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Now it's time to do the profile face and this will really give you a great deal of coverage. This is about a 45 degree turn and this will give you a full 90 degree range of motion, so it's really, really good to have at least this much done. So let's hit F6 and keyframe the C position. And I think let's just hide everything on this because there is a lot to do, so let's just break it down into simple components. So here's our profile reference and I'm going to hit the little white layer on top to fade it out a little bit. And let's just maybe start at the bottom and work our way up. So we'll pick the neck and let's make all of these Outline, much easier to work with.
Zoom in a little bit. We don't need Snap on for this. And we really need to be able to have fine control over where to put the line. Okay, and I'm going to hide that, ear left. The ear left is actually completely invisible at this point. Just for thoroughness sake it might be nice to keep a place holder there. And let's just padlock these layers as we get them done. Skull very, very similar, so it's just a slight change on the curve. Let's pull it up a little bit here so that we can get a little more coverage for the hair.
And I'll keep the skull visible because we want to match the hair to that as close as we can. This is the hair area, maybe can cheat this a little bit, because right now this hair should be going behind the skull. I find that very tedious to switch layers, so I'm just going to see if we can find an easier way of doing it at least up to the C direction and I think that'll work. Let's padlock that, and next, the right hair. Be sure we have Snap to Objects on for this because we want to really ping that right on to there, perfect match.
Great! Let's pull the hair over and that's pretty good. Now the jaw, and if you find that the line is a little hard to see then don't feel like that you're married to the colors that I've selected. You can go and pick a dark one if it will help you read it. Great! Pull that right over to the ear.
Let's switch Snap off now, padlock that. The mouth is going to be a little tricky, but for now I'm just going to put it into a rough position, and let's hold down Alt+Option key and use the Free Transform tool. Just took that reasonably close to match. I knew this isn't real. If we were to actually work with this it would look very strange, and that's obviously not the final look that we're going for, but just for now this will work as a general position for the final mouth shape that we're going to put in there, so let's just padlock that, and we'll just keep it as a solid, because when we go to Outline mode we see all the mask layers, so it's a bit overwhelming.
Now the eye left, and what this is going to do--will look really weird for the moment, but select all of those four layers and just really pull them in very thin. Essentially what you want to do here is to create a little slice. This will not be seen by itself, but it will help to create the tweens that will be visible whereas this itself will not. And you'll see what I mean when we activate the tweens in a little while. So make this as thin as you think we can get away with. The brow has really gotten out of control, so let's delete that and just copy the first one back again.
And I'm just going to use Free Transform to get this a little closer. And now I'm just going to use the regular tools, the Selection tool. We'll try to get this into a shape that's a little more controllable. And I'll Free Transform again to pull it in, and let's go even tighter. Okay, padlock those and the right eye will be a little bit easier than that because it's not making such a dramatic change of shape.
But we still probably want to use the Free Transform on this just to get it a bit closer. And then let's just pull the points down with the regular Selection tool. And let's bring the pupil over much further. And actually you might even want to do the same thing on this eye. Let's select the left pupil. Let's push it out right to the edge there. Padlock those and now the hair on the top, and then just using the arrow keys very quickly to move it over, Free Transform, and that's just pretty close to the reference image.
You are left with an empty layer there, the right ear, again Free Transform with the arrow keys to push it over and expand a little bit and finally the nose. Maybe we'll use Free Transform just to squish it a little bit, just so there's some change of shape as it begins to move into profile. Now let's have a look at everything there. Let's see it in color and that's not too bad.
Now you could forget the tweening, a lot of people don't need this level of tweening. I'm going to go ahead and try to tween the entire turn of course, but I've seen many rigs that are basically done and print on three quarters and profile. It is so much greater if you have access to the ability to tween between any of these, so let's go to do that. I'm going to very quickly activate the different kinds of tween. And of course we have the inevitable--there is the usual disobedient layer or two. Let's fix them and the jaw.
So hide everything except the jaw, let's look at this in outline. And we're going to add shape hints, so let's go to the Properties panel, add a little placeholder label so we got our red flag, and apply some hints. We'll try two, A and B. Don't forget to backup your project before you do this. Great, and I am seeing this section of hair, it seems to be a big culprit, so let's go in there.
And again, add a space as a little shape hint marker. And as you can see, the previous pattern of hints will probably work for the second transition as well. Whatever you put down, your original A, B, C, D and E, if you just follow that for the second, at least first time around, it should work. And every time you get something like this working, I advise save again. Sometimes I'll save when I do a particularly tricky shape tween. I don't ever want to do that again, so backup your file.
And let's switch that to solid color. And now we have a fully tweened 90 degrees of movement between the portrait view through three quarters into profile. And as you can see the left eye is appearing to wrap around the head. This can be fine tuned of course. I'm doing this as a very quick pass, but you can see that these frames are holding up pretty well, and let's do the same thing with this as we did the first time around, let's make it really long. It helps you to identify that maybe the left eye should be on a slightly different angle.
So let's just do it with these three layers for the eyeball, the pupil and the lid. I'm just going to rotate it slightly more this way and pull it in just a little bit, and now let's zoom out. Feels a little bit better. And if you think that maybe the eyebrows are a little too thick, you know we can go in and using the Free Transform, squish it up a little bit. And it is going a little bit wonky there, so what I'm going to do is tell it I'm very, very sorry and I won't do that again.
Some of these--you can only be punished so much. You can probably go a little tighter than that, but I think you get the general idea. But it's good to push these to breaking points to see just what exactly can you get away with. So that being done, let's just pull these back in to their correct position, and in the next movie I'll show you how to make the peculiar little transition from the profile to the three-quarter rearview.
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