Get Info: #pixelart

Dottie: a native macOS pixel art editor (WIP)

by Matt Sephton — Thu, 28 Aug 2025 10:00:00 +0000

For the past several months I’ve been working on a pixel art app for macOS, with the goal of making it as much of a first class citizen and great Mac-like experience as possible. To that end it is fully native and built using Swift and SwiftUI, with a tiny bit of AppKit.

As with all the macOS apps I build, they start with a personal need. This one was to replace the aging and unsupported Piskel electron/web app. I like it and I loathe it, so I wondered if I could do better. My friend Jason Morley was the additional momentum I needed to actually get moving and try some things out—so thanks Jason!

A little bit of history repeating

I’ve been into pixel art since Deluxe Paint ST (yes, on Atari ST not Commodore Amiga!), and of course on the classic Macintosh. I also collect information about the multitude of Japanese “dot art” pixel art apps, which are quite different to the apps that I grew up with. All this to say that I already had a list of features I missed, pined for, or otherwise thought should make a return. Naturally, dithering should be a tent pole feature affecting all tools.

A dither smudge like the one shown below was last seen by me in 1992’s Multi Paint System (PC-98).

Look, Ma—no dependencies!

And as an additional constraint—which you may know I love to set for myself—I decided that I would use no packages or external dependencies, just system frameworks. Yes, that means I had to write my own colour picker (but, that’s my idea of a good time!) and some things took longer than just adding a package, but I can say that there is precious little wasted code inside this app. In fact, at the time of writing a single-architecture build of the app that has been readied for distribution still fits on a 3.5” 2HD floppy disk!

Pre-mortem

A full post-mortem will come after release.

The trickiest parts of development so far:

drawing pixelated circles of any width and height (all the classic graphics programming text books require the circle to have odd dimensions so that the coordinate of the centre pixel is an integer)
figuring out the intricacies of the document-based application model
trying to get the “New Document” button to appear on the file selector that appears at app launch (in fact this one still evades me for reasons I can’t figure out, get in touch if you can help!)
automating help book compilation (thanks Mario!)
performance bottlenecks with some aspects of SwiftUI (thanks WWDC Lab!)
surprise performance gains from using AppKit for better gestures
selections and marching ants
dealing with some bad early decisions (tech debt)

The most fun aspects so far:

designing and iterating on the UI
coming up with a name and brand
implementing palette management and trying new ideas
implementing a custom colour picker, twice
drawing the various tool and app icons
getting to a point where it feels done and every new feature is icing on the cake

One interesting thing about the app:

there is no settings window

Launching late-2025

I hope to launch the app this autumn, but until then: if you’re a pixel artist feel free to get in touch with your email address and I’ll send you a TestFlight invite!

Shibuya Pixel Art Contest 2024

by Matt Sephton — Sun, 14 Jul 2024 16:42:00 +0000

For June and July of 2024 the Shibuya Pixel Art Contest has been running, a welcome return after it not happening in 2023. Entries are open all over the world, but can only be submitted to Twitter using the hashtag #shibuyapixelart2024. You have to include a name for the artwork and its original pixel dimensions (though it’s OK to rescale small artwork so it can be seen more easily). There are special categories for 16×16px and 32×32px artwork, and then a category for anything bigger up to the maximum of 512×512px. Full rules at pixel-art.jp/contesten and there’s still time to enter! Selected works will go on display around the Shibuya district of Tokyo in August and September.

For my entries I thought it would be cool to use different, unexpected software to produce my artwork.

PICO-8

These three entries are based on graphics I created for a game I started making when my wife was pregnant with our first child. We were house bound for a while, waiting for the birth, and I drew these cards using PICO-8 for a game which remains unfinished. At least I finished the graphics!

16×16px = 「花見」hanami card, (link)
32×32px = 「花見酒」hanami-sake yaku, (link)
128×128px = 「花札」hanafuda koi-koi game layout, (link)

The smaller cards shown in the full game layout are just the regular sized cards downscaled to 8×11px in code using nearest neighbour resizing. For all cards the border is drawn seperately. One or the other size of card are most likely the smallest Hanafuda ever pixelled!?

Rorschach for Playdate

This entry was created with Rorschach a creative toy/game I made for the Playdate handheld gaming system. This piece was created by moving the “pen” using the accelerometer and relying on the dynamic ink colour which is relative to the movement. It’s a fullscreen grab at 400×240px, titled 「キクぞく」”Kikuzoku” or “Chrysanthemum”.

It would be tremendously complicated and time-consuming to create artwork like this pixel-by-pixel, or even with dither brushes, unless you had some sort of pressure sensitive stylus. But Rorschach and the Playdate accelerometer makes light work of it.

The final image was my 12th attempt at getting a convincing flower! With many of my earlier attempts I was slow to hide the cursor and beautiful flowers were ruined by rogue strokes of ink after I’d technically finished. Perhaps I should have added the ability to record/playback or some sort of undo to the app. (link)

Deneba artWORKS for Classic Macintosh

I thought it would be fun to use my favourite classic Macintosh drawing app—Deneba artWORKS—to create pixel art using vector shapes, its bundled external tools (plugins), and the infinite fills best known from their appearance in MacPaint. There are only 20 objects in this drawing, which is 200×300px in size and titled 「黄金比」 or “the golden ratio”. (link)

Spiral: flower heads (2)
Resistor: hairs (3)
Bezier: stems, branch, leaves (5)
Arc: shoots, stems, midrib (7)
Round rect: planter (2)
Polygon: planter inner shadow (1)

Plus

Calligraphic pen nibs to get variable line thickness
Infinite fills to get dithered patterns and textures

Bonus!

I was having too much fun with dither patterns, so I drew one more piece just for kicks. This one is called 「生け花」”Ikebana” (“flower arranging”) and was exported at 200% because I miscalculated my document size at the beginning. I drew the shears and then transformed them with Free Rotate and Scale. There was minor pixel touch-up after export, and the final thing measures 400×512px. Otherwise I used the same techniques as above. (link)

Extras Bonus!

And I did one more just before the deadline. This is titled 「ラペルピン」”lapel pin” and is 512×512px and was created using the same vectors and fills technique. I decided to work in Canvas 3.0 rather than artWORKS, simply because it has a way of locking objects. The only new thing I did here is that I created two diagonal line fill patterns of my own for the collars. (link)

And here’s a screenshot of my working area, Macintosh System 7.5.5 running in 1-bit colour at 1025x768 in the BasiliskII emulator. This time I created it on my MacBook Pro with external Magic Trackpad, but sometimes I use my iPad Pro with Apple Pencil.

Barbara Nessim at The Ginza Art Space (1986)

by Matt Sephton — Thu, 15 Feb 2024 23:22:00 +0000

At the end of 2023 I bought a one-in-a-million find from Japan: it’s a postcard from Barbara Nessim’s residency at The Ginza Art Space, September 26 thru October 19 1986. This residency came on the back of her breakthrough early computer art that was done on a Telidon system, a type of Teletext graphics system that displayed rudimentary vector graphics.

The postcard artwork is not digital and is dated 6-86. The details on the rear are set in the Chicago typeface designed by Susan Kare for the Apple Macintosh just a couple of years prior.

As well as Barbara’s residency there was an accompanying exhibition “The Work of Barbara Nessim”.

Made in Japan

During her time at The Ginza Art Space, Barbara used an NEC PC-100 to draw new work and printed them on one of the earliest wide-format colour inkjet printers, the Fujix JetGraphy 3000 (I’d love to be able to read this article at ResearchGate). Given the use of early technology and non-archival inks, the prints are prone to fading and are now very fragile.

The choice of PC-100 computer is interesting because its display could be rotated between portrait and landscape. In portrait orientation it had a resolution of 512×720, which is seven times more pixels than the Telidon system and twice as tall as the Macintosh Plus. The PC-100 displayed bitmap graphics so it was more similar to the Macintosh than the vector graphics of the Telidon system.

Colours were limited: the PC-100 hardware could display 16 colours from a palette of 512. The printer used CMYK and could produce around 10,000 colours, some of which printed better than others. This combination may have imposed some limitations as to which colours could, or should, be used.

Below are three examples of the work Barbara produced at The Ginza Art Space: they are Flowers in the Wind, Hand Memory, and The Gift. A description of the creative process is featured in Carol Olsen Day’s article “The Art of Barbara Nessim”, in the October 1988 issue of PC Computing.

What software?

My ongoing research into early Japanese pixel art software shows that Barbara most likely used ASCII’s エアーブラシ “Airbrush” painting software on the NEC PC-100, as it is the only graphics software for that platform I’ve been able to find advertised for sale or featured in period literature.

JINZO Paint: vintage mobile drawing app

by Matt Sephton — Mon, 22 Jan 2024 20:53:00 +0000

At my core I’m a software guy. I don’t really get attached to hardware: in my mind it exists only as a conduit to software. I use emulation whenever I can to benefit from the increased convenience and reliability. But when I can’t… I buy old devices, and with old devices come old problems.

I’m fascinated by vintage digital art software, from my beginnings on Atari ST, though classic Macintosh and vintage Japanese PCs, to handhelds like Palm devices or, in this case, a PocketPC running Windows CE. As with all software, many great ideas have been abandoned in the name of “progress”.

Zen and the Art of Software Design

Japanese art software is notable in a number of ways because their drawing tools evolved differently to those in the West, at least until Photoshop took hold. In Japan the first breakthrough digital art software was the PC-98’s Multi Paint System (MPS, マルチペイントシステム) released by C-Lab in 1992, though an earlier version was released in 1991 as Maguro Paint System, or Tuna Paint System (鮪ペイントシステム) both of which were programmed by Woody_RINN.

MPS introduced the ability to lock colours and prevent them from being drawn over. You might think of it as a mask featuring every instance of that particular colour. You could also replace colours in a similar way. This was done through an intuitive mechanism of a toolbar button or key press to lock one or more specific colours on the palette, which is quite different to the selection or mask approaches popularised by Photoshop and common today.

Regardless of whether or not the method of handling colours in MPS is novel or unique, it was adopted as a standard by most Japanese art software for many years. JINZO Paint (JZP), a digital art app for PocketPC (Windows CE) created by t-ueno (Tomohiro Ueno), was one such app that adopted the MPS way of doing things and I’ve been using it a bunch recently. It offers first class support for drawing in dither patterns, and you can load in custom patterns. If you like HyperCard, NewtPaint, TealPaint, you’ll love it. Jinzo is the Japanese word for kidney, which is also the icon of the app.

If you’re interested in reading about the interface and functions of JINZO Paint I’ve mirrored the manuals for two early versions on my website as the original location is no longer available. A later version supports full 24-bit colour, but removes some useful functions. Regardless, all versions use a similar interface so they’re easy to use once you’re familiar with the general operation. One thing I would say is that the toolbars can be opened and selected with a single tap-drag-release action, which a huge win for usability and one that reminds me of the original Apple Macintosh and Palm OS. If you’re lucky your operating system today will support such fluidity.

For my next trick I will run it on a Dictionary

My Windows CE device is a bit odd because it’s a Brain. These are a range of electronic dictionaries made by Sharp and sold only in Japan. With a bit of gentle coaxing it can be used as a little computer running Windows CE. My particular model is the PW-SH1 which is a 3rd generation device with a high resolution screen whose hinge can rotate 360° so it’s back-to-back against the keyboard, effectively becoming a tablet computer. Some years ago it was figured out that you could sideload apps and even force these devices to open the Windows CE desktop and do all manner of crazy things. Japanese hackers and modders seem to love using these devices to run emulators for old computers like Sharp MZ-series and NEC PC-series. If you want to know more check out the Brain Wiki and if you want to pick up a device here’s a list of them all (browser translation required for those links).

A problem with file selection

Anyway, I noticed whilst using JZP that the file selector would often fail to open properly. It worked the first time but subsequent attempts saw it open and then immediately vanish. The source code to the first two versions is available, and with the help of Brain Hackers’ @watamario15 the reason for the problem was traced. He found that the value of the parameter being passed to the file selector was invalid, and provided proof by modifying the source code to those versions resulting in new working binaries. But with the final full-colour version has no source code, so how do we fix that?

Multiple solutions

The binaries for my device are ARM so there’s good support for debugging that type of code. I fired up Ghidra and started poking around in the earliest, smallest version of JZP. I quickly found the section of code that defined the parameters, helped by the placement of the setup of the strings used in the file selector. A quick tutorial later and I knew how to use Ghidra to find references to data, patch instructions, and save a new binary. The workaround was to set the parameter to NULL, which works nicely but removes the ability for the app to remember the most recently used directory.

However the source is available for the two earlier versions, which I prefer using, so more complete changes could be implemented. Rather than simply nulling out the parameter we could set it to the correct initial value: the root directory. Additional changes were needed to make sure the program would cope with saving and loading from the root directory of the device directly. And finally, just for good measure, the 16-colour version’s extremely slow bitmap saving has been optimised!

Many thanks to @watamario15 for his invaluable help with debugging and his generous source code wrangling. And to Brain Wiki for being such a valuable resource for crazy old software nerds like me!

Keyboard controls

I’ve also added keyboard control to JINZO Paint 16, with standard Photoshop keys to switch tools, plus keys for undo, set zoom, quick zoom (hold space bar), and more. If I get permission from the original author I’ll release a patch.

Repo

My changes to the 16-color version are now available at the BRAIN hackers GitHub:

github.com/brain-hackers/jinzo-paint/tree/16-color

Early computer art by Barbara Nessim (1984)

by Matt Sephton — Thu, 09 Nov 2023 01:25:00 +0000

Whilst searching for something else entirely I stumbled across these images and was struck by just how beautiful they are. The September 1984 (Vol 9, No 10) issue of BYTE magazine features cover artwork by Barbara Nessim and section pages by Liz Gutowski under direction of Barbara Nessim. Larger versions are at the bottom of this blog post.

They were drawn during a residency at Time Life in NYC, simply because that was the easiest way Barbara could gain access to a colour computer with suitable capabilities: a Norpak IPS-2 Videotex (NAPLPS/Telidon) system. This offered 6 drawing modes (arc, rectangle, circle, line, dot and polygon) and 12 colours, of which half where shades of grey, plus black and white. And at a resolution of 256x200. That equates to a computer system roughly equivalent to an Apple II running a rudimentary graphics application, in fact you could get an add-on card for the Apple II to give it full Norpak Telidon capabilities. The main benefit of the Norpak IPS-2 computer system was that it had pen/stylus input. The system comprised two monitors, one showed the artwork and the other showed the software status menu system. The software was controlled by keyboard and the points that specify the shapes were entered using the pen input.

My first thought was “such cool pixel art!” but a little bit more reading shows that they are actually vector illustrations. NAPLPS is an early graphics format which could represent both text and vector graphics with all coordinates and other properties—such as size, fill pattern, density—encoded as ASCII for easy transmission. It was designed to display information on TVs, and also used for display on terminals, in BBS software, and on the Prodigy online service. Readers from around the world might be more familiar with Teletext, which is a close relative of Videotex.

Doing pure illustration using a system meant for creating pages of information is exactly the type of software subversion I love to discover!

Barbara Nessim is a name I was already familiar with, as I’d seen her mentioned and interviewed in Verbum magazine, COMPUTE magazine, in various books about illustration, and regarding her groundbreaking interactive art exhibition/installation Random Access Memories (1991/2)—which addressed world issues such as migration and population growth and allowed visitors to operate a Macintosh containing the work, selecting images and printing their own customised booklet of her work with their choice of national flag on the cover. Source 1 and 2

Whilst I had seen other early computer work by Barbara—portraits, nudes, abstract (all of which are worth checking out!)—I had never seen work quite like these images from BYTE.

The chunky scan-line gaps in between the rows of pixels are the result of these images being photographs of the monitor on which they were displayed. Screenshots had existed since the 1960s but in the 1980s getting such an image off a mainframe was not yet easy or universal. Instead images were saved by pointing a camera at the screen, in this case a Polaroid Palette Video Image Recorder, capturing the image on 35mm slide film, and printing them by cibachrome process. Which is really saying something! Of course, I think the photos are much better than screenshots because of the scan-lines, the phosphor glow, the bleeding of colours, and the general analog feel to the whole thing.

Barbara was one of few people to embrace computers for art in the early-1980s, when the rest of the art world considered them at best a “fad” and at worst a threat to their existence. The dismissal was near-total: she couldn’t persuade a single one of her artist friends to come and try the computer with her, and was left wondering whether she was the only one who wanted to. That attitude held for around a decade. It wasn’t until the mid-1990s—when affordable colour arrived and Photoshop went mainstream—that the resistance finally broke and, as Barbara puts it, “that’s when the change happened, and then it was all over”. Before and after the 1980s Barbara carved out a hugely successful career for herself, encompassing many different forms of art, teaching and activism. She continues to create and exhibit her art.

Scans

List of vintage Japanese pixel/dot art software

by Matt Sephton — Sat, 21 Oct 2023 15:56:00 +0000

For a while now I’ve been collecting references to old Japanese pixel/dot art software. My main sources of information are the treasure trove of scanned magazines on Internet Archive, Twitter archives, YouTube videos, Yahoo! Japan Auctions listings, and Google search. I’ve been keeping this list for a while, and the release of 16bit Sensation: Another Layer and its inclusion of Multi Paint System made me realise I should make the list public.

A long term goal would be to find files for each of these so they can be actively used and documented more fully. Most have them can be found in archives of preserved software, with clues in the spreadsheet below, and you can try them using emulation or Virtual Machines.

Selected columns from the big list

The table below is a snapshot of selected columns of a Google Sheet that I’m updating over time. The full spreadsheet contains links to downloads, videos, web pages, magazine mentions, and many other references. So be sure to check, bookmark or subscribe to that link for the very latest information. Since January 2024 I’ve been adding some non-Japanese software that was “big in Japan”.

Regarding the empty cells: software missing a Japanese name was mostly referred to only by an English title. The rest of the missing information is TBC.

ドット絵（ドットえ）作成に使えるビンテージ日本語ソフトの一覧です。

Total entries: 272

Platform	English	Japanese	Year	Developer
FM-7, X1	Art Creator		1984	MDBA
FM-7/8	Graphic Editor		1983	Hiroshi Ichikawa
FM-7/8	Super Graphic Editor	スーパーグラフィックエディター	1983	T&E SOFT
FM-77	FM Graphic Editor	FMグラフィックエディタⅡ V1.0	1986	Fujitsu
FM-R50/60	Z’s STAFF Kid FP		1988	Zeit
FM-R60/70	Z’s STAFF Kid FP		1990	Zeit
FM-Towns	ARTemis		1993	Ryosuke Matsuuchi
FM-Towns	DRAW BOARD2		1993	Souji Yamakawa
FM-Towns	G-Pen32K		1995	rice
FM-Towns	many COLORS		1993	Amorphous
FM-Towns	many COLORS II		1995	Amorphous
FM-Towns	Meta Paint 2	メタペイント2	1992	Oizumi Shigeru
FM-Towns	New Transfer	ニュートランスファー	1992	Hiroshi Toda
FM-Towns	Oops, anime-kun	おっとアニメ君	1989	Nihon Mi-Com Hanbai
FM-Towns	Otome / Towns Paint System	乙女座	1993	Yabara
FM-Towns	Power Paint	パワーペインター	1991	Wave Train
FM-Towns	Towns PAINT		1989	Fujitsu
FM-Towns	TownsFullcolor		1993	Fujitsu
FM-Towns	Z’s STAFF PRO-TOWNS		1991	Zeit
Mac OS X	DotEditerSE		2016	tokyoconsaruai
Mac OS X	DotShot X		2007	Studio Shin
Mac OS X	FireAlpaca		2011	FireAlpaca
Mac OS X	PikoPixel		2013	Twilight Edge Software
Mac OS X	PoCo		2005	KAENRYUU Koutoku
Macintosh	BluePaint		2001	Shungo Onozuka
Macintosh	DotShot		1998	Studio Shin
Macintosh	Leo paint		1997	Reona Takahashi
Macintosh	SketchBook 68K		2000	Shibutaro Kimura
Macintosh	Solid Paint		1996	Masatoshi Utashiro
Macintosh	WishDraw		1998	Motoo Tanaka
MPC-X	MPC-X Lightpen Graphics		1984	Sanyo
MSX	ACE-tools DRAW-SET		1997	Akio Hiramatsu
MSX	Animation editor EDDY	アニメエディタＥＤＤＹ	1984	HAL Laboratory
MSX	ANIMECHA Ver. 2.00		1995	MAR’Z PROJECT
MSX	Art Paper	アートペーパー	1986	Mitsubishi
MSX	CHEESE		1984	NEOS
MSX	CHEESE 2		1985	NEOS
MSX	Computer Painting	描きくけコン	1985	Casio
MSX	Creative Tool	クリエイティブツール	1989	HAL Laboratory
MSX	Da Vinci	ダ・ビンチ	1988	Shinkikakusha Corp
MSX	Dot Designers Club	ＤＤ倶楽部	1989	T&E SOFT
MSX	Dream Block	ドリームブロック	1989	Nikkoh Thinking
MSX	EDDY II	エディー	1984	HAL Laboratory
MSX	Gaban	がばん	1988	Micronet
MSX	Garakuta	画楽多	1988	Southern Create
MSX	Graph Saurus 1	グラフサウルス	1989	Bit²
MSX	Graph Saurus 2	グラフサウルスVer2.0	1991	Bit²
MSX	Graph Saurus 2.1	グラフサウルスVer2.1	1993	Bit²
MSX	Graphic Artist	グラフィックアーティスト	1985	YAMAHA
MSX	Graphic Editor	グラフィックエディター	1984	HAL Laboratory
MSX	Graphic Editor ANGLE	グラフィックエディタアングル	1985	Hiroshi Ichikawa
MSX	Graphic Editor XV	グラフィックエディター	1988	HAL Laboratory?
MSX	Graphic Master Lab	グラフィックマスターラボ	1985	HAL Laboratory
MSX	Graphic Studio Pro	カラー・グラフィック・エディター	1985	HAL Laboratory
MSX	Graphic Tool for screen 12	専用簡易グラフィックツール	1993	KNKKY
MSX	Illustration Word Processor	絵はがき用ワープロ	1985	Hitachi
MSX	Joy Graph	ジョイグラフ	1983	Victor
MSX	Kakikuke kon	かきくけこん	1985	Casio
MSX	Leonard	レオナルド	1987	Omega System
MSX	Leonard Plus Kanji	レオナルドプラス漢字	1987	Omega System
MSX	Lightpen Graphics	ライトペングラフィックス	1984	HAL Laboratory
MSX	MOKO		1986	Toshio Tabeta
MSX	MOKO II Improved Version	改良版 MOKO II	1987	Maeda Mameo
MSX	MSX’s TOOLS		1995	Hitori Circle
MSX	The Painter	ザ・ペインター	1986	YAMAHA
MSX	Tiny Joygraph		1985	Victor
MSX	Pattern Editor Robin	パターンエディターRobin	1985	Hirohumi Ino
MSX	Pixel 2	ピクセル２	1985	T&E SOFT
MSX	Pixel 3	ピクセル３	1988	T&E SOFT
MSX	(Graphic Editor) Sha Ga Raku	写・画・楽	1988	Victor
MSX	UniPaint	ユニペイント	1986	Matsushita
MSX	Video Graphics	ビデオグラフィックス	1986	Matsushita
MSX, WAVY	Light Pen Graphics	ライトペングラフィックス	1984	Sanyo
MZ-2500	G-EDIT2500	グラフィックエディタ2500	1987	Data West
MZ-2500	ILLUST BOX		1987	Rhodes
MZ-2500	Palette	ぱれっと	1987	Dynaware
MZ-2500	Quick MZ Paint		1987	Minoru Morinaka
MZ-2500	Super Paint		1987	S.B.C Software
Newton	HexPaint		1997	HexDump
Newton	NewtPaint		1995	Glen Raphael
OS/2	QueenCy		2000	masami
Palm	CLIE Paint		2001	Sony
Palm	MoePaint		2004	Toshiyuki Hayashi
Palm	PenPenCol		2001	Shigeyuki Seko
Palm	PenPenW		2005	Shigeyuki Seko
Palm	PixMarker		2001	wernyv
Palm	Sphere the PAINTER		2001	Katsunori Sakuragi
Palm	yapp		2000	Ines
PC-100	Airbrush	エアーブラシ	1984	ASCII
PC-6001	Picture Editor	ピクチャーエディタ	1983	ASCII
PC-88	Adventure Maker mk2	アドベンチャーツクールmkII	1987	T.Ueno
PC-88	ART MASTER 88		1985	SystemSoft
PC-88	da Vinci ~Super Graphic Tool~	ダヴィンチ	1985	POPCOM
PC-88	Emi	絵美	1990	MIINA
PC-88	HR-PAINT3		1990
PC-88	Ink Pot M		1987	H.Komatsu
PC-88	LALF ~Hyper Graphic Tool~		1989	Technopolis
PC-88	LUNA		1991	MEW
PC-88	Magic Paint 88 v2.0	マジックペイント88	1988	Atsushi Oshima
PC-88	Magic Paint 88 v3.0	マジックペイント88	1988	Atsushi Oshima
PC-88	Magic Paint 98	マジックペイント98	1990	Atsushi Oshima
PC-88	Magic Paint VA	マジックペイントVA	1988	Atsushi Oshima
PC-88	nedi3.bin		1987	TA(O)
PC-88	Super Artist 256		1989	Seed Software
PC-88	Yukara art	ユーカラart	1987	Tokai Create
PC-88	Z’s STAFF Kid VA		1987	Zeit
PC-88	Z’s STAFF Kid88		1987	Zeit
PC-88, X1	Ink Pot		1985	H.Komatsu
PC-98	256 Color Drawing Tool	256色お絵描きツール	1994
PC-98	6 Coloured Pencils	6色鉛筆	1993	tsutosan
PC-98	Actor98	アクター98	1990	Soft Studio Panther
PC-98	Adventure Maker 98	アドベンチャーツクール98	1992	ASCII/LOGiN
PC-98	Akane	あかね	1992	Miruhi Takahara
PC-98	Art Frontier	アートフロンティア	1991	Bijutech
PC-98	ArtCore (Art/V?)		1992	SystemSoft
PC-98	Assist Art	アシストアート	1991	Assist Co., Ltd.
PC-98	Ayako	彩子	1988	Art Function
PC-98	Camel	キャメル	?	Nazca Corporation
PC-98	CANDY		1984	ASCII
PC-98	CANDY2		1985	ASCII
PC-98	Character Maker 98	キャラクターツクール98	1994	Pegasus Japan
PC-98	Doodle Book / Rakugaki-chō	落書き帳	1993	Toshiya Hayashi
PC-98	DynaPix V	ダイナビックスV	1988	Dynaware
PC-98	ESQUISSE	電子水彩エスキース	1989	SAPIENCE
PC-98	Funny		1984	Zeit
PC-98	Garakuta98	画楽多98	1990	Southern Create
PC-98	GIOTTO		1986	Art Function
PC-98	GRAPHIC HENSHIN	ぐらひっくへんしん	1998	Taro Namae
PC-98	GREEN		1993	Yoshito Takemura
PC-98	GREM		1993	Yoshito Takemura
PC-98	Hyper Ayako	HYPER 彩子	1989	Art Function / Digital Arts
PC-98	JEDAI		1994	D.O. CORP
PC-98	Kureyon-chan	くれよんちゃん	1994	Fusao Saito
PC-98	Maguro/Tuna Paint System	鮪ペイントシステム	1991	Woody_RINN
PC-98	Mapping Paint	写像ペイント	1990	CAST
PC-98	Marupa	まるぱ	1993	Ichikawa Soft Labratory
PC-98	MEDI-98 / nedi3		1990	NOZUMU
PC-98	Monopen	ものぺん	1995	OEAO
PC-98	Multi Paint System / MPS	マルチペイントシステム	1992	C-Lab
PC-98	Paint System Tool / PST	似非キース	1990	hironon
PC-98	Paper	紙	?	Irem
PC-98	Penta-kun	ぺん太くん	1994	NEG
PC-98	Sadayan Paint	さだやんペイント	?	Irem
PC-98	SANDY		1994	Wataru Ishihara
PC-98	Small CANDY		1984	ASCII
PC-98	Super Tableau	スーパータブロー	1987	SAPIENCE
PC-98	Tableau		1987	SAPIENCE
PC-98	Tetsujin	鉄人	?	Irem
PC-98	TrueLine		1996	OEAO
PC-98	Z’s STAFF		1985	Zeit
PC-98	Z’s STAFF Kid		1986	Zeit
PC-98	Z’s STAFF Kid98		1988	Zeit
PC-98	Z’s STAFF Kid98 v3.0		1990	Zeit
PS-55	Z’s STAFF TRAD		1989	Zeit
SMC	Graphic Editor	グラフィックエディター	1984	Sony
TRON-OS	Pelistina		2005	KAENRYUU Koutoku
TRON-OS	Pelistina 2		2005	KAENRYUU Koutoku
TRON-OS	Sketchbook	楽描き帳	2011	Satoshi Sera
TRON-OS	Xbrush for Chokanji	Xbrush for 超漢字	2013	Akira Tasaki
Twin Famicom	Game Maker	ゲームメーカー	1989	HAL Laboratory
Windows 2K	4thPaint	よつばペイント	2007	4th Paint Project
Windows 2K	Let’s Draw F		2007	Oscar Creation
Windows 3.1	Daisy Art	デイジーアート	1995	Ichikawa Soft Labratory
Windows 3.1	Draw Unit		1994	Type-甲
Windows 3.1	GOINDRW		1996	Yasuhiro Nakata
Windows 3.1	ImgFinish		1996	Syouichi Hattori
Windows 3.1	Pattern Editor PE	パターンエディタ PE	1995	Windows 3.1
Windows 3.1	Sailing Draw++		1993	Jun Satomi
Windows 3.1	SUPER KiD		1994	Zeit
Windows 3.1	SUPER KiD v2.0		1995	Zeit
Windows 3.1	Tsuruniha○○mushi	つるニハ○○ムシ	1999	Mr Dad
Windows 7	EDGE2		2006	TAKABO SOFT
Windows 9x	1bitPaper		2004	shiden
Windows 9x	ArtistX		2001	ARINOKI
Windows 9x	ArtistX Labolt		2005	ARINOKI
Windows 9x	AZPainter		2006	Azel
Windows 9x	AZPainter2		2009	Azel
Windows 9x	Camel2	キャメル2	1995	Nazca Corporation
Windows 9x	D-Pixed		2000	Jun Doi
Windows 9x	DoggyPaint		2000	HKR.Jon
Windows 9x	Dot Art Kakiko	ドット絵カキコ	2000	YUUKI
Windows 9x	Dot Art Vacation	ドット絵バケーション	2002	Arue
Windows 9x	Dot Editor Ver 4.0	ドットエディタVer4.0	2000	PSIKYO
Windows 9x	Dot Pictureditor	ドット絵でぃた	2000	shishido
Windows 9x	DotPainterALFAR		2003	Herohero
Windows 9x	Easy Paint Tool SAI	ペイントツールSAI	2004	TANE/KOJI
Windows 9x	eco paint	エコペイント	2006	tyty
Windows 9x	EDGE		2000	TAKABO SOFT
Windows 9x	FARLUX	ファーラックス	1997	Studio BullTerrier
Windows 9x	FudeBoard		1998	matumoto
Windows 9x	Gpen96		1999	Hiroshi Igami
Windows 9x	GraphicsGale		2004	HUMANBALANCE
Windows 9x	HappyPaint32R		1997	Isao Maruoka
Windows 9x	Hyper KiD		2000	Fanfare
Windows 9x	Hyper-Paint		2004	kiriman
Windows 9x	iDraw		1996	hawk
Windows 9x	ILLUSTMAKER		2000	matumoto
Windows 9x	Janus		2007	Rigeru
Windows 9x	Kakukakuoji	かくかくおうじ	2000	1BITMANIA
Windows 9x	L-Paint		2001	via
Windows 9x	Let’s Draw		1996	Oscar Creation
Windows 9x	Let’s Draw Z		2003	Oscar Creation
Windows 9x	Light Painter		2000	Yoshi
Windows 9x	LitePaint		2000	Rigeru
Windows 9x	Matilda		2001	ViikiSoft
Windows 9x	mdiapp		2007	nattou
Windows 9x	Mpaint		2001	ura00
Windows 9x	Neko no Mori Graphic Editor	猫の森グラフィックエディタ	2009	Neko no Mori Soft
Windows 9x	PAL Paint 2		2005	Togura
Windows 9x	PictBear		2000	Yasuyuki Kashiwagi
Windows 9x	PictBear 2		2009	Yasuyuki Kashiwagi
Windows 9x	piroPaint		2011	piroyan
Windows 9x	Pixia		1998	Isao Maruoka
Windows 9x	Pointillist Feng Chu 3	点画師鳳雛３	2005	Maya Takimoto
Windows 9x	PRETTY ART		2000	dmms_21
Windows 9x	SPED4		2001	TwinkleSoft
Windows 9x	SUPER KiD 95		1996	Zeit
Windows 9x	SUPER KiD FE		1997	Zeit
Windows 9x	The Graphics		2002	Fanfare
Windows 9x	Ultra KiD	ウルトラキッド	1997	Fanfare
Windows 9x	Ultra KiD v2.0	ウルトラキッド	1998	Fanfare
Windows 9x	Yumeiro no Enogu	ゆめいろのえのぐ	2008	Kengo Watanabe
Windows CE	EDGE Pocket 2		2009	TAKABO SOFT
Windows CE	JINZO Paint 16		1999	Tomohiro Ueno
Windows CE	JINZO Paint 4		1999	Tomohiro Ueno
Windows CE	JINZO Paint full-colour		1999	Tomohiro Ueno
Windows CE	mdiapp mobile		2008	nattou
Windows CE	Pocket Artist		2001	Conduits
X-Windows	Gedo / Graphic EDitor OMNI		1999	Yasuhito Sugiura
X-Windows	Xbrush		2001	Akira Tasaki
X-Windows	xpx		1994	yav
X-Windows	XShodou		1998	Hiroaki Sakai
X1	turbo Z’s STAFF		1985	Zeit
X68000	Art68K		1991	OOYAMA
X68000	Easypaint SX-68K		1991	First Class Technology
X68000	EEL		1994	GORRY
X68000	EX-WIN (EX-System)		1996	Oh! X
X68000	Full Color Paint Tool SAI	フルカラーペイントツール-彩-	1996	TANE/KOJI
X68000	G・TOOL	G・ツール	1990	Zainsoft
X68000	G68KversionII-PRO		1989	OH! Bussiness
X68000	GE		1990	Miki Hoshino
X68000	GLab		1992	Ushi no shizuku
X68000	gm256.x		1993	Kanzu
X68000	Graphics Editor ARTIST		1992	T.Shimanuki/GCC
X68000	Magic Palette	マジックパレット	1990	Musical Plan Ltd
X68000	Matier	マチエール	1992	Meteor Art Tech
X68000	mfged.x		1988	Mamiyu Yuuki
X68000	MONOCRAYON	ＭＯＮＯくれよん	1990	Yasuhiro Sasama
X68000	MONOCRAYON Wide Edition	ワイド版ＭＯＮＯくれよん	1994	Noboru Ishii
X68000	Monotone		1988	GUNchan
X68000	Object Editor	オブジェクトエディタ	1990	Tonbe
X68000	Onazorikun		1990	Muchi
X68000	Prism 68K	プリズム68K	1989	WOLF TEAM
X68000	RG	ＲＧ	1992	RERO2
X68000	RGBP		1994	Tetsuya Kimura
X68000	Usagi	うさぎ	1992	IKUTA
X68000	XGE		1995	KYA!,CHIAKI
X68000	XPST	えせきーすX68	1991	kenna & PUNA
X68000	Z’s STAFF Pro-68K		1987	Zeit
X68000	Z’s STAFF Pro-68K v2.0		1989	Zeit
Zaurus	PetitPaint		2001	TOK
Zaurus	PrismPaint 3		2001	Soga Juroh
Zaurus	PrismPocket		2002	Soga Juroh
Zaurus	Zausuke	ざうすけ	2000	Soga Juroh
Zaurus Linux	CloverPaint		2005	Soga Juroh
Zaurus Linux	PetitPeinture		2004	Sakira
Dedicated	Aniputer	アニピュータ	1982	JVC
Dedicated	Hyper Paint 2		1991	Shima Seiki
Dedicated	Personal LINKS: PFB-2		1991	LINKS Corporation
Dedicated	Pyuta G-GRAPHIC	ぴゅう太 G-GRAPHIC	1982	Tomy
Dedicated	SGI-Pictoris	ピクトリス	1988	LINKS Corporation
Dedicated	SGX-Hyper Paint		1988	Shima Seiki

Kenichi Shinohara’s Pixel Art Ukiyo-e (1987)

by Matt Sephton — Fri, 13 Oct 2023 10:43:00 +0000

From LOGiN Magazine (1987, No 5) comes the story of 篠原賢一 (Kenichi Shinohara), a “cheerful uncle” from Hyogo Prefecture, who at the age of 60 years old began using an NEC PC-98 to draw pixel art reproductions of Ukiyo-e. He also printed them and made folding screens and kites! Just “for something to do”. I like his style! What a guy.

His process involved pasting copies of artwork from books and magazines to his monitor screen and then tracing them using the mouse. After that he would clean up, add colour, and after 4 to 5 days print it out on his NEC NM9900, check and repeat. Each piece would take 1 to 2 weeks of work.

This is pretty much the same process I used to create my 1-bit Woodblocks series, though with a more modern set of tools, and similar to what Susan Kare did for her famous MacPaint artwork.

Happy 100th

Given that this feature was published in 1987, when Kenichi was 64, that would make him 100 this year. Happy Birthday for your centenary, Kenichi, wherever you are! 🎂

The Setup

We can read that he used pixel art software such as Z’s STAFF, FUNNY and CANDY2. The kite goes further and advertises that its image was drawn using Z’s STAFF with Pluskit LEVEL 1, an NEC PC-9801E and printed on an NEC MultiImpact NM-9900 dot matrix printer.

Handily, many of these tools are referenced in a repeated feature about ASCII C.G. Tools Festival which ran from the middle of November 1985 to the end of February 1986. That feature was essentially an advertisement for Zeit software company and was sponsored by them.

We can see that Funny was a pixel art package, CANDY2 was a technical drawing app, Z’s STAFF was a pixel art app (Zeit’s most famous, in fact), Pluskit LEVEL 1 was an “image reader” software add-on. Interestingly, Pluskit LEVEL 2 involved an interface board to allow for direct camera input.

Thanks to Gaming Alexandria for scanning the magazine and making it available at Internet Archive: archive.org/details/login-may-1987/LOGiN%20-%20May%201987/page/n169/mode/2up

陽気なおごさんに教わるグラフィックツールのひミーふな使い方
Learn how to use graphics tools from a jolly old man

Click the images below to see a zoomable, browsable version of the magazine.

Piskel for Playdate

by Matt Sephton — Wed, 10 May 2023 00:00:00 +0000

I just pushed some changes to my Playdate-centric fork of Piskel:

github.com/gingerbeardman/piskel-playdate/tree/dev-1047

This fork:

can be used to build desktop apps on latest operating systems
- updated to future-proof dependencies and build process
- builds for Windows, Linux, macOS
has Playdate-specific features
- get frame size from imagetable filename
has quality-of-life improvements
- save keyboard shortcut will export PNG
- ignore warnings preference
- turns off animated preview by default
- different window size and positioning
- stops nagging if run in WebKit
- modern macOS icon
adds useful community improvements
- Outliner tool
- Dither modifier keys
- Keyboard cursor
- Shift Palette Color Index Brush
adds new default Pencil tool
- draws in the opposite color to that of the start pixel

Apple silicon support

Check out the readme for details on how to quickly generate a new build without having to build nw.js from scratch. It’s very easy! Thanks to Ayushman Chhabra for help and hints.

Image Table support

Most of the time I load Piskel and drop an image table (a sort of sprite sheet) on it. Having to manually enter frame/cell size dimensions got old really fast, so this was my main motivation for doing a custom build. It’s a simple hack that checks the file name and parses out the cell dimensions. Slightly more tricky was trigger changes to the import panel so that everything looked and worked as it should.

Ignore Warnings

After editing an image in Piskel the majority of the time I export it and then quit the app. The app always nags twice: firstly to make sure you wanted to “leave the site?” - a leftover from the fact this is a web tool at heart - and a secondly to make sure you want to “abandon unsaved changes?”. An option to ignore these warnings is such a time saver.

I also took the opportunity to add some useful features developed by the community.

Outliner tool

Thanks to ElectricToy for this patch, it works like flood fill but only fills the outline of any pixels it hits. You can hold Cmd to do a slightly thicker outline including corners.

Dither modifier keys

Another one from ElectricToy, this gives you 25% ad 75% dither patterns by holding modifier keys, in addition to the standard 50% checkerboard dither pattern.

Keyboard cursor

I’m not sure how useful this really is, but I added it anyway. Thanks to juliandescottes for the patch. You can control the pixel cursor location using Alt+cursor, and space will activate the current tool at that location. I haven’t tried it but you could set up a game controller to use these keys and draw like Dan Malone did!

Shift Palette Color Index Brush

This tool allows you to do shading using neighbouring colours more easily. Thanks to blurymind.

And I even added a new tool myself!

Pencil tool (new default)

Classic Macintosh style Pencil. Draws in the opposite color than that of the pixel the stroke begins on. If the stroke begins on transparent, or the secondary color, it draws in the primary color. If the stroke begins on the primary color, it draws in the secondary color. This minimizes the need to switch between selected colors. To draw in a single color you won’t need to change colors or tools at all.

Open Studios: Christmas 2022

by Matt Sephton — Fri, 02 Dec 2022 00:00:00 +0000

This weekend I’m taking part in Christmas Open Studios at Krowji in Redruth.

FRI 2nd Dec, 5pm–9pm
SAT 3rd Dec, 10am–4pm
SUN 4th Dec, 10am–4pm

See you there!?

You’ll be able to buy my art and play my games.

More info: www.krowji.org.uk/open-studios/

Turning an iPad Pro into the Ultimate Classic Macintosh

by Matt Sephton — Sat, 17 Apr 2021 00:00:00 +0000

I’ve started work on the next in my 1-bit Woodblocks series: “Tekagami” (Ito Shinsui’s “Hand Mirror”). So it’s a good time to talk about how I turned an iPad Pro into the ultimate Classic Macintosh.

Emulators

Both Macintosh emulators available on iOS we’re ported by @maczydeco who has done an amazing job making them feel truly at home on iOS. Many thanks! They need to be built from source using Xcode but it’s a pretty straight forward process.

Mini vMac

Supports System 1.1 to 7.5.5
Limited RAM and CPU emulation
File Sharing via bespoke method
No dynamic screen resolution changing
Odd interface using Control key shortcuts
Source code

BasiliskII

Supports System 7.0 to 8.1
Advanced RAM and CPU emulation
File Sharing via mapped folder
Dynamic screen resolutions through Monitors control panel, or automation
Native iOS interface for settings panel, negating all the issues with the desktop GUI
We have a winner!
Source code (use the ios branch)

This works a treat in both emulators, but the experience is better in BasiliskII.

With Mini vMac you need to run a special file import app, and then whilst it’s open use iOS Share Sheet to send a file to Mini vMac. These extra steps are just enough friction to make the emulator annoying to use.

With BasiliskII things are easier as it has a drive mapped to the app’s file sharing folder. You can use the Share Sheet in the same way as Mini vMac, but you can also simply copy/move a file to the BasiliskII folder and it will be accessible inside the emulator. The only gotcha with this approach is that you’re best moving the file to the emulated system’s main disk drive otherwise you’ll encounter various oddities with certain apps that don’t know how to cope with files located on this type of drive.

Screen Resolutions

The original Macintosh had a native screen resolution of 512×342.

Conceptually, the iPad has a logical screen resolution of 1024×768, which when running in pixel doubled mode equates to 512×384. A pretty good match. Specifically, the native resolution varies according to the model of iPad or iPhone you are using.

I use an iPad Pro 12.9” which has a native resolution of 2732×2048, pixel doubled that means 1366×1024, and pixel quadrupled 683×512. Targeting this ballpark of resolution means user interface elements will be around the magic 44pt tappable area, so that fingertip interactions are accurate, predictable and enjoyable.

Of course the iPad can flip between landscape and portrait orientations on demand, which means BasiliskII supporting the Monitors control panel is a big win.

So I added a bunch of custom resolutions to the BasiliskII soure code to add support for both pixel-doubled and pixel-quadrupled resolutions, in both portrait and landscape, with and without room for the software keyboard. I can switch between these resolutions with keyboard shortcuts. Which leads nicely on to…

Custom Keyboards

Both emulators share the same software keyboard mechanism. The keyboard layouts are user-editable as JSON and compiled into a custom format.

So I put together a custom keyboard layout that can be used in either emulator that gives me quick thumb access to tools and shortcuts in my most used apps: artWORKS and UltraPaint. It works for both apps as they are closely related, sharing a lot of code and resources.

With this keyboard layout I’m not only relabelling the function keys, but also replacing some key codes to reposition keys for my own purposes. The apps don’t respond to function keys so I use macros and Apple Events to get things to work as detailed in another post.

How does the experience compare to a real Macintosh?

The most important aspect of this setup is that it runs System 7 and the various apps I use. That is the core of my classic Macintosh experience and the goal I had in mind. The hardware running System 7 is merely a conduit.

That said, the iPad Pro is more portable, reliable and capable than my real Macintosh. That’s 30 years of hardware progress for you.

The iPad’s display in particular is a huge differentiator—it can assume so many different resolutions it should be thought of as a collection of displays rather than just a single one.

Apple Pencil is very similar in feel to my Wacom ArtPad II, but with the single huge improvement that you’re drawing directly on the screen. Drawing with an Apple Pencil on System 7 is every bit as good as drawing in a native iPad app.

iOS is only a swipe away: download classic software using a modern web browser like Safari, expand archives more quickly with Files or Documents, watch videos picture-in-picture, search your Inside Macintosh PDFs in Books, listen to streaming music, and so many other things that aren’t doable (or at least are extremely difficult to do) on a real classic Macintosh.

Bluetooth keyboards just work. The new/recent mouse pointer support in iOS also works. You could even plug the iPad into an external display to go full circle back to a desktop computer.

This setup gives me the best of both old and new worlds, and that’s why I refer to it as the Ultimate Classic Macintosh.

Turning an iPad Pro into the Ultimate Classic Macintosh
How to install BasiliskII on your iPad
Exploring Custom Keyboards and Automation
Optimising Macintosh app toolbars for touch
Macintosh drawing software compared
Mixing External Tools across Deneba software
My System 7 software choices
About the interoperability of System 7 and iOS

Elsewhere

2021-03-29—The Mac Observer
2021-04-18—Hacker News
2021-04-19—Boing Boing
2021-04-19—iDownloadBlog
2021-04-19—The Loop
2021-04-22—FredZone (in French)
2021-04-23—Gizmodo
2021-04-23—Pixel Envy
2021-04-26—iGeneration (in French)

Asanegami (Morning Hair)

by Matt Sephton — Mon, 22 Mar 2021 00:00:00 +0000

Second in my series 1-bit Woodblocks.

I’ve just finished “Asanegami” (Morning Hair) so I thought I’d go into a few of my favourite details!

eyes
eyebrows
background
lips
comb/history

I spent a long time adding and refining eye details, my reasoning being that these are the first thing you look at.

Also I went without “blusher” skin tone shading around the eyes, the amount of which varies depending on which impression of the original you’re looking at.

The eyebrows were quite tricky, I tried layering multiple dither patterns but was never happy with how they looked. In the end I cheated by copying sections from the shadowy area lower down the image that had just the right gradient! Everything is a remix.

The original background is quite busy. I tried being faithful to it but I was never happy with how it looked. Too noisy.

So I used one of my own “noise” dithered patterns. I’m quite proud of these patterns and wonder if they are unique? They strike a good balance of order/chaos.

On most impressions of Morning Hair the lips are a graduated pink fade, so I spent a while finding two complementary dither patterns that would give the same effect. Getting the exact shape of the lips was the moment I realised I was on the home straight with this drawing.

In 1930 authorities considered “Morning Hair” too provocative and banned it under the Peace Preservation Law. Seventy of its hundred copies had sold and the remaining thirty were destroyed. 😱

I thought it would be a fun modern twist to replace the comb with an iPhone showing Instagram!

As always I used a mix of old and new technology to create this piece.

Old: UltraPaint on Macintosh System 7.1 New: Macintosh emulator on iPad Pro 12.9”

My interpretation of Torii Kotondo’s “Morning Hair” will be available to purchase as print “1-bit Woodblock: Asanegami” very soon.

1-bit Woodblocks

by Matt Sephton — Sat, 13 Mar 2021 00:00:00 +0000

Classic Mac on iPad is also great in Portrait!

Double height resolution scales to fit very closely.

iPad Pro 12.9" = 2048x2732
Macintosh Portrait @ 4x = 2048x2760

Install Mini vMac on your iPad from the source on GitHub:https://t.co/5t1iXBv0kc

Thanks @maczydeco! #MARCHintosh pic.twitter.com/yDj0MqkC5F
— Matt Sephton🎴 (@gingerbeardman) March 25, 2021