Pedro Medeiros

After a very busy month I'm back :) This tutorial works well with some other tutorials I made, check them out: Attack animation: Motion Blur: https://www.patreon.com/posts/motion-blur-11596285 Squash and Stretch: https://www.patreon.com/posts/squash-and-11713421 Smoke: https://www.patreon.com/posts/

Here's my take on how I would make a top down attack animation. I only made one direction, and I can try making more in the future, but I don't think it's necessary, just follow the same logic. Imagine a the legs, torso and head as layered stacks and they should slide in the direction of the attack.

This tutorial is very similar to another tutorial of mine, the Top Down Run Cycle but walking, as you can see has some differences. Also I tried to use this to share some more tips on the subject and how I usually work when making this type of animation. Don't forget that the walk cycle is a very im

Finally publishing my incredibly late article on how to make a simple animation on Aseprite! I focused on people that are really starting out and I'll start focusing on advanced techniques in the future. Here's the link: https://medium.com/pixel-grimoire/how-to-start-making-pixel-art-3-c9eb70270fa1

This tutorial is a little similar to my second tutorial, about attack, but this time I've focused on swords. Many of the stances and poses were based on videos by Skallagrim, check his stuff out if you need more info on the subject :) Remember, when drawing historical weapons is always good to do so

This tutorial is about gems, something that I really like drawing, but I never really gave too much though about how it's really made and researching for this tutorial was very fun. The gem cutting process is very interesting and much more artesanal and precise than I expected. Another reference for

This tutorial took way longer than I expected, but finally, here it is! I decided to make a tutorial about ghosts and holograms because they have a lot in common, they both are semi-translucent human shapes. Of course, one has a sci-fi theme the other is usually more macabre, but the effect is very

And here's another tutorial about getting hit! Just remember that player feedback is a very important thing and communicating that characters took damage is just as important as if they didn't. Not having a "defend" animation or feedback might confuse the players into thinking that the hit missed an

I decided to group these three animations because they are all variations on the same theme, an abrupt movement for escaping or reaching something. They all follow the same pattern, a very short or non-existent preparation (especially for player characters) a loop for the duration of the action and

And we are back with another animation tutorial! It's kinda weird to explain wall slide and kick before explaining jump, but I think it's all about conveying a strong horizontal movement for the kick and the pressing on the wall for the slide. Although this is how I usually draw my characters I thin

One day late, but here it is! Modular animation :D Honestly, I don't like making modular animation, I try to use them only for big sprites or other situations where it would save me lots of time. Even with many advantages, like being able to animate procedurally it's still feels stiffer and unnatura

Those are some general guidelines for animating breaking objects that I usually use. Just don't forget that different materials have different behaviors! Some other useful tutorials on this subject: Explosion Fire Smoke Thank's a lot for the support :)

Finally, my #50 tutorial! And probably the theme that stayed for the longest time in the voting poll. This is my take on wind. In my opinion wind is very hard to animate, it's a weird balance between random patterns and ordered patters and sometimes it's hard to find the middle. As always thank you

This is the simplest walk cycle I could come up with. I made it 12 frames long, so I could easily cut it down to 6. Unlike this cycle I made most of the walk cycles have 8 frames +2 (10) for fluidity. A nice tip that I forgot to include is to focus first on the legs and then on the arms if you are g

This is probably one of my most complex tutorials. If you want to learn how to make a quadruped walk cycle you need to make a biped walk cycle first then do it twice and offset the time by around 25% or so, depending on the walk style you want. Quadrupeds are very complex and can walk, trot, run, ma

This is not exactly a tutorial, it's more like a reference sheet, so I would recommend you to refer to it when in need for some inspiration for environmental hazards in games. Also, feel free to download this gif and check it frame by frame, that's always a good thing to do. Other useful tutorials:

When making flags always be careful to not overdo the folds and details, or everything will get very messy. For the movement, when not sure always remember sine waves. Other tutorials that might help you with the subject: Chacter Idle Fundamentals Part I and Part II <1 Pixel Movement

Animating blood, guts and gore is all about animating particles properly, knowing how to draw particles is a very very useful skill. I like to think of the general whole picture first and then simulate each part individually. Here's some of my other tutorials that have related themes: Slimes:https:/

Although I really like very bouncy idles it's important to always pay attention so it doesn't look like the character is dancing - unless that's your intention, obviously. Since the idle animation doesn't move much or moves very slowly, a <1 pixel movement* might be required. I also made a tutorial

And here's my tutorial about bullets! I took a lot of inspiration from Vlambeer's talk The Art of Screenshake, which I recommend a lot! For drawing bullets is also very important to look for reference in other games, such as Metal Slug, Mercenary Kings, Enter the Gungeon, Flashback (that makes reali

Here's one of the most important animation principles, squash and stretch! It's has a some similarities to motion blur, and they are great if used in conjunction. For further study on the subject I recommend this video: https://www.youtube.com/watch?v=haa7n3UGyDc by Alan Becker and my motion blur tu

Sorry for not posting last week, I was sick for a while and decided to take a week off work to rest and get better. And it worked :D I'm finally better now! This week's tutorial is about a very important thing called motion blur! Although we stylize a lot, I also recommend looking at real motion blu

Here's my take on slimes and other thick fluids! Slime particles don't break as much as water particles, they tend to create bridges between them. Also, don't forget to always keep shapes rounded and smooth, sharp corners should be avoided. Thank you for all the support! <3

Wing/Flying finally won the theme poll :D Well, technically it was a tie, but I guess I can decide on ties? Well, anyway here's the Wings/Flying tutorial! My main tip would be: focus on the vertical movement and on the silhouette. When looking at pixel art animation our eye usually focus on the big

Here's another very "abstract" tutorial, it's more like a collection of tips and concepts than a step-by-step tutorial. My main advice would be the same with the dark magic tutorial: Get some reference and study the gifs, frame by frame and try to find cool patterns that you can apply. Here's some t

Here's a very "abstract" tutorial, it's more like a collection of tips and concepts than a step-by-step tutorial. My main advice would be: Get some reference and study the gifs, frame by frame and try to find cool patterns you can apply. I also made some tutorials that can be helpful when animating

Finally, after a GDC break, here's my latest tutorial! In general spaceships trails can be pretty much anything you want, I made some examples and guidelines on how I like to work. I hope you like it! Thanks for the support!

This tutorial is both for programmers and artists. Changing the speed of moving things gives the animation a lot of personality, impact and makes it interesting. For programming, when using tweens, don't forget to use easing functions, lots of them. And specially for you I made a simplified Easing F

Sorry everyone! I was suposed to post the tutorial yesterday, but I had a really bad flu or something. I'm getting better already, though :) Ok! About machines, I decided to make something like a "reference sheet" this time. Something you can look at to get ideas for elements to add to your own mach

Explosions are one of my favorite things to animate! It has a lot of particles, so I always try to animate everything individually. For example, I will draw one piece of shrapnel from start to finish, then one puff of smoke, from start to finish, and so on. Explosions have a lot of fire and smoke, a

First tutorial of the year and I'm already late :3 But here it is! The theme is <1 pixel movement, or how some people call it subpixel animation. Well, since moving less than one pixel is impossible this is actually a tutorial on how to make animations as subtle and delicate as possible. In my opini

Hey :D This tutorial is about how I usually approach complicated animations that require planning. I'm really not sure if this is the "official" way of animating since I never had formal training, but this is how I usually work: Still Frame > Rough Sketches > Keyframes > In-Betweens (and general fix

This one is very abstract, but I tried to explain my though process while making loops. I think practice is very important when learning how to make seamless loops, so, I recommend exercising this, a lot. Thank you for the support, and until next Monday!

With the vast majority of votes, here's the fire tutorial! For me it was very hard to explain how to draw fire, I think that's why this one has a lot of text. I draw a lot from observation and I often use other art as reference. This is always a good way to learn how to draw and animate most stuff.

This is probably the most complex tutorial I've made so far, but I hope it can be useful! Water is definitely not my specialty, so I had to do a lot of research for this one. As always, a disclaimer, those are not stone written rules, they are just how I usually think when drawing water. And this is

I always try to get references from real glitches I see around. Like bad monitors at the shopping mall, weird glitches in those animated signs on shops or when my video card decides to get crazy. I usually try to pay attention to what the glitches are actually doing, are they moving everything to th

My main "rule" for animating electric stuff is to make everything flicker, like a lot. I also try to make it with 24 fps, so it's more fluid. Electricity bolts are very fast, so in the first frame it should be at its maximum size and then it can dissipate slowly. I usually make electricity starting

This is one of many ways of making a top down run cycle. I chose this specific way because it's usually how I work and because it's the simplest way I could think of. I usually focus on the 3 jump frames and 2 recover frames thing and then I try to connect everything by making secondary animations,

Noise reduction was the most voted topic! I expanded on the topic, and it ended up pretty complex and since I also explained other stuff I called this one pixel art Fundamentals 1. Some other tips that wouldn't fit the image: Keep you color count low (less then 32 colors). Consider large areas with

Hello again! People seem to really want a walk/run tutorial, so here's one! Walk/run are very complicated animations so I did my best to come up with the simplest run I could. My plan is to make more tutorials on the same topic later, focusing on individual parts, like the arms, legs, head movement,

Every time I have to animate complex systems like smoke, splashing water, or fire, I try to break the system down to small parts and then I animate those parts individually. Thinking of how a whole puff of smoke will move is just too complex for me, but thinking on how a small part of it will move i

This one's a little more complicated, about how to make a minimal attack animation. With an attack animation one of the most important things to do is to make sure that the player feels the input immediately. So, the hitbox area must be filled IMMEDIATELY in the first frame, no anticipation, nothing

This is a basic shine animation tutorial. As you can see the important thing is the timing, the frame 3 is used to skip most of the area you want to shine. You can use a simple shine like that, or add a second shine (the extra shine) after a single empty frame, or even use just the extra shine, for