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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.
Now that we've done the up position, let's do the down position. It's the most logical next one because obviously it's very scary when you see, there is a lot of numbers there. So let's copy the start pose and work from that, and Alt+Option+Drag that to the 6 o'clock position, and I will zoom in a little tighter. And just be sure if you've gotten lost, don't forget your Library panel and Properties panel are here, and we are in the hd 3 clock symbol.
So let's switch off this for the moment and then look at our reference. This is what we are trying to achieve. So let's go to Outline mode. What we will do is hide everything, go through this piece by piece, and just simply be procedural and find the layers that don't need any work and we'll just padlock them. Okay, and let's start at the--I think as in the previous one, the skull doesn't move. So let's reveal the skull, so we can see relative to that what we are doing, and lock that, and the nose will be the first thing to work on.
So let's just move the nose down to match the reference roughly and lock it. And then the next thing, I am just going to reveal all of the eye layers, and select all of them, just drag them down, pretty good, lock that. Next, the mouth, lock that. I will leave the jaw for the moment. Actually, no let's do the jaw next. The jaws are a little bit tricky because we are moving from different transitions from the straightforward straight out position, we are looking directly at them to looking up, and then we see kind of the thick jaw effect here.
If he is looking down, his chin is moving a little bit away from him, so we do want to taper it in so we get a nicer transition. So I am going to use the Free Transform tool and just pull it in a little bit, not by much because he still has a huge jaw. So let's grab that and where is that point? Right there. So I'll pull that in just a little bit. And you see how I pull a line in and then undo just to find out where the anchor is. Same here. There we are, just by a few pixels. Pull in too many, and this chin will look very off-model and very strange.
So now if we go from and color from this to this, to that, they all look pretty human. Great! So back to Outline mode so we can see precisely where we are. Let's lock that jaw now and let's try the hair. Now on this one his head is tilting down towards us. You really have to imagine exactly what this character or shape is doing in imaginary space, and in that case, we are going to see more of his hair, not less of it.
So let's pull the fringe down a bit, and again, it comes down to what you think we can get away with. So if you think you can pull this a bit further to get the strongest possible transition, then let's do that, and then we try to match, let's lock that, then we move to the right side. And I like these points to match, so Snap to Objects on, pull the fringe down, and switch it off now. So that's good! Snap that, and now we will do the ears.
Now remember when we went from the front on view to the head tilting back the ears move down relative to the nose. As the front of the head moves forward and up, the ears do the opposite, and they move lower down relative to the front of the face. The opposite would happen now. So as the head moves down, the nose moves down, the ears should move up. Shift and arrow-click to move them up by a good size unit. So now, when we move from here, to here, to here, we've got all around good transitions.
So I'll padlock those and I think we have the neck left. I think the neck probably doesn't do anything. Let's keep that static. That leaves the hair for the top of the head, and I am going to pull that down a little further. Let's give that some decent amount of room to travel, skew just a little bit. Let's zoom out, and now let's have a look. We will switch off the reference level, and we'll put color on. And now, as you go from keyframe to keyframe, to keyframe, to the end, we have to check to make sure we are not losing volume.
That will be my major fear for the jaw that if we are tapering that chin too much, it might look a little weird. I think we are going to get away with it. Let's just pull it out just slightly. I'd still like to see the tip of the chin move in just a little bit. Let me just up the view. That's very touch and go, but I think that will work. Now the next frames that we will work on will be the 3 o'clock and the 9 o'clock.
For now, don't activate anymore motion tweens or shape tweens. It's best if we just block in the main four sections of the compass which is of course 12 o'clock, 6, 3, and 9. So in the next movie, we'll do 3 o'clock.
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