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In this course, author Dermot O' Connor offers experienced Flash designers a step-by-step guide for creating and animating a full-featured cartoon face in Adobe Flash Professional. The course begins with some best practices for setting up the rig and moves on to building facial features such as the mouth and eyes, sculpting the mouth to simulate dialogue, and creating a range of expressions. The course also shows how to rotate the head using poses, move the rig along multiple axes, and incorporate audio.
So I am just going to make some finishing touches to our profile mouth, the mt C symbols. If you're not in it already, click on the head to enter into the hd 1 turnaround symbol, or double-click on the Library, go to the C position. And you notice that we have our new profile mouth, which we did in the previous movie, and it needs to be patched, because right now we are seeing air gaps where there really should be the flesh of the upper lip and the lower lip pursing to match the mouth.
How we do this is a bit of a clever cheat. We need to have the jaw area which we like to have the jaw on the outer head timeline. But for the dialog purposes it's certainly nice if we have a jaw just to handle the dialog functionality. So let's select to select the jaw area-- it should be covered in lots of little dots to show that it's active--and let's put it into outline so we can kind of position it more carefully. And now we'll double-click on the mouth symbol, and we are going to make a new layer at the very bottom called jaw, and for now we are just going to guide it out because for the moment the primary jaw will be the one for the turnaround, but whenever you want to snap to a profile dialog scene you would guide out the jaw layer on the external timeline and guide in this jaw layer so that it will cover and patch your dialog needs.
So let's put some keyframes here at the beginning and the end, and Ctrl+V just paste it in, don't worry too much about where, put it into outline and then just drag it until it matches the original, and we should be able to find a point here where we can use the arrow keys to really get it very, very close. Make sure that north, south, east and west all line up as best as you can, and that's pretty good, excellent.
So now that we've done that it's just easier if we work directly in the mouth C symbol, so let's just double-click on that in the Library panel, and we need to make some modifications to this. So what I am going to do is hide everything except I think the mask area might be the, maybe not, let's try the mouth inner, see what that looks like. No I need the entire mask area, there we go. So I want to see this in outline better, so I'm going to make the Outline color black for that, and I think if I padlock that that goes away, it becomes invisible, that's kind of annoying.
So what I'm going to do is make a temporary layer above the jaw and just copy these there. Hold down Alt/Option and drag, makes it a mask, we don't need another mask layer, so right-click on that, and we'll just call this uppercase TEMP, so we know it's just junk we want to get rid of when we're done. and then we can put the mask layer back to be white, hide that, and now we can padlock that, keep it in outline color, and now when we start on this jaw layer, let's have a look first at our point geometry and see where all of our points are, because we're going to start adding some more to it.
So hit the Subselection tool, or A, on the keyboard and what we are going to do is add two little points in here and cut the slice out of the jaw, sounds painful, but it won't be for us. So let's select the Line tool and working on the jaw layer. I am just going to draw right through it, and be sure we Snap to Objects right at the end, and now we can switch it off, actually keep it on and match that corner exactly, that will be the cleaner way of doing it. And now that I look at this again I think I probably should have tried harder to match this, so let me undo that, switch Snap off.
I'm going to draw very carefully here to make sure that these lines are inside the orange area, and now we can put Snap back on. Once we have this point lined up when all of this done, let's do a bit of cleanup and Snap can go away now. Let's look at it in color, see what we're dealing with, and we can hide the TEMP layer for a moment. If we click on this and delete it and click on the lines and delete it, what we've done is cut this shape in the jaw, and this will work to patch the area that is currently opening.
So now the thing to do is to match this as best as we can to the TEMP. So I am going to make the TEMP outline black, so it really stands out, and we're working in this new jaw layer, let's just match this gap, let's zoom out so we can see it. So there is our gap, and once again copy that to the end, Alt/Option and drag, and make another F6 here for a new keyframe. Let's zoom out so we can see it better, look ah! Okay, now that you have the second mouth done, let's activate shape tweening in here so we can test this, as you can see, the jaw is now traveling really, really nicely with the mask area in the black outline.
So let's make another copy of this frame for the ooh mouth and move in, and I am going to put Snapping on, so we can get at least these points here to match closely to the edge of the mouth, and then I think we can switch it off after that. And again let's pull these points into something really obvious, so that we can exactly see where we want them to go and then we make them more refined and subtle after that. And Snap on to get the corner of the mouth back to here and then the rest is again refining these points.
You'll see me occasionally move the entire thing by mistake, that's a sensitivity glitch in Flash, and that's just something that you have to develop patience with to deal with and workaround. Okay, so that's looking really solid. I think we can delete the TEMP layer now. I am going to padlock everything, and let's zoom out a little bit and have a look. There is a slight area of trouble to watch for here. I'm not going to fix that it's a masking issue with one of these layers, and it's just something that you'll play with to move some of the curves one side or the other, maybe thicken the lips to give them a more generous area of travel so that they don't have to conflict like that, but it's a fairly straightforward thing to repair.
I'm going to make the E mouth now just hit F6, and then drag that to there as we've done many times already. The C mouth will be this, drag it under the C label. The B mouth will be much more closed so we keyframe these and drag them under the B label, and now you have your first profile AF tweened dialog scene, and the jaw is working really, really well, I think. Let's get it back in frame, looks pretty cool.
Now you have to do the very same thing for the remainder, so what that means is copy these frames for the mad, the sad, and the neutral. And pull the corners of the mouth down to create the angry mouth for the mad/sad and make it neutral as we did in the previous chapters, and you have these as rough reference, as a general idea about what you need to do there. You will also have to add in the jaw layer, of course, and if you're feeling really brave then you can take on the profile versions of the jubilant, the furious, and the puzzled.
Right now we're really approaching a really good level of functionality for our rig.
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