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Flash Professional CS5: Character Animation
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Colorizing the body


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Flash Professional CS5: Character Animation

with Dermot O' Connor

Video: Colorizing the body

So, we've colorized our character's head, and now it's time to move onto the body. So, let's double-click on the symbol on the stage, or if you prefer, double-click on the bd symbol in the Library panel. Let's padlock the head because the head is done and unpadlock all the body layers, and we also would probably benefit if we had our color_model from the Library on the stage, so we can refer to this and grab colors from it. Then apply them to our character or vectorized liner. So, let's use the Eyedropper tool, that's this one, and grab the relevant colors, and just drop them in.
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  1. 3m 25s
    1. Welcome
      1m 9s
    2. Using the exercise files
      39s
    3. Prerequisites
      1m 37s
  2. 34m 58s
    1. Creating Flash-friendly character design
      4m 57s
    2. Animation rendering: SWF or AVI
      2m 24s
    3. Understanding line tool drawbacks when animating
      7m 7s
    4. Using uniform project scales in Flash
      3m 40s
    5. Finding helpful extensions for Flash
      2m 46s
    6. Using commands and keyboard shortcuts
      9m 53s
    7. Setting up your workspaces
      4m 11s
  3. 1h 35m
    1. Understanding character rigging
      2m 0s
    2. Exploring underlying structure in character rigging
      4m 27s
    3. Vectorizing the character body
      6m 22s
    4. Outlining colors in an animated character
      6m 15s
    5. Vectorizing the hands
      6m 43s
    6. Vectorizing the head
      4m 47s
    7. Outlining the head
      8m 20s
    8. Adding finishing touches with hair
      2m 11s
    9. Colorizing the character head
      7m 28s
    10. Colorizing the body
      5m 33s
    11. Applying gradients
      6m 18s
    12. Symbolizing and pivoting the body parts
      10m 47s
    13. Pivoting the head
      4m 42s
    14. Rigging the mouth
      10m 49s
    15. Rigging the eye
      8m 33s
  4. 52m 22s
    1. Tween types: Shape vs. motion
      5m 41s
    2. Combining motion and shape tweening
      4m 31s
    3. Animating an eye blink using shape tweening
      10m 2s
    4. Rigging a mouth in Flash for dialogue and expressions
      5m 30s
    5. Creating a D mouth
      12m 29s
    6. Creating an F mouth
      6m 58s
    7. Getting the polished look
      7m 11s
  5. 1h 2m
    1. Overview of the head turn
      2m 13s
    2. Preparing the rig
      8m 15s
    3. Posing the rig
      7m 17s
    4. Animating the head movement
      11m 5s
    5. Animating the body movement
      12m 9s
    6. Animating the head turn
      11m 28s
    7. Adding finesse to the head turn
      9m 34s
  6. 2h 44m
    1. Introducing the walk
      1m 5s
    2. Creating a profile view
      8m 30s
    3. Creating the head in profile
      10m 10s
    4. Creating the hand
      6m 57s
    5. Creating hand symbols
      8m 32s
    6. Reviewing the walk
      3m 6s
    7. Prepping the walk
      8m 33s
    8. Setting up the contact poses
      6m 45s
    9. Creating secondary contact poses
      9m 38s
    10. Finishing up the contact poses
      6m 48s
    11. Creating the passing poses
      9m 39s
    12. Finishing the passing pose
      5m 56s
    13. Animating the recoil position
      10m 9s
    14. Animating the high point of the walk
      9m 24s
    15. Adding in-betweens
      8m 31s
    16. Rigging the shoes
      8m 27s
    17. Animating the shoes
      11m 58s
    18. Animating the character's head movements
      8m 29s
    19. Fine-tuning the animation
      9m 0s
    20. Nesting the hand symbols
      8m 39s
    21. Repositioning the walk
      4m 11s
  7. 1h 32m
    1. Introducing the walk in place
      1m 30s
    2. Setting up contact poses
      10m 4s
    3. Creating the passing poses
      7m 14s
    4. Creating the recoil positions
      8m 11s
    5. Animating the head's high point
      4m 9s
    6. Tweening the legs
      5m 11s
    7. Tweening the arms
      10m 27s
    8. Setting the placement of the foot
      9m 9s
    9. Animating the shoes
      7m 52s
    10. Animating the hair
      6m 9s
    11. Creating secondary hand actions
      8m 48s
    12. Animating the torso
      6m 27s
    13. Repositioning the walk
      7m 17s
  8. 54m 9s
    1. Understanding dialogue
      49s
    2. Using the A-F system of six set mouth shapes
      4m 23s
    3. Animating dialogue using the mouth rig
      14m 30s
    4. Integrating the dialogue with the head turn
      5m 35s
    5. Animating the jaw
      6m 59s
    6. Creating an angry dialogue mouth
      7m 43s
    7. Finishing the angry dialogue mouth
      6m 38s
    8. Integrating acting techniques
      1m 51s
    9. Tips on facial expressions
      5m 41s
  9. 36s
    1. Goodbye
      36s

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Flash Professional CS5: Character Animation
9h 19m Intermediate Nov 17, 2010

Viewers: in countries Watching now:

In Flash Professional CS5: Character Animation, Dermot O' Connor explains the process of character animation in Flash, using nested symbols and motion and shape tweening to create believable characters. The course covers the process from start to finish, from rigging a character to creating a walk cycle animation. Along the way, Dermot demonstrates techniques such as animating eye blinks, head turns, and mouth movements during dialogue. Exercise files accompany the course.

Topics include:
  • Rendering in SWF or AVI
  • Creating vectors for the the character body
  • Coloring the body
  • Rigging a mouth in Flash
  • Posing the rig
  • Animating head and body movement
  • Creating hands
  • Understanding facial expressions
  • Making the contact poses
  • Creating passing poses
  • Animating in-betweens
Subjects:
3D + Animation Web Animation Character Animation
Software:
Flash Professional
Author:
Dermot O' Connor

Colorizing the body

So, we've colorized our character's head, and now it's time to move onto the body. So, let's double-click on the symbol on the stage, or if you prefer, double-click on the bd symbol in the Library panel. Let's padlock the head because the head is done and unpadlock all the body layers, and we also would probably benefit if we had our color_model from the Library on the stage, so we can refer to this and grab colors from it. Then apply them to our character or vectorized liner. So, let's use the Eyedropper tool, that's this one, and grab the relevant colors, and just drop them in.

Now, you'll notice when we do this that any of the errors that we've made in the layer hierarchy will very very quickly become apparent, and that's not a problem. Very easy to fix this. Notice also, we have a gradient on the body. We're not going to worry about that in this class. We'll do that in the next one. But for now, let's just go with the basic flat area. Okay, there's one last little area that you might see and that's this little white spot in here. So we want to shade that with the darker shadow area on the skin, grab that with the Eyedropper, and just drop that in.

Let's zoom out and have a look. Okay. Now to fix the little layering errors, just click on the layer that's too high or too low and just drag it down until it looks good. Same thing with this hand here, and I think this leg should be, or I actually think the torso might be a bit lower. Oh yes, and this is a little mistake that we made earlier on. Notice that we accidentally drew the foot on the wrong level. That's okay. Easy to fix. Just select the foot, copy it, and cut it, you grab the layer that you want, and into the right foot, Paste in Place, or Ctrl+C and then Ctrl+Shift+V. Now we're good.

So, at this point, there's one last thing that's really going to be an issue, and that is the color on the hands. We can see the potential problem with this. If we double-click on the black line and then hit Ctrl+X to get rid of it, you can't see where the fingers are. The solution to that, while we could keep the black line, but it looks kind of ugly, is something like this where we put a shadow color separation. We could also, if we wanted to, put a highlight one on the other end. So, I'm going to go in and I'm going to add that. So let's just select the hand layer, we'll hide the rest, and usually we favor one side or the other.

So I like to imagine the light coming in from one end and be sure when we apply these points that they snap to the corner to keep the geometry nice and clean. I like to grab a bunch of points, put them on here first, and then since these are very finely positioned and Snap can be kind of aggressive, I have to switch it off for this part. And back on when we have to connect to these corners precisely, and I think one more up here, just to mark that out.

Now, I want to find that color for the skin shadow color. We can get rid of that line. Pull it from there. Double-click on the line to get rid of it. So let's see what that looks like without the line, and that looks pretty good. So now, we repeat the process over here, and again let's just select the right layer, get rid of everything else. Oops! Again, this is one of those points when we want to get rid of Snap for a little bit. Maybe zoom in.

I'm going to just throw down some temporary positions here. Put Snap back on for this, so we hit those corners exactly right. Maybe round off these areas, wherever you think looks best, and color them in, and little reminder to make sure that Don't Close Gaps has been selected for this. Oops! Ah, we have an open line there. The reason why I don't like to have the gaps set to that point is because if you have it selected to don't Close Small Gaps or Large Gaps, these little areas oftentimes will be left white or empty, and that will cause problems.

Okay, that looks good. So, let's unhide everything. Let's just hide these for now. Then if you want to test the character without their lines, very-very simple, Zoom out, make it quite small, and select the Eraser and just have it select to Erase Lines. Make sure you've erased everything on the stage, zoom in, looking pretty good. Let's do the same thing on the head layer. Unpadlock that, click in, and erase everything, just the lines.

Now, we're starting to see our character begin to approach the end state. So, now we have the character fully colored. There is some little work still to be done. We need to add a gradient to the body, and we need to symbolize the hands, and the feet, and all the body parts. Then to add pivots, but the next step will be to add this little cool color gradient to the torso.

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