess pieces are called “chess men” which seems antiquated and sexist, especially given that the most powerful piece in the game is the Queen.
  2. The modern standard chessmen are a design named for English chess master Howard Staunton, and have been in use only since the mid-19th century. A strength of its design is that each piece is easily distinguished from the others, making errors from mistakes in identifying a piece — a problem with other sets — unlikely. Previously, chess men of different types had a less distinct appearance from one another, and were not as standardized.
  3. In a Staunton set, the Knights are the most detailed, ornate, varied, and realistically represented pieces. 
  4. In Staunton sets, there is a standard height order: pawn, rook, knight, bishop, queen, king. (This surprised me, since Rooks are more valued in Chess I would have expected them to be taller than Bishops.)
  5. The pieces are differentiated by their tops. Each type of piece has a distinct, unambiguous shape.
  6. The body/base of the pieces have a common design, to create unity among the pieces in the set.

I tried to apply design choices to my chess set following these insights.

A follower on Twitter offered feedback that the pieces should be different heights, so I tried that. With a 16×16 pixel tile size, I could only shorten the back row pieces by 1-3 pixels.  I also tweaked the King piece by adding a few more pixels to its top, to make it a bit more distinct from the Queen, and moved the Pawn so that it would be more centered in its square.

I do like the result:

Staunton pixel chessmen

I think my initial 16×16 Staunton set look like they’re in ALL CAPS, while this set is more “readable” by using “mixed case” heights for the pieces.

I wanted my chess game to be focused on usability and instruction. I needed each piece to be immediately recognizable, and not to convey a bunch of extraneous information to the player that has nothing to do with play mechanics. 

My next attempt was a different take altogether. I wanted the look of each piece to suggest its rules for movement. I also thought that it would be clever if the pieces communicated the rules for using them through their visual design.

I ended up being very pleased with this set as well, although I went through many more variations, particularly with the Pawn. This one also came together easily and rapidly.  When your tile size is 16×16 and you’re working in just a few colors, it’s easy to work fast.

Things I like about this set:

  1. The shape of the piece is a built-in tutorial for how the piece moves.
  2. The Pawns still have a pawn-like shape (at least the black pawns; white pawns are “upside down”).
  3. The Knight’s shape may be read as an abstraction of the horse’s head shape of the Staunton piece.

I think out of these variations, my favorites are: P9, Kn2, B3, R1, K?  I’m least certain which King I like.  I think K4 and K5 are my top two, but I also liked the idea of incorporating a crown motif into the design, to signify the King’s special property of being the King.  K1, K2 and K6 were attempts at this, but I think K1 looks too much like a Staunton Rook, unfortunately.

I wasn’t sure which of my designs to use for my final set, so  I posted my sets on Twitter and a pixel art community on Facebook. @Managore responded to my request for feedback by coming up with a set of his own design, which I quite like.

His design was retweeted and liked over 500 times, and received many positive compliments from his followers, many of whom are game developers. One of my favorite indie developers, @TerryCavanaugh, who made VVVVVV and Don’t Look Back, pointed out an physical chess set that had been designed a few years ago which incorporated the same ideas.

It’s exciting to see my idea get picked up and reworked by fellow game developers who are inspired by the concepts I am exploring. So fun! Getting that validation that what I’m working on is interesting to others is very motivating. But it’s particularly good to get some attention from developers whose work I’ve admired for years, however modest.

I’m excited about this project and look forward to working on the program. I have more design ideas that I’m looking forward to getting into soon.

Pixel Art: Admiral Ackbar

Here’s a quick Admiral Ackbar that I did at 64×64.

64x64_Admiral_Ackbar_512

This one was a little more interesting to work on. I started out at 16×16, as I always do, and found that there weren’t a lot of details that I could put on him at that resolution. At 32×32, I was able to shift the eyes, which gave me enough room to add the mouth. When I went to 64×64, I realized that the white space suit he wears needed to be given a little bit of color to allow it to stand out against a light background. I also added some spines to the arms, and irises to the eyes, and nostrils, to give a little more detail.

32x32_Admiral_Ackbar_512 16x16_Admiral_Ackbar_512

Pixel Art: Greedo

It’s been a long time since I did any pixel art, and with the new Star Wars film being released this week, I got the itch to do some more characters from a galaxy far, far away. Again, using my quick/easy minimalist style that I’ve found works well for me.

Here’s Greedo, at 64×64, blown up to 512×512. I’ll probably be uploading some more in the next few days.

512x512_Greedo

Pixel art resources

I’ve been spending many hours today and yesterday playing Javel-ein and reading about pixel art. Javel-ein’s creator clued me into a 16-color palette he used to create the graphics resources for the game. Created by someone at pixeljoint.com named Dawnbringer, it opened my eyes to something I hadn’t given much thought to in my pixel art dabbling to date.

In my pixel art method that I’ve been developing, I have not expended much effort at all in choosing colors. My method has been to use the absolute smallest number of colors as possible. To pick the color, I simply pick “the color” — I don’t give consideration to the context, the lighting conditions I want to simulate, or anything else. To draw the Hulk, I said to myself, “The Hulk is green, pick a green that looks like Hulk Green” so I did that, and then I was done.

I don’t pretend at all that my pixel art method is the best. It is merely a method, and one that I’m able to work in quickly, and achieve results that I find acceptable. I deliberately do not concern myself so much with quality, but with speed. I reason that speed serves me best because with speed, I can iterate more quickly, and iterating will give me the experience that in time will yield an improvement in quality. Also, because I do everything in my games, I have to ration my time and distribute it between designing the game, programming, doing graphics, sound effects, testing, etc. So I don’t have a lot of time, and therefore speed is all the more important. But because my time goes to other things, I haven’t iterated as much as I thought I would.

My pixel art method is very primitive and newbie feeling, but I try to use that as a strength. But that’s not to say that understanding color and using it more effectively would not be very valuable. So far my approach to drawing has been more like a very young child than an artist. I take the fewest number of colors possible, use them iconically to represent the subject with what “everyone knows” is the right color — the sky is blue, grass is green, the sun is yellow, no surprises. For standalone subjects, and for the specific style I’m going for, this works. But when I integrate standalone subjects into a composition, if I want it to look cohesive, and minimalist, I need to give more thought to how I select colors.

Seeing the results in Javel-ein from what a well-chosen palette of 16 colors can make possible, I became very interested in using the palette in the color picker more. Until now, I’ve always just picked something in the RGB color wheel that looked right, but from now on I’ll be giving more thought to my palette ahead of time.

As well, I spent a few hours and created a few palettes for Paint.NET so I can select from a collection of pre-defined, general purpose palettes. I have Dawnbringer’s 16- and 32-color palettes, and several that I made for simulating the NES, Atari 2600, and Gameboy. I plan to try to use these for a while, to see how I can adapt to a constraint of a pre-defined palette of so few colors, and what that will teach me as a pixel artist.

From my reading, I know that there is a lot to creating a good palette, and I’m not yet experienced enough to do so, but I now know enough to start trying. It’s encouraging to read that even well-regarded, accomplished pixel artists struggle with selecting just the right colors for their palettes, and that it is not just me because I’m “not really an artist”. This is something I can learn, and get better with, and I just have to work at it.

In the course of learning, I need to keep a notebook for ideas and references. I figure sharing it publicly will only help to improve the quality of what I find. I don’t really have much original to say on the subject yet, so this is mostly a dump of links to interesting articles, discussion threads, and resources.

Pixel art communities

Pixel art tools

There’s a ton of them. I primarily use Paint.NET so far, but there are many others I’ve yet to try. I’m too lazy right now to put hyperlinks for all of them here, but you can find them by google.

  • Paint.NET
  • GraphicsGale
  • Pickle
  • PyxelEdit
  • GrafX2
  • Aseprite
  • GIMP
  • ProMotion

Palette Choices

Some very interesting forum threads on the philosophy and method of building up a palette.

  1. http://www.pixeljoint.com/forum/forum_posts.asp?TID=10695
  2. http://wayofthepixel.net/pixelation/index.php?topic=8110.msg92434

I’ll add more to this as my reading continues.

Pixel Art: Star Wars characters

After the Ohio Game Dev Expo, I felt like doing some pixel art exercises, so I did these.

The style I’m employing here is chunky minimalism, so I’m not striving for a lot of detail. Rather, I’m going for the least amount of detail and work to make a recognizable character. This style enables me to work very quickly (it took me maybe 20 minutes to do the entire set) and emulate a resolution and palette constrained system like the Atari 2600.

I could definitely add more detail, and especially shading, to improve the depth and likeness. It would slow me down considerably, but would be worth it if I was interested in prettier pixel art, not emulating the look of a classic console. Properly speaking, for a preliminary pass, they are acceptable as far as the recognizability criteria goes, but most of them have palette challenges, mainly due to light color on light colors. If I was going to do something serious with these, I’d work on them more to address those issues.

I did these up at 64×64, and blew them up to 512-wide to display on the web site without having to scale them up.

R2-D2

512x512_R2D2

C-3PO

512x512_C3P0

Luke Skywalker

512x512_LukeSkywalker

Obi Wan Kenobi

512x512_ObiWanKenobi

Han Solo

512x512_HanSolo

Chewbacca

512x768_Chewbacca

Princess Leia

512x512_PrincessLeia

There are so many different characters and costumes that I could keep doing Star Wars pixel art pretty much endlessly.

Pixel Art: Boss Borot/BoboBot

pixel art "BoboBot" by Chris Sanyk 256x256px

Notes:

  1. I actually had to put a face on this one!
  2. Bobobot was the comic relief in the Mazinger Z series. This robot actually had facial expressions that changed according to the pilot, Bobo’s mood. This image, I think, makes him look a bit expressionless and almost zombie-like, in contrast with the cartoon’s very human-like expressions. It’s so difficult to capture emotion and expression and personality in just a few pixels, which is why I’ve refrained from trying to draw them.
  3. Generally, I feel that it’s better to go abstract and just convey the impression of the overall person, rather than try to convey facial expressions at the resolutions I’ve been dealing with. This serves as a good example of why. It would take a great deal of fine tuning and high-resolution finesse to get the nuance in the expression just right. If it’s critical, it is worth it, but it is a lot of extra work, and takes a true artist to pull off well.