#bitmap effect

[ohmaseigrafico]

Video about doing a collaborations or a future collaborations and bit about me as a graphic designer :)

Hit me up for some collabs

[bitmapbooks]

Mass effect 3!

Featured in our book - The CRPG Book: A Guide to Computer Role-Playing Games (Expanded Edition) - Coming Soon 📚

More than 500 pages long, this lavish hardback is a compete history of the computer role-playing scene from 1975 to 2015.

Sign up for a handy email reminder: https://www.bitmapbooks.com/collections/all-books/products/the-crpg-book-a-guide-to-computer-role-playing-games

#bitmapbooks #book #retrogaming #retrogames #gaming #art #reading #foryou #crpg #jrpg #rpg #bookstagram #booktok #fyp #masseffect3

[mclalan]

Can you share what your art-making process is? What software and tools do you use?? I'm falling in love with your work!!

Thank you, I'm so happy you like my work and are interested in the process. The short answer is I mostly use Adobe Animate.

I hate how I'm using an Adobe product (although I still regard it as a MacroMedia Flash product), but there's just no other software that compares to its jankiness. Perhaps it's just my long familiarity with the program, but nothing I've experienced matches how it simultaneously feels like drawing in MS Paint and using Microsoft PowerPoint vector shapes. The result is something that feels in-between the two; handmade yet computer-generated.

Typically, I'll start with a hand-drawn sketch, often beginning as a thumbnail done with pencil and paper.

I'll then do a mix of hand drawing and vector shape tool rendering. I use the Paint Brush tool to hand draw strokes, and the line and shape tools mixed with transform to make more geometrically accurate shapes. The design is rendered into divided closed loop shapes, ready to be filled with a solid. The strokes are kept or removed depending on the design.

These fill shapes are then either coloured and rendered in Adobe Animate, using fills, gradients, or a more complex process of masks and effects.

Alternatively, I'll bring all these vector shapes into Photoshop and use them as clipping masks. The vector shapes act like masking taped areas or shields to maintain sharp edges, while the brush is like an atomized airbrush used to build soft volumed forms.

Please excuse all that horrible Adobe Cloud and AI bloatware...

And there we go!

Variations in the process include just using MS Paint, index color in Photoshop, or 3D programs.

Very old works of mine were almost abstract, just exploring digital mark-making, which was a trend I was following in the mid 2010s that I loved. This kind of stuff.

While my current work uses its digital material specificity as an intermediary to the subject in the illustration.

For example, #ersatz.world parodies clip-art and flash edutainment styles but imagines the characters living within that kind of world. The designs are meant to be cute, easy to read, light in computer processing, but also irreverent, janky, and generic too.

People typically regard this sort of clip art style as ephemeral trash, but I always found them charming. I use Ersatz World primarily as a satire vehicle, parodying educational formats to spoof corporate explainer content and digital media.

However, part of the problem with Ersatz is I've made it look too polished, complex, and I've grown too attached to the characters, which I imagine is a typical issue with overbuilding a world. So recently, I've made an even jankier Ersatz-like set of characters to play about with, using an even simpler style with less cohesion. I like to try and use slightly different styles and digital material styles to relate to the property at hand.

That’s why #autonymus has a bitmap digital material and a denser feel to it. Unlike Ersatz, Autonymus is not meant to be an overt semi-meta fiction. It’s not exactly pixel art, but the pixels are just about visible, as the intention is to create a digital expressionist depth to the setting. Although it’s still stylized and not realistic to our world, I definitely still want to evoke semblances of our world. That’s why there’s attention to landscape, plant life, and implied life beyond what you see in the frame with the characters, etc. But I'm still making a cartoon, and I still want it to feel at ease with itself being a digital material work. Characters are therefore flat, simple, stiff, and the speech style is like a bad Shakespeare parody. I like to balance between ugly and appealing, simple and complex, familiar and unfamiliar.

In regard to things like inspiration, references, and my relationship to aesthetic genres; these things certainly factor into my work, perhaps I'm even overtly dependent on them. My work can definitely be post-modernist in method; creating new, ironic, or fragmented interpretations through deconstructing a mix of various styles or methods. But at the same time, I'm still trying to make a digital gestural representation where the aesthetic is driven by my relationship to the software and techniques directly—not simply in an attempt to reference a style. For example, I like drawing lines in sweeping strokes, not to a point of geometric perfection, but just in a way where the curves are smooth and simple. But if I want perfectly curved or straight lines, I'll use the vector tools.

Working this way, you can sort of learn why certain styles and design choices in past vector aesthetics were made, as they would have also needed to make similar choices. That’s why I’m more mindful of using digital material specificity as a foundation to build narrative and subjects upon these days.

For example, genre references like cyberpunk clichés for #cyberhell or late medieval design for #autonymus or 2005 to 2015 era subculture fashion for #gradientgoblinz.

I think it’s important to take inspiration and reference from a wide variety of sources, but I think they’d mean nothing without having something to say or express. Autonymus, although it is a collection of tropes and clichés, isn’t just about that. It’s a story about the tensions of socially constructed systems and how that shapes faith, technology, and the natural world, or at least that's what I'm aiming for anyway.

But despite all that, I think there’s a danger of locking myself into the past by using these methods. For example, using nostalgia and references to past aesthetics can result in just recreating the past in a form of role-play. To avoid that, I try and evoke the past through a messy, inaccurate pastiche rather than caring to accurately re-enact anything. I’m probably not always successful at communicating the deliberateness of this, and it can certainly get very frustrating and pedantic. To be honest, I do kind of hate aesthetic labels (terms like Y2K, global coffee house, utopian scholastic designs from a pre-9/11 world).

I do not believe that a project aimed solely at mapping history through aesthetic styles is worthwhile. Sure, they can be handy for organizing style trends, but they can also be reductive and ahistoric. Who are these people to define the history of these design eras? The result is a kind of suffocating simulation of design history but removed from context, perfect for moodboardism. I wish it felt more tongue-in-cheek, less absolute of itself in its own practice. Instead, it acts to legitimize and engender those making these labels, almost giving them ownership of the design styles. It’s similar to the logic and process of generative AI and its databases in a way, just done manually.

I’m very inspired by artists like Oneohtrix Point Never in this regard, as I think he’s able to create an aesthetic portal to all kinds of memories, feelings, and worlds reminiscent of the past, while still being in the present. It’s more a reflection of how timelines are messy now, like a memory or dream, rather than an audacity to say the past was actually like that, or to try to actually map some kind of timeline.

I think the benefit of this process is how it avoids the other side of the spectrum—being locked into chasing the cutting edge of digital processes. I don't necessarily think using an old digital process means your work inherits the semiotics of old aesthetics. Non-digital mediums don’t have this issue to this degree, as you can still paint in oils and be considered contemporary, or at least it's not frowned upon to such a degree. And I also don't think anyone in the heyday of Flash ever made work the same as I do, especially as computers are more powerful now so can handle more. I probably shouldn't boast too much about that though, as artists at the time probably just had more sense than to use Flash like a painting program! So then, why is my use of Adobe Animate critiqued as obsolete and an aesthetic dead-end? Because to whose standards is this process obsolete? If you value digital aesthetics as an apparatus in industry practice, then sure, my work is redundant.

But as wonderful as the latest tech can be in creating new aesthetics, I do feel it can be overtly dependent on the trends and directions of tech corporations, and therefore act as an indirect propaganda tool to their hegemony over digital aesthetics, such as the ever-demanding processing power needed for simulated realism. If anything, work that does follow in the direction of the latest tech trends is ironically the quickest to date once the trends move on.

I've noticed I've not really described what my work is about, just the process, in this text. But I don't know, maybe I like Flash because it is regarded as redundant. No one really cares about it, so I feel free to make whatever I want, and can decide on form myself, to my own standards, the quality of my work. As fun as making images is, I find it difficult to put into words what it is exactly I'm expressing in my work, and perhaps that would spoil it anyway.

[thechekhov]

Wait, how do you make brushes in medibang? I've used it for quite a while and couldn't really figure it out as it seemed to limit me to only making replicas of existing preset brushes.

It's true that MediBang is not nearly as customizable with their brushes as, say, CSP, but you can do a lot by messing with the settings in the Add Brush or Edit Brush menu!

For example, this is a brush I created using a simple random shape, without adjusting the setting at all:

But if I set it to Watercolor Bitmap and adjust the Rotate Random setting, I can get a neat little scatter pattern going that's very edgy.

For example, I made this stitch pattern brush by messing with the brush spacing on a single line.

I also have a brush called CONFETTI which is just some swirls and lines with the Randomness turned up and the Color Jitter and Hue Jitter maxed out.

which, when used with a color setting, looks like this:

You can even do rain effects!

And this brush called Fuzzy, that I use for very fuzzy sweaters, started out as a single multi-pointed star.

And if you know how to do seamless patterns, you can also slap down patterns!

Anyway, MediBang is actually pretty great! It just takes a lot of trial and error to see what works.

[destimnesia]

⠁ ⠀⸻⠀BITMAP is a free bitmap photo effect made with adjustment layers, available on ko-fi for free. it requires basic knowledge about "pattern" adjustment layer.

   ⸻⠀TERMS OF USE

don’t repost nor reupload don't reuse my layers don't claim it as yours personal use only credits are MANDATORY

 ⸻⠀CONTENT

⠁ ⠀one photo effect.

 ⸻⠀A LATINO AMERICA

⠁ ⠀𝗚𝗥𝗔𝗧𝗨𝗜𝗧𝗢.

[bloobydabloob]

do you mind sharing your knockoff firealpaca heavypaint brushes lol... id love to use them myself

Sure. There is only one but here are the settings & the brush, it’s a bitmap pen. Just mess around with color/hue jitter for desired effect.

I don’t know if tumblr save works like that though so here is a Google drive link to download the original png just in case.

[woetoy]

hii, sorry to bother but i just got my first drawing pad and i wanna start drawing stuff, i wanted to ask what program and brushes you use, if that's not a problem :3

No biggie! I use Medibang Paint on my ipad, but they have a PC version too!!

As for brushes, I use the circled ones typically. I have many many maaaaany instances of Medibang's textured pencil brushes with various settings changed based on my mood.

And for quality of life/effects I recommend these brushes:

And once you're comfy playing with various brushes and their settings, I recommend making your own if you like textured brushes over the simple hard round pencil. To make your own, find the bitmap brush under the standard tab :)

Medibang has a great site with various tutorials, also! Maybe you'll find something useful there.

Here's also the things I usually nudge around when making a brush that feels good. But be sure to try all settings to see what they do and if they can be useful to you!

[macleod]

Musing on remaking the browser (and internet) as we know it.

HTML+CSS is by far the best 'component' library there is, but JS really tends to be the main cause of bogging down the entire thing and drowning out the performance gains.

The idea is something along these lines (this ended up being far longer than initially intended):

HTML Viewer, directly from a plain HTML source, I've even considered using a headless browser, taking a 'photo' of the webpage, and then laying out a bitmap onto it, might not be needed, but could be cool and useful.

Once a user, or a function 'clicks' or focuses on a section of the bitmap, then the embedded language uses this is as a target selector to manipulate the data of the HTML viewer source, directly without page loads. Similar to an SPA but, without JS, similar to 'hot-wire', but again without JavaScript.

a separate database built into the 'browser' similar to indexdb, but likely something more similar and powerful such as SQLite with permission guards for applications (think OAuth, running locally).

This would obviously change the dynamic properties of a 'browser', and would make it more akin to an enhanced PDF editor with dynamic input (pop-ups instead of dynamic forms, etc.). But, I am starting to believe the problem and performance issue of the browser is less the sandbox (which this would enhance), but because we've forced a data language into what should be a static component library with targeted source changes.

This is a difficulty that we're seeing the weight of, we only have two major browser types, two engines. There have been so many attempts to recreate them, but they are all attempts at recreating the worst parts of a rendering agent that combines and forces the merger of highly volatile dynamic data into static components.

They have said for years that no one can 'make a new browser rendering engine' because of how many variables and issues and decades of bad choices and changes from the infancy of development.

Gopher, and the similar, are interesting projects, but they lack in several regards: data entry, minimal schematic support for modern HTML and CSS capabilities, and they are attempting to recreate an entire protocol. The protocol we have for file and web transfer is excellent, despite its shortcomings, but it is highly stable, reproducible, and effective.

If we were to remove 'dynamic' capabilities, such as forms, or text boxes, and all that JavaScript entails, the HTML viewer would be minimal for performance. The embedded language on top would hold the data separately from the process—rendering inputs to be sanitized and standardized. If the browser fails, your data would be backed up, you would have a complete revision history of all data ever processed, and you would have. This is likely the path forward for something akin to the Solid Project, where you own your data.

Every 'browser' becomes your own personal data temple or silo, and every web page becomes 'server-side' generated and modified with targeted manipulation or key:values from the integrated (stateful) database by your locally running browser.

When you go to someone else's website, most of which is just static content anyway, you get the HTML source, and the source for a/any(?) scripting language that would use the values from the browser overlay tracker for targeting to rewrite and submit specific HTML components.

The manipulator overlay would be an entirely separate process, with a simple message transfer between the two. This entirely separates your data into a stateful persistent object (no more losing your form data as you type due to a reload, or failure, or anything else, with full history) and your dynamic script, if a site needs it (most don't), would be in its own process. There would be a message transfer queue, likely using the built-in database with @\tagged hooks for event dispatches.

You would be able to have fully sandboxed, extremely performant, websites, while owning your own data. The browser as a server HTML renderer, the webpage as an “image” (sort of), and an 'overlay' selector for an embedded image to submit changes to individual HTML components.

If you were to separate it into three extremely slim, minimal, processes, with an integrated database with OAuth style permission switches. You would have just created a new browser, and a new way for the web to work, using virtually no memory, enhancing security, and with far less complexity. In a way, this would turn the web into a 'native' application.

You also would have quite a bit of backwards compatibility to the pre-NewWeb.

You should own your data, websites should be static, data should be dynamic, and browsers should be performant.

Just some musing on the topic, I'm working on something similar, but not exactly in regard to this—so maybe I'll spend some time and add it to the ever-growing projects list.

[savebatsartedition]

Scratchcraft fanart again!!! (Much higher quality on Scratch.)

-

A LOT more notes under the cut!

Scratch link: https://scratch.mit.edu/projects/891267487/

Youtube notes:

(PLEASE READ DESCRIPTION.) Here is my "artistic" version of pressing space through my fanart dump. Whoop dee doo. Enjoy I think. 

Idk why, but this recording RUINED the quality of the art. They look better in scratch bitmap if you can believe if. (My #scratchcraft tag on my tumblr art blog is another, possibly higher quality, place to look for this art as well.) 

Guys I PROMISE it's totally not blood. :3 

Instructions:  Right arrow, space or click to go forward, left arrow to go back. Do NOT steal my art! It's been too long! XD 

Drawings:  1: Storm and sand 2: Voidway fighting Tall from the Season 3 Finale 3: Carsick and the dragon puke fiasco (Ft. Spector and Hunted laughing at him.) 4. Storm killing Shulkers. :3 (He actually specifically asked me to make this one!) 5. Storm and his new house. :3 (I'm Storm's thumbnail person now, apparently.) 6. Storm flying through the cliffs 7. Storm flying through the cliffs (Alt) 8. Waterfall 9. Goodbye Huntedskelly! 10. Storm going shopping yippie! 11. Storm shopping with less effects. 12 - 13. Saltyy dragon au (I think I posted these before, but not with good photos lol) 14 - 15. Hunted dragon au (Same with the second of these) 16. Mallon dragon au (this one too) 17. Inkamar dragon au 18. Alexstudios dragon au 19. Carsick dragon au 20. Just a regular Huntedskelly :) 21 - 27. trying to work out Inkamar's design. 28 - 20. Foxlife37 (and the Cod God in the first one) 31. Waveii 32. Stormlordzeus 33. Magic_02 34. Mallonations 35. PotatoAnimator 36. Saltyy 37. Storm and the blue axolotl 38. Storm vs the Creamy Lama Pokemon battle 39. Just the Creamy Lama 40. Just Storm 41. Voidway and Saltical at the world meeting table from the first Hetalia episode. (None of the art on this slide is mine. I just edited it.) 42. Storm vs Warden 43. Storm vs Panda (lol) (Also it's the thumbnail of this project, ignore the text.) 44. Just Storm from that last one. 45. Storm with sand to celebrate his return. 46. A watercolor thing of Storm from a WHILE ago. 47. Another random Storm. 48. Mallonations 'cus he found another account of mine on a different website. [For the record, it was this one] 49. An old comparison of my two Kenpoviper designs. 50. A REALLY old drawing of Hunted I just don't think I've posted on Scratch. 51. Voidway to a song because he requested it lol 52. Kenpoviper for an expression challenge. 53. Huntedskelly for an expression challenge. 54. A warning thingy 55. Voidway for an expression challenge. 56-58: Voidway design details 59-67: Huntedskelly drawings I doodled in math. :3

30-36 was me asking my sisters to give me random scratchcrafters to draw. :) Fun! 

Feel free to ask in the comments lol. 

Notes and Credits: @savebatsfromscratch (me) for the art and designs. All creators are credited above in the list of drawings. Song: Unfounded Revenge Smashing Song of Praise - Super Smash Bros Version Hetalia for that one background lol. 

Programs/art materials used in the various drawings:   1.Scratch bitmap (Almost all digital artworks are entirely done with Scratch bitmap.)   2. Paper and pen (Literally, clearly these are not scratch bitmap.)   3. Some crayons in some cases.   4. A tiny bit of mspaint for editing some of them.   5. A tiny bit of scratch vector for the same reason.   6. A thing to stretch out the sides of the scratch thing for the last one. (Still bitmap though.)     7. Watercolor on that one of Storm kneeling on the ground from like three years ago??   8. DA Muro for the expression challenge ones.

[archoneddzs15]

Sega Saturn - Airs Adventure

Title: Airs Adventure / エアーズアドベンチャー

Developer/Publisher: GAME STUDIO Inc. / Toys Press / May Music

Release date: 20 December 1996

Catalogue No.: T-20301G

Genre: 3D RPG

Don't be fooled by the screenshots on the back of the box because they are all pre-rendered shots. Airs Adventure is best described as an amateur's attempt at entering the mainstream. At first, you'll think "Oh, no. What have I bought here" while you watch the very cheap and poorly animated CG intro. Then it's on to the game only to discover a very dodgy-looking pre-rendered guy walking like he's just crapped in his pants. Luckily the game does get better from here. Airs Adventure tries to mix pre-rendered sprites with polygon backgrounds as well as a few bitmap backgrounds. The overall effect is quite good for such an amateur production. I played the game for a good hour and found myself starting to enjoy the game. So, the bottom line is that if you have money to burn then buy this game but if you want a real RPG that you will truly love then I'd give this a miss for sure and buy Magic Knight Rayearth or Albert Odyssey instead.

Fun fact: The developer - GAME STUDIO Inc. - was founded by ex-Namco designer Masanobu Endou in 1985, and is the same studio responsible for bringing the popular Wizardry series from Sir-tech to Japanese audiences.

[flickering-nightfall]

Hey! I came from youtube (the Hey Ya duck dance vid) and first of all, I LOVE your style, it's so adorable and smooth! I'm not super aware of rainworld lore, but your stuff makes me want to get into it! If you don't mind me asking, what program do you use to draw/animate?

Heya from the other side! I'd say if you want to avoid RW spoilers make sure to blacklist the rw spoilers/dp spoilers tags from me, but that's like 90% of my stuff on here lol

I use Toonboom Advanced (unfortunately) (it's way too expensive) (and swatches have their uses but I really miss my color wheel)

Like look at what I have to deal with.

I want to try TVPaint instead (they have permanent licenses!!! I hate subscriptions), but I can't afford to invest in that right now. I've tried Photoshop, Krita and CSP too. Photoshop is okay but definitely far more finicky - I'll have to give it a shot again sometime. Krita, same hat, but I have less experience with it than Photoshop. CSP animation is way different from everything else I've tried and I couldn't get into it. I also used to use Flash, but mostly for interactive comics rather than animation. (They're all dead now outside of .swf files, RIP Flash.) I prefer bitmaps/pixels over vectors but man, vectors are useful sometimes...

For non-animations I use Paint Tool Sai 2. It's got its limitations, but it feels the most natural to me. When I need fancier text or actual art brushes for background stuff, I switch to CSP, or Photoshop for filters/special effects. (I don't think I've used those two for anything I've posted so far except for Pebbles' motion-blurred "YOU ROTTEN SISTER YOUR BUTT IS CRUSHING ME" though)

Anyways, thanks so much! I should get back to animating now that you mention it... progress has been slow on the SRS and Spearmaster vid. I've been distracted by a lot of stuff lately.

[skyboxeye]

Capturing the ambience of Mr. & Mrs. Potato Head Go On Vacation

Running the game

I had a lot of trouble with this. I tried a Windows 95 and Windows XP virtual machine. Often the game's installer would fail, or it would crash at runtime due to a scripting error. I finally got it to run via a Windows 95 VM inside PCem.

Extracting sounds

Certain sound effect and voice files are located inside the relevant subdirectories of potato\data\audio. You can check the install directory if you performed a full install, or simply check for the files on-disk.

Remaining assets can be extracted from relevant DXR files using a tool like Director Cast Ripper.

Capturing environments

The majority of the game's assets are contained inside its DXR Macromedia Shockwave files. You can convert these to DIR with a decompiler. From there, you can read the DIR files inside Director. Open the desired DIR file, open the Stage window, and click play.

Exporting to AVI via Director

I couldn't get this working for Potato since it seems to use frames in a non-linear way. For example, frame 11 on the Australia level seems to be used for the idle state. I tried editing the per-level scripts to change how looping works, but gave up.

Removing UI

To remove these graphics we can simply edit or remove the relevant sprites via Director.

Capturing Spain

The scripting to control this level's scenery is amazingly complex. There are about 20 unique state values for blending between two background bitmaps to simulate various times of day. At certain points, the level's background sounds switch over to go along with this.

[nemesbarna]

Blue and red layers for a riso print in a collaborative zine we made in 2021 Black and white 3d looks pretty great with some bitmap effects - especially with risograph printing!

[4000ants]

A bunch of images i created by fucking up the first one (my favorite screenshot from she-ra) by converting the files into bitmaps, opening them with an audio editor (audacity), applying effects (phaser, echo, bass boosting, inversion), and then converting them back into png's. The second image is just what loading into audacity and then exporting it does. The images are sorted in order of how cool they look to my little brain.

Here's the link to where i followed along

[awesome-power-cat]

Minecraft: Fade to Black Transition Using Resource Packs!

I've always been so fascinated by Minecraft server plugins and their ability to push the boundaries of what's possible in the game; some servers go even further with the use of custom resource packs. I find the most amazing thing about server resource packs are the creative techniques utilized to go beyond the limits of the game. Common examples of such techniques are custom GUIs, HUDs, shaders, entities using models, and cosmetics.

One technique that completely baffled my mind, was the Minecraft Championship's (MCC) fade to black transition effect. I had never seen such a smooth transition and was extremely curious about how they achieved it. I considered and attempted many different approaches: custom models, animated textures, potion effects, and shaders, but none came close to the same smooth transition.

I wondered if there was a way to do it with packets. Perhaps Minecraft already had some fade to black transition that I could trigger. I searched for the word "fade" on the Minecraft Protocol wiki, and instantly realized how it was done. Titles already have a built fade-in and fade-out feature, so utilizing my previous knowledge of custom GUIs using fonts. I was able to recreate the same smooth fade to black transition, and this is how I did it.

You are going to need your custom resource pack. If you don't already know how to make a custom resource pack you can find more information here.

You are only going to need two files to achieve this effect, a texture and font json. The font file will tell Minecraft to render a specific character with our custom texture. This is how we'll display a fully black image as a title.

The texture file ("black.png") will be a 256x256 fully black image placed somewhere in your pack's texture folder. I put mine in a subfolder named "font"

assets/minecraft/textures/font/black.png

Now for the font file. It's important to know that Minecraft text components allow you specify a font path, so the name of your font json file is important.

You DO NOT want to override minecraft's default font json. If you override the 'default.json' font by adding your custom black character, technical players will be able to exploit your transition and spam the chat with black boxes. We can avoid this problem by creating our own font file with a custom name as opposed to overriding an already existing one. I'm going to name mine "fade.json"

We're going to place the font file ("fade.json") in the font folder directly under the namespace, which is Minecraft in this case.

assets/minecraft/font/fade.json

The contents of the font json will be simple.

We're going to create a new bitmap type font using our black texture.

{     "providers": [         {             "file": "font/black.png",             "type": "bitmap"         }     ] }

Now we still have to specify our character. In theory, you can use any character you want because we control the context in which this font is used. BUT it's probably best to use a blank unicode character just to be safe.

I'm going to use this blank character "" the unicode is "\uE01F"

Note: Characters can be inserted directly or as their hex unicode value prefixed with "\u" You can learn more about how resource pack fonts work here

{     "providers": [         {             "file": "font/black.png",             "chars": [                 "\uE01F"             ],             "type": "bitmap"         }     ] }

Lastly we need to set a height and ascent. The height value is important because if it's too small, our black character won't fill the screen of high resolution displays or people who play on small GUI scale. This will break the transition effect.

I'm using 1024 for the height. I did some tests and I think this value should be good enough.

You can try higher values if you're worried, but keep in mind I'm not sure what the limit is and going too high will likely cause problems.

As for the ascent value, I'd recommend using half the height. This will center our black character and assure it fully covers the screen.

{     "providers": [         {             "file": "font/black.png",             "chars": [                 "\uE01F"             ],             "height": 1024,             "ascent": 512,             "type": "bitmap"         }     ] }

Now our fade transition is done, and you'll need to run the title command in order to trigger it.

The title text will be your chosen black character, and it's important that you remember to specify your font name.

/title @p title {"text":"","font":"minecraft:fade"}

You can change the duration of the fade by using the title timings command. Here's the command for a one second fade in, two second stay, and one second fade out.

/title @p times 20 40 20

Finally, thank you for reading. I hope you learned something new. I'm so surprised at how easy it was to acheieve. I find it interesting how simple solutions can sometimes take so much thought.

[ncon29]

I played around with effects, firstly just in black and white for that polished, neutral look. I worked with using the bitmap again to create some visual noise, as well as tried out drop shadows and embossing.

I really like the film image that I overlayed because it brings interesting colour scheme:, texture, and shadows.

The rest of the explorations have a common element - rectangles (overlays, outlines, dashed strokes, etc) which are either just borders or filled in with colour. Some of these borders appear as part of the actual program (the red ones with the white corner squares). I tried to be more fun with the colour choices to make the poster more inviting but that could take away some impact from the message of the piece which is more serious. I also had to put try the standard paper texture behind because it’s a sure way to add more visual interest.