Trixel art is a very interesting and innovative art style. I believe everyone is familiar with pixel art — those little square graphics from 2D games that are quite popular. What sets trixel art apart is that it’s created using triangles and hexagons instead of squares, like in pixel art. 

This unique style gives players the nostalgic feeling of retro games while also pleasing the eye with a more modern and geometric look. We chose this style precisely to make it a core element of Espada’s visual identity, enhancing the immersive experience. 

To achieve that, we use the best software on the market: Marmoset Hexels 3, a tool with a simple and intuitive interface that allows us to create almost all the game’s assets. Even the environments are made with it — we build them in 2D with an isometric view, creating a sense of depth without having to model in 3D.  

(from the game's early version, just a test) 

Since nearly all design in Espada is constructed using trixel blocks, every element has a unique visual rhythm, with precise angles and elegant compositions. This results in a consistent aesthetic that blends the nostalgia of old-school RPGs with the energy of modern productions.

The characters are also designed using the same geometric principles, but with a focus on visual identity and clarity. Even with simple shapes, the characters are easy to recognize, control, and animate. The aesthetic contributes to the game's tone: charming, accessible, and with a handcrafted feel.  

During the creative process, we faced some challenges, such as adapting shadows, showing character expressions, or simulating depth with limited color palettes. However, these challenges made the process interesting and rewarding. We believe that this will reflect positively in the final quality, since the visual style isn’t just “pretty” — it actively contributes to the gameplay’s pacing and readability.  

Visual elements are used to guide the player through the story, highlighting contrasts between safe zones and danger zones, for example. The style also helps set the emotional tone for each moment in the game — whether nostalgic, adventurous, mysterious, or cozy. 

In short, Espada is being built in trixel art because we want to connect tradition and innovation. Hexels 3 reinforces our artistic vision, blending visual accessibility with geometric sophistication. It invites players to pay attention to the details — every triangle, line, and shadow is part of an enchanting visual narrative in the world of Espada. 

2D art is very important for conveying emotions, defining the visual identity, and telling the story in games. In the Espada project, we use 2D digital illustrations virtually everywhere. For that, we had several software options for illustration and chose one that reflects the project’s core values—accessibility, collaboration, and purpose. 

So we chose Krita. Why? Krita is a tool made by artists for artists. It has an intuitive interface, is free, and open-source, making it accessible for small teams like ours and for social projects. The program includes various tools for layered art, even frame-by-frame animation, and it supports formats used in game engines. 

In the Espada Project, we emphasize our commitment to democratic access to technology, and a free, professional-grade tool greatly helps us maintain a high level of production. Some time ago, Photoshop—the most used software for illustration and design—was boycotted by the artistic community. Adobe had openly admitted to collecting data from work created with their software to train their AI, which we consider outrageous! That was one of the reasons we chose not to use it—besides its already inaccessible pricing. 

In this production phase, our junior artist Ramon had the opportunity to be trained and mentored by the senior artist and leader of the Adas Team, following the game's style. This way, we applied everything we believe to be healthy for the game development industry and nurtured our ideals with a team that always supports one another—and Krita, with its simplicity, makes that possible. 

Throughout the planning and production stages, we realized we can strengthen the independent cultural production ecosystem not only by creating but also by talking about the tools and steps of the process. We make a point of promoting Krita, and that’s part of our mission. We encourage other developers and artists to explore powerful and accessible tools like this one. 

So, ready to give Krita a try?