I've put everything I could find on the subject of drawing here, so that every new graphic designer has a base to use and doesn't make the same mistakes as their predecessors.
https://wiki.wesnoth.org/Create_Art
Jetrel:
Basically — I would refrain from unnecessarily re-pixelling most of the sprites, since it's introducing a lot of new mistakes. A lot of the new surface normals aren't reflecting light in the correct direction; the hairstyles on several units no longer suggest a round head (on the L1 female mage's head, for example, the hairstyle is now mostly bangs, and has robbed the top of the head of its "volume/dimensions"); a number of the faces are "squished", horizontally. From a pixel-technique perspective, the "clustering" is a lot noisier, with a lot of single-pixel structures that ideally would be spread into wider shapes;
there are also a number of dark outlines inside the center of shapes. (c.f. belts and moustache outlines), which ideally would be avoided. I don't mind the idea of "glowing up" the designs a bit — and the particular new designs you're doing are (usually) pretty cool (the only one I've got a little objection with is the fairly dead-on bishop's miter for the L3 white mage), but we need to be careful to keep the pixel quality the same as before.
Zerovirus:
There's a tendency towards bigger and bigger units lately and i feel like it's worthwhile to fight that sort of size creep wherever possible. There's a lot of places where there's big blobby 2-3 pixel shadow forms that. I'm not sure are contributing a lot to the unit, and if you pushed things together a bit more you could maybe make the unit a bit smaller.
The textures are nice and all that but be aware of the forms you want to actually convey here. Well… so, uh, what does it represent? I see chainmail, i see the cloak- i honestly think part of the problem is that you’re going too hard with contrast on the cloak, it’s got all these blotchy textures that don’t really feel like they mean anything. The staff’s really big; proportionally it feels more like a spiky tennis racket, complete with red tennis ball in the center. The hand and book works fine though with the book i’d try to emphasize the form of the cover as a very thin rectangular prism, rather than trying to fit all this textural detail on the visible outside cover. The eyes are just kind of… ominous black holes. Not sure what you’re going for there. Remember that at this scale, value almost always trumps color.
I would also recommend… Like, drawing regular, real-life, full-scaled figure drawings, especially sketches of the torso-waist-leg-foot assembly. There’s a lot of… ‘visual tropes’ here that are just standard wesnoth visual tropes that you’re imitating, but it’ll help you more to know where those visual tropes come from, and that means doing proper human anatomy studies, especially of the foot.
„It seems to me that it's an important observation that no one has said, that elements should not be separated from each other by the darkest color„ - yeah, this is a good observation. You don't always need to use your entire value range everywhere on a sprite. Forcing every element to have the entire gamut from lightest to darkest makes it look 'oily' or overly-metallic, which isn't always desirable. sometimes you just need to render something with flat matte tones rather than making it look like a shiny racecar.
Like if you look actually at this particular spritesheet update from a while back, that's basically the primary difference in style between the two sets. The older left set has a lot more using-the-darkest-color-to-divide-shapes, sometimes unnecessarily, while the right side feels far more 'illuminated' because of how i pulled back on the darkest shade significantly.
Yeah, you're right, it is a little overly plasticy. i was going for a polished-gemstone look but i think some of them landed too far towards flat plastic instead.
'gamut control' is, like Advanced Technology for pixelart. in the sense that many pixelartists are too busy with the basics, like, getting the sprite to look like a person first and foremost, that they've got no extra effort to spend on controlling material gamut. Things that should look plasticy ought to look plastycy, things that shouldn't, shouldn't. In the end the value of an image is in whether you successfully convey the concept the image is meant to represent. this is goign to be kind of a weird comparison but: (MECHA&ORBS) you can tell various components 'okay i want you to look like you're densely painted matte' and other components 'i want you to look like you're made of burnished chrome'. As an artist we should also strive to achieve this kind of variability. Many artists focus entirely on the geometry of the sphere, in this visual metaphor, trying to remember how to just, shade it right and properly, but that's not enough.
You also have to be able to control its material properties. you have to be able to draw every single sphere in that image on demand, not just one sphere..
If you look at an image and go 'mmmm i don't like that, that looks too plasticy'- good, that means you have discernment; if an image disagrees with what you believe is most beautiful then it is your own right to go 'i think this is a mistake and i will try to not make this same mistake'. you are the own arbiter of what your art should be in the end.
For the last thing... that's a very general color-theory thing and it is too broad a topic for me to be able to effectively cover as a 'single tip'. Picking colors is like its own big field. I recommend you look up videos on digital painting and color scheme design, especially concept art / video game character art tutorial videos, for this. There isn't really, as much of a 'special' color-theory that's only specifically applicable to spriting. You just kind of have to jump out into the broader deep-end-of-the-art-pool for that.
If i have any specific tip for color-palette generation, it might be, use a program that allows layered blending modes other than simple full-opacity painting. And start mixing colors with the brush tool and see if you get any shiny gradients that you really like out of it. I started out pixeling everything in ms paint but these days i use photoshop because photoshop just offers a lot more in terms of useful tools that help create good color palettes quickly.
Amorphous
Imo frankensteining can be a big impediment to getting better at drawing. When you frankenstein elements you're restricting yourself to working around them as you sprite, inheriting all of their mistakes, and denying yourself the opportunity to learn how to draw things yourself! Drawing all from scratch will maybe give you worse sprites and slower in the short term, but in the long term you'll improve much faster if you stick to referencing but not copy-pasting from other sprites.
I learned much more from doing the elves on top here than the troll dude on bottom (Troll&elf art)
Things I would think about are:
•How limbs are jointed, how they poke out and fold and thus catch light / cast shadow
•The kinda-sorta isometric grid Wesnoth uses means that usually one shoulder is above the other, one foot is above the other, etc. The place this sticks out on your sprite is the chest
•Pretty sure I understood what you're doing with the outfit, but it's a little hard to read with the hair there too, so I simplified it
•Same point about grid! Check where the feet are in relation to each other, shoulders etc.
•Futzed with proportions a bit! Pose is nice and dynamic, but not sure what he's doing, so put a staff in his hand
I think you're being limited by the base that you're drawing on top of, which leads to awkwardness with pose and perspective. (WARRIOR)
•Adjusted proportions to what felt natural to me, this is a bit subjective. If you drew a stick figure skeleton underneath all of the armor, I think you might find his torso and neck are kind of elongated
•Material: things like boots and cloth and feather aren't going to be as shiny and won't need as many colors to shade, I took off their brightest colors in most places. The feather plume also won't be as dark at its darkest because it's not a dense material, more ambient light is passing through it
•Don't rely too much on fading into black in the shadows, this ends up flattening + fattening your sprites and causes you to lose track of where different body parts start and end
•Biggest thing is to think about what each set of pixels actually represents. What do all the lines and dots on the boots and helmet mean, what are you trying to capture with them? Right now they add texture but not a lot of form / depth
•The biggest help with all of this would just be to practice drawing from life more / learning how to see / understanding how light works. This book is still the best for that kind of thing
In terms of pixel art technique, I think it would be useful to start thinking a little more in terms of pixel 'clusters' rather than individual pixels, which is what the gif (DARK MAGE) I have here is looking at. The first step is original sprite, with lots of pixels that aren't connected to other pixels of the same color, i.e., not part of a cluster. The second step has no individual pixels, and the third step has no clusters that are connected to each other by the corner of a pixel
Probably not explaining this in the best way, but main point is: at this resolution, pixels are often a lot less useful for conveying information if they don't belong to a cluster. Isolated single pixels read as texture or noise, but not necessarily in a way that makes it clear what they represent. Maybe just once as an exercise, could be worth taking one of your sprites and modifying it so that there are no single pixels except on the face, where they really do convey meaningful information (eyes, nose)
At first doing stuff from scratch will look worse, but it's how you learn!
Some possibly useful art resources for folks here: https://androidarts.com/art_tut.htm https://pixeljoint.com/forum/forum_posts.asp?TID=11299
https://androidarts.com/pixtut/pixelart.htm
https://androidarts.com/Amiga/Pixel-overs.htm
https://androidarts.com/Amiga/AmigaPixels.htm
Animations
In general you'll want to get comfortable with even more exaggeration and deviation from the base frame. Try raising the staff up higher before he strikes (put his hand above his head). I would also not have him put his foot down until he swings with the staff -- same with the head turn. Act out the motion yourself and pay attention to where your different body parts end up in relation to each other
Yeah, that's the hard part of animation, you have to be able to visualize everything as it rotates and moves around. Reference is really helpful for this, looking at the frames from the thug animation would be a good start
Did an edit. For animations it's always good to make a plan for your key frames, i.e. the main poses of the animation, just so you have a rough idea of what you're going to be drawing. If you're lucky to have a good reference animation, pull out its key frames and imitate them with your sprite, and pay attention to how many pixels things move between each frame. Hardest part will still be rotating things, but sometimes all you have to do is copy and paste an element and slide it left or right
Key frames here would be: wind up, strike, and transition back to base frame. I didn't actually draw those though, I just edited what you had (two frames wind up + strike)
And make progress like this! (minotaur)
Maksiu:
I have a feeling that you are not very interested in the comments here, but I will write my observations anyway:
1.you use a very large number of shades of one color, so that the contrast between them is sometimes low, especially seen in yellow and purple. I encourage you to challenge yourself to use one dark for all, whether it's shadow color 140036 or some other color makes no difference, but one dark not black as an outline. Plus max 4 colors and sometimes white as chiaroscuro. Of course, it's a little different kind of coloring from this, while observing the pixelarts of different people and different games, you can see that the ones that catch your attention as “accurate” or “finished” are just based on three or four colors + extra where needed.
2.as graphic designers wrote earlier, it is not necessary to stuff every shade everywhere, the idea is that the hand on the back can be colored as an outline plus one color, and the hand on the front have four colors, this will also create an effect as if 3D
3.3.With shading and coloring you give the picture a texture, not only is it about presenting that there is a hand in the place of the hand, but you can also present the bend of the arm, the arrangement of the fingers and the scar, your toadstool would be completed as if it had just a texture on the hat.
I started analyzing why I like some of Amorphous, Zerovirus, Sylar or Sleepwalker's graphics and seem light, and why my some totally dislike them in retrospect. And I've noticed that I think it's a matter of combining elements and colors, in a lot of previous works and I and some of the graphic designers, use the darkest color of an element to separate it from another element, meanwhile they do it very lightly and in a natural way. It seems to me that it's an important observation that no one has said, that elements should not be separated from each other by the darkest color, and by which - the shading goes from the darkest to the lighter, just more to oobserve the light and so on. The second observation is that experienced graphic designers are not afraid to leave elements in one or two colors, that is, they do not always polish everything, giving the 3D effect that darker is further away. This is how I share, maybe someone will find the observation useful for drawing
The second step of analysis of units from the default era - this time random units of higher levels. The analysis is to find a graphic rule as to the expansion and enlargement of graphics during the promotion. The analysis was done to satisfy my own curiosity, and (perhaps), to help graphic designers, both those who are improving franking and those who, drawing from scratch, are looking for proportions. The analysis was not done professionally, I chose random characters and only from the default era Observations:
1.no rule as to the enlargement of the head, at most there are added elements in some places.
2.No rule as to the enlargement of units, sometimes the difference is 1 px - some expand significantly to the sides.
3.no rule on fixed proportions - there are third-level units smaller than other second-level units.
4.no rule on three heads, but most often it is just three heads, possibly three plus a piece
5.no rule as to the proportions of the torso and legs.
6.observed proportionality rule in new loyalists
7.observed rule on the lengthening of the mage corps
8.Observed rule in old elves - very small thulus and very large legs.
9.The average head size is 14.75 x 14.25 in height to width ratio
Inferences: The theory that the character should expand and enlarge (plus gilding/embellishment), works, but with most cases, applies to really very small differences . A big influence is the imagination and creativity of the creator, who draws the level difference so that no one notices the size changes. At the same time, advancement is not just gilding, but mostly changing poses/expanding/adding weapons or elements. In the development of the game, too many creators worked, where each drew in a slightly different style. Congratulations are due to the creators, due to the fact that without analysis, you don't pay much attention to it.
It's not a mistake, just not filling in unnecessary pixels, most artists do so that if something can be combined, you use one color, for example, brown can be one in wood and dusty elements. This is normal, if you are curious analyze other figures - I did a brief analysis of some of them. Are the Zerovirus mage and the warrior clad in heavy red armor? Does the dwarf walk in wooden shoes? Does the elf use a bow made of cloth for clothing? It's not a graphic trick, because in pixelart it's important to show as much as possible with as few colors used as possible. for example, in many works outside the almost black outline, the darkest brown, darkest red and darkest gray will be one and the same color - this is a simplification and not a mistake.
https://wiki.wesnoth.org/Create_Art
Jetrel:
Basically — I would refrain from unnecessarily re-pixelling most of the sprites, since it's introducing a lot of new mistakes. A lot of the new surface normals aren't reflecting light in the correct direction; the hairstyles on several units no longer suggest a round head (on the L1 female mage's head, for example, the hairstyle is now mostly bangs, and has robbed the top of the head of its "volume/dimensions"); a number of the faces are "squished", horizontally. From a pixel-technique perspective, the "clustering" is a lot noisier, with a lot of single-pixel structures that ideally would be spread into wider shapes;
there are also a number of dark outlines inside the center of shapes. (c.f. belts and moustache outlines), which ideally would be avoided. I don't mind the idea of "glowing up" the designs a bit — and the particular new designs you're doing are (usually) pretty cool (the only one I've got a little objection with is the fairly dead-on bishop's miter for the L3 white mage), but we need to be careful to keep the pixel quality the same as before.
Zerovirus:
There's a tendency towards bigger and bigger units lately and i feel like it's worthwhile to fight that sort of size creep wherever possible. There's a lot of places where there's big blobby 2-3 pixel shadow forms that. I'm not sure are contributing a lot to the unit, and if you pushed things together a bit more you could maybe make the unit a bit smaller.
The textures are nice and all that but be aware of the forms you want to actually convey here. Well… so, uh, what does it represent? I see chainmail, i see the cloak- i honestly think part of the problem is that you’re going too hard with contrast on the cloak, it’s got all these blotchy textures that don’t really feel like they mean anything. The staff’s really big; proportionally it feels more like a spiky tennis racket, complete with red tennis ball in the center. The hand and book works fine though with the book i’d try to emphasize the form of the cover as a very thin rectangular prism, rather than trying to fit all this textural detail on the visible outside cover. The eyes are just kind of… ominous black holes. Not sure what you’re going for there. Remember that at this scale, value almost always trumps color.
I would also recommend… Like, drawing regular, real-life, full-scaled figure drawings, especially sketches of the torso-waist-leg-foot assembly. There’s a lot of… ‘visual tropes’ here that are just standard wesnoth visual tropes that you’re imitating, but it’ll help you more to know where those visual tropes come from, and that means doing proper human anatomy studies, especially of the foot.
„It seems to me that it's an important observation that no one has said, that elements should not be separated from each other by the darkest color„ - yeah, this is a good observation. You don't always need to use your entire value range everywhere on a sprite. Forcing every element to have the entire gamut from lightest to darkest makes it look 'oily' or overly-metallic, which isn't always desirable. sometimes you just need to render something with flat matte tones rather than making it look like a shiny racecar.
Like if you look actually at this particular spritesheet update from a while back, that's basically the primary difference in style between the two sets. The older left set has a lot more using-the-darkest-color-to-divide-shapes, sometimes unnecessarily, while the right side feels far more 'illuminated' because of how i pulled back on the darkest shade significantly.
Yeah, you're right, it is a little overly plasticy. i was going for a polished-gemstone look but i think some of them landed too far towards flat plastic instead.
'gamut control' is, like Advanced Technology for pixelart. in the sense that many pixelartists are too busy with the basics, like, getting the sprite to look like a person first and foremost, that they've got no extra effort to spend on controlling material gamut. Things that should look plasticy ought to look plastycy, things that shouldn't, shouldn't. In the end the value of an image is in whether you successfully convey the concept the image is meant to represent. this is goign to be kind of a weird comparison but: (MECHA&ORBS) you can tell various components 'okay i want you to look like you're densely painted matte' and other components 'i want you to look like you're made of burnished chrome'. As an artist we should also strive to achieve this kind of variability. Many artists focus entirely on the geometry of the sphere, in this visual metaphor, trying to remember how to just, shade it right and properly, but that's not enough.
You also have to be able to control its material properties. you have to be able to draw every single sphere in that image on demand, not just one sphere..
If you look at an image and go 'mmmm i don't like that, that looks too plasticy'- good, that means you have discernment; if an image disagrees with what you believe is most beautiful then it is your own right to go 'i think this is a mistake and i will try to not make this same mistake'. you are the own arbiter of what your art should be in the end.
For the last thing... that's a very general color-theory thing and it is too broad a topic for me to be able to effectively cover as a 'single tip'. Picking colors is like its own big field. I recommend you look up videos on digital painting and color scheme design, especially concept art / video game character art tutorial videos, for this. There isn't really, as much of a 'special' color-theory that's only specifically applicable to spriting. You just kind of have to jump out into the broader deep-end-of-the-art-pool for that.
If i have any specific tip for color-palette generation, it might be, use a program that allows layered blending modes other than simple full-opacity painting. And start mixing colors with the brush tool and see if you get any shiny gradients that you really like out of it. I started out pixeling everything in ms paint but these days i use photoshop because photoshop just offers a lot more in terms of useful tools that help create good color palettes quickly.
Amorphous
Imo frankensteining can be a big impediment to getting better at drawing. When you frankenstein elements you're restricting yourself to working around them as you sprite, inheriting all of their mistakes, and denying yourself the opportunity to learn how to draw things yourself! Drawing all from scratch will maybe give you worse sprites and slower in the short term, but in the long term you'll improve much faster if you stick to referencing but not copy-pasting from other sprites.
I learned much more from doing the elves on top here than the troll dude on bottom (Troll&elf art)
Things I would think about are:
•How limbs are jointed, how they poke out and fold and thus catch light / cast shadow
•The kinda-sorta isometric grid Wesnoth uses means that usually one shoulder is above the other, one foot is above the other, etc. The place this sticks out on your sprite is the chest
•Pretty sure I understood what you're doing with the outfit, but it's a little hard to read with the hair there too, so I simplified it
•Same point about grid! Check where the feet are in relation to each other, shoulders etc.
•Futzed with proportions a bit! Pose is nice and dynamic, but not sure what he's doing, so put a staff in his hand
I think you're being limited by the base that you're drawing on top of, which leads to awkwardness with pose and perspective. (WARRIOR)
•Adjusted proportions to what felt natural to me, this is a bit subjective. If you drew a stick figure skeleton underneath all of the armor, I think you might find his torso and neck are kind of elongated
•Material: things like boots and cloth and feather aren't going to be as shiny and won't need as many colors to shade, I took off their brightest colors in most places. The feather plume also won't be as dark at its darkest because it's not a dense material, more ambient light is passing through it
•Don't rely too much on fading into black in the shadows, this ends up flattening + fattening your sprites and causes you to lose track of where different body parts start and end
•Biggest thing is to think about what each set of pixels actually represents. What do all the lines and dots on the boots and helmet mean, what are you trying to capture with them? Right now they add texture but not a lot of form / depth
•The biggest help with all of this would just be to practice drawing from life more / learning how to see / understanding how light works. This book is still the best for that kind of thing
In terms of pixel art technique, I think it would be useful to start thinking a little more in terms of pixel 'clusters' rather than individual pixels, which is what the gif (DARK MAGE) I have here is looking at. The first step is original sprite, with lots of pixels that aren't connected to other pixels of the same color, i.e., not part of a cluster. The second step has no individual pixels, and the third step has no clusters that are connected to each other by the corner of a pixel
Probably not explaining this in the best way, but main point is: at this resolution, pixels are often a lot less useful for conveying information if they don't belong to a cluster. Isolated single pixels read as texture or noise, but not necessarily in a way that makes it clear what they represent. Maybe just once as an exercise, could be worth taking one of your sprites and modifying it so that there are no single pixels except on the face, where they really do convey meaningful information (eyes, nose)
At first doing stuff from scratch will look worse, but it's how you learn!
Some possibly useful art resources for folks here: https://androidarts.com/art_tut.htm https://pixeljoint.com/forum/forum_posts.asp?TID=11299
https://androidarts.com/pixtut/pixelart.htm
https://androidarts.com/Amiga/Pixel-overs.htm
https://androidarts.com/Amiga/AmigaPixels.htm
Animations
In general you'll want to get comfortable with even more exaggeration and deviation from the base frame. Try raising the staff up higher before he strikes (put his hand above his head). I would also not have him put his foot down until he swings with the staff -- same with the head turn. Act out the motion yourself and pay attention to where your different body parts end up in relation to each other
Yeah, that's the hard part of animation, you have to be able to visualize everything as it rotates and moves around. Reference is really helpful for this, looking at the frames from the thug animation would be a good start
Did an edit. For animations it's always good to make a plan for your key frames, i.e. the main poses of the animation, just so you have a rough idea of what you're going to be drawing. If you're lucky to have a good reference animation, pull out its key frames and imitate them with your sprite, and pay attention to how many pixels things move between each frame. Hardest part will still be rotating things, but sometimes all you have to do is copy and paste an element and slide it left or right
Key frames here would be: wind up, strike, and transition back to base frame. I didn't actually draw those though, I just edited what you had (two frames wind up + strike)
And make progress like this! (minotaur)
Maksiu:
I have a feeling that you are not very interested in the comments here, but I will write my observations anyway:
1.you use a very large number of shades of one color, so that the contrast between them is sometimes low, especially seen in yellow and purple. I encourage you to challenge yourself to use one dark for all, whether it's shadow color 140036 or some other color makes no difference, but one dark not black as an outline. Plus max 4 colors and sometimes white as chiaroscuro. Of course, it's a little different kind of coloring from this, while observing the pixelarts of different people and different games, you can see that the ones that catch your attention as “accurate” or “finished” are just based on three or four colors + extra where needed.
2.as graphic designers wrote earlier, it is not necessary to stuff every shade everywhere, the idea is that the hand on the back can be colored as an outline plus one color, and the hand on the front have four colors, this will also create an effect as if 3D
3.3.With shading and coloring you give the picture a texture, not only is it about presenting that there is a hand in the place of the hand, but you can also present the bend of the arm, the arrangement of the fingers and the scar, your toadstool would be completed as if it had just a texture on the hat.
I started analyzing why I like some of Amorphous, Zerovirus, Sylar or Sleepwalker's graphics and seem light, and why my some totally dislike them in retrospect. And I've noticed that I think it's a matter of combining elements and colors, in a lot of previous works and I and some of the graphic designers, use the darkest color of an element to separate it from another element, meanwhile they do it very lightly and in a natural way. It seems to me that it's an important observation that no one has said, that elements should not be separated from each other by the darkest color, and by which - the shading goes from the darkest to the lighter, just more to oobserve the light and so on. The second observation is that experienced graphic designers are not afraid to leave elements in one or two colors, that is, they do not always polish everything, giving the 3D effect that darker is further away. This is how I share, maybe someone will find the observation useful for drawing
The second step of analysis of units from the default era - this time random units of higher levels. The analysis is to find a graphic rule as to the expansion and enlargement of graphics during the promotion. The analysis was done to satisfy my own curiosity, and (perhaps), to help graphic designers, both those who are improving franking and those who, drawing from scratch, are looking for proportions. The analysis was not done professionally, I chose random characters and only from the default era Observations:
1.no rule as to the enlargement of the head, at most there are added elements in some places.
2.No rule as to the enlargement of units, sometimes the difference is 1 px - some expand significantly to the sides.
3.no rule on fixed proportions - there are third-level units smaller than other second-level units.
4.no rule on three heads, but most often it is just three heads, possibly three plus a piece
5.no rule as to the proportions of the torso and legs.
6.observed proportionality rule in new loyalists
7.observed rule on the lengthening of the mage corps
8.Observed rule in old elves - very small thulus and very large legs.
9.The average head size is 14.75 x 14.25 in height to width ratio
Inferences: The theory that the character should expand and enlarge (plus gilding/embellishment), works, but with most cases, applies to really very small differences . A big influence is the imagination and creativity of the creator, who draws the level difference so that no one notices the size changes. At the same time, advancement is not just gilding, but mostly changing poses/expanding/adding weapons or elements. In the development of the game, too many creators worked, where each drew in a slightly different style. Congratulations are due to the creators, due to the fact that without analysis, you don't pay much attention to it.
It's not a mistake, just not filling in unnecessary pixels, most artists do so that if something can be combined, you use one color, for example, brown can be one in wood and dusty elements. This is normal, if you are curious analyze other figures - I did a brief analysis of some of them. Are the Zerovirus mage and the warrior clad in heavy red armor? Does the dwarf walk in wooden shoes? Does the elf use a bow made of cloth for clothing? It's not a graphic trick, because in pixelart it's important to show as much as possible with as few colors used as possible. for example, in many works outside the almost black outline, the darkest brown, darkest red and darkest gray will be one and the same color - this is a simplification and not a mistake.
Statistics: Posted by maksiu — Yesterday, 11:51 pm