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Colorizing the character head

From: Flash Professional CS5: Character Animation

Video: Colorizing the character head

So, we're ready to colorize the character and I think we'll start with the head on colorizing. If you're just doing this by yourself for fun, then you can pick any colors you like. It's up to you. If however you're working inside a studio system with a bit more structure, and if you're adapting an animated character from some of that already exists like a book, [00:00:2080] you're going to need to scan that image or take in a JPEG or a photograph, and pick the colors from that and apply them to your character. So, I want to show you how to do that since that is probably more important to most people.

Colorizing the character head

So, we're ready to colorize the character and I think we'll start with the head on colorizing. If you're just doing this by yourself for fun, then you can pick any colors you like. It's up to you. If however you're working inside a studio system with a bit more structure, and if you're adapting an animated character from some of that already exists like a book, [00:00:2080] you're going to need to scan that image or take in a JPEG or a photograph, and pick the colors from that and apply them to your character. So, I want to show you how to do that since that is probably more important to most people.

So, let's move the character in that position. Double-click on the symbol on the stage or double-click on bd figure in Library. Let's start with the head. So let's un-padlock that layer, double-click. So now, we're inside the head layer and everything's padlocked, but we're going to be filling everything with paint soon. So, one little thing you'll notice, you can't really tell the symbol we're working in. We're inside the head comp, but everything looks black. Everything looks exactly the same. So first thing, let's go into View > Preview Mode and select Anti-Alias, and that's much better.

So now, we shade out the body level. We know that we're working inside the head and it'll make the process a little easier in terms of seeing exactly where we are. So let's zoom in on the head. I'm going to widen the stage a little bit and make this as big as we can, so we don't have to scroll around the screen quite as much. We're ready to start painting. So, one thing I want to do first is import our reference material, and that is contained inside your project folder, inside the character design folder, inside color model. There he is.

So now we have him in the Library. So let's give him a little level of his own, just temporarily. Oops! Undo that, padlock everything, just drag him down. This is probably a clean way of doing. it So we're going to match him a bit more closely. So now, if we want to grab these colors, it's very simple. Eyedropper tool and select and you'll see the right color appearing here. You might want to be careful where there is a lot of anti-aliasing. Try to pick from inside one of these clean spaces.

So let's hide him now, and we can start painting. Making sure we're on the right layer, and so I'm just going through all the areas that would correspond to skin. The nose, you can see immediately, probably we missed him. So I'll pop that in, and I would say just at this point just block at him. don't be too focused on worrying about details. If you close to the lines, sometimes it'll do it wrong, but oftentimes it will be pretty smart. So let's pick simple white color for the whites of the eyes. Oops! Just on the inside.

There we go, black for the eye itself, and I think we had a brown color for the eyebrow or a darker color. I'm not sure if that's totally black. Don't worry about the detail of the eyeball yet. We're going to do that in a later class. If I get a black for the mouth and there is this dark color here for the inside of the ear and maybe the lower lip. Don't worry about upper eyelid as well. That will also be added later on.

Now I'm going to pick the black for the mouth, and now you'll easily say, obviously the ear is on the wrong layer and this is the part where we can really fine-tune the layering. So I just pull it up until it stops being wrong. And, you'll also notice that on the reference material, I'm going to slide it out so we can see them side-by-side. Hold down the Spacebar to drag. So you'll see that the nose has a dark area here and the reason for that is without these fake black lines, you can't see the nose.

So let's go in and add that. The basic lining is done, but this is where we can really fine-tune some of these layers, make them look right. I will select the area that you're going to be painting into. So this if where we'll add highlights and shadows, things that will help to differentiate some of these spaces. I'll make sure that Snap is off for this area. Snap, I find very keen to combine lines. So, that's good. Go and select our dark color, drop it in, and already you can see a slight problem that's going to arise.

There's a big ugly white triangle here, and we can fix that fairly easily by just pulling the jawline over a little bit and actually probably helping as well by pulling the ear out just a bit. Maybe bring that ear lobe in slightly, and that should eliminate the ugly white triangle. So now, I think we're pretty much done. Ah, there's one more thing. I previously suggested that we add a white highlight to the top and a dark to the bottom because that'll help areas of overlap on the hair. So let's add them as well. Oops! It's very easy to forget. Just make sure you're working into the right layer. Put Snap on.

Make sure these are clean. Hold Option to add a point here, another point there. It's very very important that all these corners line up exactly. There can't be more than four points combining at these corners. If one of your lines were to join just short of the corner, you will have multiple points, and then when you begin to animate this, it will go crazy. You simply won't be able to control the forms. So, if that happens, if you find that you've got additional shapes here, simply delete them, start over.

A quick demonstration of that. I'll do it wrong, so you can see exactly what I'm talking about. So now we have this kind of thing happening and that's not going to go good when you start adding in the different shapes. So, how I would correct that? Sometimes you can simply drag that point onto there and then you're good. If you have a real cluster of points, I like to go in, delete them, and do this and then you're good again. So, I'm going to undo all that. So that's the process. Just watch these corners. Very very important that they are always kept nice and tidy.

So, the next thing I'm going to do is try to match these little triangular spaces so that we can add our highlights and lowlights, and this is when the Subselection tool is also handy. So I want to make sure that these points are roughly corresponding to one another. You can see one of my earlier mistakes is still there. So now we're fine. And then the last step will be just to make sure that our colors are roughly corresponding to one another. I want to zoom in. And there we are. So let's get rid of the guide layer.

And then, the last thing we do in this particular case is we will delete the lines. I'm going to leave them in for now, even though they look quite ugly, but we leave that till the very last phase. So I want to colorize the body as well, and then we'll begin the process of removing the lines and testing everything to make sure that it's solid and all the layers work together. We've done the head. Time to advance to the body. Don't worry about that small area of hair behind the character's neck. That will actually be colored in the body layer, not in the head layer. We have more on that in the next class. So, the head layer will cover how to not just color the body, but to color it with gradients, which will make it look a little more interesting.

So, I think that's good for now.

Show transcript

This video is part of

Image for Flash Professional CS5: Character Animation
Flash Professional CS5: Character Animation

83 video lessons · 21223 viewers

Dermot O' Connor
Author

 
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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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