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一位像素艺术家宣布放弃像素艺术
A Pixel Artist Renounces Pixel Art
2015 — 2019，它一次次回到首页
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导读
一位像素画师宣布放弃像素画，认为在现代高清屏幕上放大像素艺术会暴露锯齿和失真，且像素画已沦为刻意模仿旧技术的风格噱头。文章引发了关于像素艺术本质、CRT 显示器与现代屏幕差异，以及艺术创作中限制与自由的大讨论。
为什么经久不衰：它触及了技术限制如何塑造艺术、以及怀旧风格在新媒介上是否成立这一持续争论，多年来反复引发共鸣。
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像素画的失真问题源于现代屏幕而非像素画本身，且不应刻意模仿技术限制
他抱怨的很多问题其实不是像素画本身的问题。当年在 SNES 上玩时，像素并不是方块——CRT 有隔行扫描、扫描线，像素是一团发光的东西，颜色会晕开，大脑会自动插值，所以 Yoshi 看起来很平滑。把为 CRT 设计的像素画在 LCD 上以 500% 最近邻放大，才会变成难看的锯齿。另外，用符号化、极简的风格表现事物是一回事，假装技术落后是另一回事。当年 NES 上的杰作是因为那是他们仅有的条件，而我们有更多可用的东西。
zeidrich查看英文原文
A big thing about pixel art and it's issues today is that what he mentions as pixel art, isn't so. I mean, he argues about the way the devices scale his art up and change aspect ratio etc. But on the other hand, he compares a picture of Yoshi at the end to an algorithmically smoothed version. However, Yoshi was never intended to look like the leftmost image. The thing is, pixels aren't square. In fact, when we played it on the SNES, it was rendered very differently, it was interlaced, scanlines were distinct, and each pixel was a bit of a blob. Because of this, an image like Yoshi looked just fine, because we weren't looking at a blocky grid of squares. The brighter colored glowed around the darker colors, the darkness between the scanlines caused your brain to interpolate the lines. We got a nicer looking image. When you blow it up to 500% on a crisp LCD panel it doesn't look the same. What used to be smooth lines are now stair steps. And just the same way that he complains about Auro being blurred or stretched, when you display pixel art designed for a CRT on an OLED display at 600% nearest neighbor scaling, it doesn't work. I like the symbolic style of pixel art. But we don't have the same limitations. When people made great art for the NES, it's because that's what they had to work with. We have more to work with. It's one thing to represent things in a symbolic, simplistic or minimalistic style. It's another thing to feign technological disadvantage.
像素画的精髓是在限制下创造性地解决问题，而非复古的表面特征
这让我想起《Masters of Doom》里反复出现的句式“尽管画面粗糙……”。这种回顾式的视角让我不舒服——当时人们并不是这么看的，那是在推动技术前沿。同样，现代像素画常常也搞错了重点：把它仅仅当作一种艺术风格，就把“在限制下传达愿景”变成了“为了复古而降采样”。那个时代的魔力在于色彩循环等技巧——为了实现某种效果而想出的巧妙变通，而不是因为“复古”就满足于限制。
DanAndersen查看英文原文
This article reminded me of a trend I noticed when reading the book "Masters of Doom," which discussed (among other things) the graphical improvements that made games like Wolfenstein and Doom so impressive. Very often, the book's prose would start sentences something along the lines of "though the graphics were crude, etc etc etc." These sorts of lines, constantly repeated, irked me, not because they weren't technically true or anything, but because it's such a "looking-backward" point of view. At the time, that's not how people saw it. It was all about pushing forward the state of the art, and we miss something when we look back on it in that way. I guess in a similar way I've had the same feeling about "modern" pixel art, where it often seems to miss the point. By treating it as just an art style, it turns it from an exercise in conveying a vision despite limitations, into an effort to simplify and downsample because those are the most easily-recognized surface-level hallmarks of that period. For me, the magic of that era comes from seeing techniques like color cycling ( http://www.effectgames.com/demos/canvascycle/?sound=0 ), where the desire to get a certain effect led to interesting workarounds, rather than being satisfied with limitations because it's "retro."
好的像素画因限制而永恒，高分辨率反而放大艺术瑕疵
艺术家的职责是实现自己的愿景，而不是别人的。好的像素画是永恒的（重点是“好”）：它给艺术家有限的画布，迫使他们发挥创造力。有限的调色板和分辨率最能体现画师的功力；而无限制的高分辨率反而会放大瑕疵。很多现代 3D 游戏里，走近角色看到模糊的贴图和尖锐的多边形边缘，沉浸感就没了。
gavanwoolery查看英文原文
It is the duty of an artist to fulfill their vision, not someone else's. For this reason, many prominent artists go unknown in their lifetime. The masses are attracted to "bad" art like Thomas Kinkade (I use quotes because the art is not actually bad, just lacks the originality that art connoisseurs seek). I would actually argue that you will have to make a choice between being a popular artist and being good artist (there is some overlap though). And it may well be the case that you don't have the luxury to make this choice. For me personally, I think that good pixel art is timeless (emphasis on "good"). It gives an artist a limited canvas and forces them to be creative. You can instantly deduce an artist's skill based on how well they can convey a concept with a limited palette and resolution. An unlimited palette and high resolution actually magnifies the flaws in art, IMO (leaves less to the imagination). I find that in many modern 3D games, the suspension of disbelief is destroyed when I walk up to a character and see blurry textures and pointed polygonal edges. For an idea of what good pixel art looks like (at least according to my opinion and many others), check out Henk Nieborg's work: http://www.henknieborg.nl/gallery_pixels.html
像素画极难精通，且其原始观感依赖 CRT，今天的像素崇拜是错位的
我每天画画和做动画，像素画是我尝试过的最难的学科之一，要求极高，不出众就没人注意，对心态是很大的考验。另外我有专业级 CRT 接老主机：精灵边缘那些像素在 CRT 上是看不到的，扫描线会把它们融合起来，几乎像抗锯齿一样。我认为这是我们今天欣赏像素画时缺失的关键——像素画盛行时你根本看不到真实的像素，而今天像素却被“拜物化”了。
Keyframe查看英文原文
I draw, I paint (more than draw), I animate. Daily. So, I have a bit of a different perspective on this. Pixel art is one of the hardest disciplines I've tried. It's ridiculous. I wouldn't do it again. I only spent with it a bit to see what it takes, and it takes A LOT. If it's not outstanding, it won't get noticed as well. So, it's really tough on psyche. Somewhat like animation. There's another thing I want to mention. I have a broadcast-quality CRT with consoles of ye olde hooked up, and pixels you see on sprites, especially on the edges, aren't there on CRTs. Magical scanline blends them together and looking at the pixel art on CRT is different than on anything else. Almost like they are anti-aliased, but they're not (smudged). I think that's a key component today we are missing from enjoying pixel art. When it was dominant in game industry, you couldn't see actual pixels. Today, they are fetishised.
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