It's great for animators and other users that want to deal in motion rather than sticking to still artworks, embedded motion curve features, and post-effect methods, and you will be able to transfer your pixel art into animated content. Marmoset Hexels is the perfect application for all designers that want to create logos, isometric art, vectorial artwork, static or dynamic pixel works, and is great for generating artistic compositions in multiple ways, from pixel art on grids, painting, sketching on a plain surface, combining multiple layers on the same canvas, etc. This feature was indispensable when creating the above rotoscope sequence.Marmoset Hexels: One of the best tools for designers and animators that want to create logos and other pixel artwork. GIF were automatically added to the timeline on its own layer. gif format and dragged the file onto my Hexels canvas. I recorded a short sequence on a mobile phone, converted it into. png image files and lifted them into my scenes.Īnother hugely versatile feature in Hexels is the ability to import an animated GIF. For the introduction sequence and the United States capsule decal (above) I created transparent. Hexels allows dragging and dropping of images onto the canvas. For the ‘passenger’ scene (above), I used a transform to resize the entire document between frame 1 and 40 combined with an acceleration and deceleration keyframe tween (accessible by right clicking on a keyframe and selecting the tween type).īy using the frame tool with a fixed aspect ratio of 16:9, the exported images will only render whatever is inside the frame boundary. For continuity purposes, I maintained the palette and brush sizes between each new document via file menu> save as template’.īy using a Transform on the Document Properties layer, it is possible to create camera-like pans and zooms. Each scene was created as a new document. I coloured my character by using the paint bucket tool to fill in the outlines. Onion skinning is really helpful for positioning, perceiving motion and direction. This allowed me to see a faded representation of the previous and next frames. I drew the character animation outline with onion skinning enabled. To create the glass, I animated a reflection across the window of the door by painting white streaks on another layer with opacity reduced. I added the in between steps until I was happy with the motion. I approximated the shape of the door at 3 key positions: open, halfway and closed. The door was created with 8 cels of animation on a pixel layer (shown above left). I developed my test scene further by having the trooper interact with the car door. With positive feedback from my initial test, I decided to develop the idea into a trailer that could be expanded into a short film at a later date. I created a stylised vehicle with trixel and pixel layers and combined this with a smooth 30 frame character animation. I began with a simple ‘proof of concept’ test. (left to right) Trixel layer, pixel layer detail, pixel layer animation. Using animation to accent or embellish previous Hexels creations made me realise that it would be possible to create a short film using Hexels. I’m Mark Knight from Marmoset and I have experimented with animation in various mediums for many years.
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