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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.
The final piece of the face is the eyes, and that's really important of course, so let's get to it. So let's go to Outline mode and go in close. And we will start with the right eye; that will be the one that use as our base. So we go to the, let's see, we have the eye R, ball and that will be just the white of the eye. So be sure you have white selected as the fill color, and I'll select the Oval tool. And just draw the shape as you think you need it.
Now we probably have, if we look at this in solid, there is probably a big ugly line around it, so we can click on that and get rid of it. And I hope you can see this: if I click on that, there is a shape area for the eyeball. If you go into the Outline mode then you can definitely see it. Go to the Free Transform tool if you need to skew the eye to match. Try to avoid pulling on of the edges of the eye. Just use the Free Transform to get as close as possible before you do that. So this is not too far away. Okay. If you do too much of this business, you can really wreck the geometry of the thing, and I find it's often nicer to have a really smooth line.
If you did need a more complex shape, you are better off using the rectangle and pulling that into something a little more geometrical. But for a simple cartoon guy like this, this is by far the best approach. I am going to use the arrow keys just to get a little bit closer, and let's padlock that once we are happy. And the next will be the pupil. I'll select that layer, again, the Oval tool. And I am holding down the Shift key so that we are constrained to a perfect circle. Let's do this.
And the same thing. We have this cover to that to that. The outline is gone, pure color. And I want to symbolize this, because I want to do some work on layers in here. So making sure that the pupil is selected, let's click F8. Be sure that the pivot is right in the middle. Call it eye pupil. Now let's double-click on that so that we are inside the symbol, and let's make three layers. And I'm just going to clone what's here. Alt+Drag or Option+Drag and that automatically copies what we have.
So the bottom layer will be the outside one, and let's make that blue, this one for now. The middle layer, which is currently white, let's make it smaller. So we will hit Free Transform. Let's make that black. And the top layer, let's scale that in for the highlight. And let's click Snap to Objects off so we can move these a little more freely. Pretty simple operation. The reason why I would do this rather than do it all on one level is now I have the freedom to move these around if I have a different scene where he is looking up.
If I want to add more, then I can do it. If I want to make him look like he is looking this direction, I can do that. Now these are very subtle effects, but they are really important, and they give you a nice little edge. If you wanted to, you can add a gradient along the perimeter of the blue area. Lots of things you can do, but for now, this is good. And last thing, a little bit of the housekeeping as well, let's just name these: black, blue. And if you're really picky like me, then you can even make the outlines match them.
It's really nice to do this, because if you do ever have to work in Outline mode, which is surprising often, it makes life much easier, because then you can kind relate the different colored outlines to what you're seeing on the screen. Let's pick maybe a gray like that. So for example, that's meaningful; that's not going to confuse you. If they were like lime greens or lemon yellow, you would see nothing there. So back to the outside, let's see if we can duplicate that for the left eye, because there is no reason to do the same work twice. Now the ball will simply be flipped horizontally, Alt+Drag or Option+Drag to the eye left ball level, holding down the Shift+Arrow key and moving that to the side.
Then Modify > Transform > Flip Horizontal. Let's do the same thing for the pupil, copy that and then paste it into the left pupil level. There we go! So that's the eyes taken care of. The next step will be to give him an eye blink. This is a little trickier, and this will be our first foray into actual animation, because we're going to animate the eye blink using some shape tweening.
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