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Creating an angry dialogue mouth

From: Flash Professional CS5: Character Animation

Video: Creating an angry dialogue mouth

It's important to know how to take your existing mouth comp or rig and create your own shapes with it. So I'm going to show you a very quick example of how we can take the existing happy mouth and make it not a happy mouth. So let's open up file in your Exercisedolder, dialog_turn_03. This is the one we've just been working on. We added a dialog to it. (Audio recording: What's happening now? What's happening now?) So we did this by taking our existing rig and playing with that. So what we want to do is go back into our basic rig. This is our bd headturn scene with our audio.

Creating an angry dialogue mouth

It's important to know how to take your existing mouth comp or rig and create your own shapes with it. So I'm going to show you a very quick example of how we can take the existing happy mouth and make it not a happy mouth. So let's open up file in your Exercisedolder, dialog_turn_03. This is the one we've just been working on. We added a dialog to it. (Audio recording: What's happening now? What's happening now?) So we did this by taking our existing rig and playing with that. So what we want to do is go back into our basic rig. This is our bd headturn scene with our audio.

So let's go back into our basic three quarters pose. This is the one that we've been working from the early part of the course and this also contains, if we turn into the mouth symbol, the original 6 mouth shapes that we've been using to create the dialog. So these are great because they give us six happy mouths. But what if you wanted shapes that were outside of this range, what if you wanted to make our guy sad or angry? Then you'd want a mouth that was turning down at the corner like this, rather than up.

So let's do that and I'll show you how it's not as time-consuming as you think. Now one thing we could do is we could duplicate this mouth symbol, have one mouth symbol that's happy and one that's sad. But I've come to do them all in the same one. I think it's great to have as many of these symbols in the same Timeline. It really makes working between them a lot easier. So let's select all of these shapes, hold down the Alt or Option key, and just drag it over here. Now we have two at the moment. We have two sets of happy shapes. So the first thing I'm going to do is make another label so we can see where one ends and the other begins. Make a new label, hit F7, and we want to put a label in here that says happy.

Now I'm going to want one here that says angry or sad and again I'm just going to make this one an outline white layer and I'm going to call it emotions. So let's start working on converting our first set. So let's take these dupes and change them into angry or sad mouths. So step one, simply delete the in- between, the secondary keys, and that's the B and the C and we are going to get rid of the E. Clear that.

First thing first is make the change to the A mouth and we've got to hide the secondary shapes. So pick out the ones that are the most important, the drivers, and that will be the upper lip, the lower lip, and the month crease. So let's grab the mouth crease. If you have a Cintiq or a Wacom tablet then you might consider doing a quick sketch. I don't so I'm just going to make a little imaginary one, something like this. That will be actually enough just to give you a crude idea. So you are working from something.

So let's grab that crease layer and use the numeric arrow keys. We'll pull it down and then let's grab the corner of-- we will hide the lower lip for the moment. I am just going to grab the corner of the upper lip and just pull it down to match this. Then, as you'd padlock that, we can go to the little sketch now. Let's have a look with the other lip layer. Snap should be on for this, because we want this points to snap.

Taking care as you move these lines that they don't wrap over themselves like this. For example what's happing here, you see how the two points have crossed and then these kind of ugly shapes happen. That can make things unstable. So I usually pull them carefully, little steps at a time. Sometimes I pull them into shapes like this so that I can keep them nice and separated. It's great and now the corner here. Let's zoom in a bit. I can see that didn't quite snapped the way I wanted. There we go.

It's curved out lip a little bit so it's got enough room. That's great. So that's our aim of angry. Currently, tweening out back into the happy mouth. Let's that's bring the wide open mouth down at the corner to match the A mouth. Now the other thing you might want to do is make a temporary reference of the A mouth out so you can position your other layer accordingly. So I'm just going to do this, switch it Outline, make it purple. So that's where we are coming from.

So it gives me something that I can compare it to. So I want to pick that corner. Let's make sure Snap is off for this. So we are going to pull the mouth from this start positions down to somewhere about here. Okay let's lock that and let's hide the reference for a minute. Then the question becomes what should the relative motion be between the A mouth and the D mouth. So I think in this case the upper lip should definitely move up some, just like it did on the happy.

We can reuse the upper position of the happy D mouth. Now let's pull the corner of the lower lip down, the blue layer, to match. Oh! That's sensitive, very sensitive. Luckily you only have to do this once. Okay, it's good and the same thing for the ooh mouth here. I'm just going to pull the corner down, lock that, and then just pull these two points down here and these two points down there.

It's very frustrating. Let's pull this into here, okay. We have to check the tween shapes. They seem stable. Now we can play with these. Definitely sort out your designs of these mouths now before we go into the secondary part of this. Let's make it a slightly better shape on the open mouth here. Don't forget that to be pretty similar to the -- in some respects anyway -- to the open.

Just facing a different direction, so maybe we can pull this forward slightly and again scrub through. Make sure it all works, okay. So now that we've got this and you notice too these shapes will almost certainly in between with any of our happy mouths. Although the most important thing is that they in-between, motion and shape tween between themselves. I'm pretty confident they'll also work with any of these six happy shapes.

So let's save this right now. We have our three keys safely stable and outlined and in the next section we'll go on and we'll make sure that the internal shapes match as well. That won't take too long and very quickly create the B, the C and the E mouths.

Show transcript

This video is part of

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

83 video lessons · 21517 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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