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Drawing the eyes

From: Rigging a Face in Flash Professional

Video: Drawing the eyes

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.

Drawing the eyes

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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This video is part of

Image for Rigging a Face in Flash Professional
Rigging a Face in Flash Professional

44 video lessons · 5910 viewers

Dermot O' Connor
Author

 
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  1. 14m 16s
    1. Introduction
      42s
    2. What you should know
      2m 0s
    3. Setting up Flash
      8m 35s
    4. Dos and don'ts
      2m 59s
  2. 59m 26s
    1. Establishing the directions
      7m 9s
    2. Setting up layers for the head
      6m 58s
    3. Drawing the head
      19m 2s
    4. Creating the mouth
      11m 27s
    5. Drawing the eyes
      4m 31s
    6. Animating the eye blink
      10m 19s
  3. 48m 0s
    1. Creating happy mouth dialogue shapes, part one
      10m 24s
    2. Creating happy mouth dialogue shapes, part two
      7m 43s
    3. Creating mad or sad mouth dialogue shapes
      10m 7s
    4. Creating neutral mouth dialogue shapes
      7m 36s
    5. Building unique mouth shapes
      12m 10s
  4. 29m 27s
    1. Creating jubilant expressions
      11m 47s
    2. Creating furious expressions
      6m 4s
    3. Fine-tuning expressions
      11m 36s
  5. 1h 9m
    1. Clock rotation demonstration
      2m 23s
    2. Creating the twelve-o'clock pose
      9m 2s
    3. Creating the six-o'clock pose
      5m 19s
    4. Creating the three-o'clock pose
      10m 16s
    5. Creating the nine-o'clock pose
      9m 35s
    6. Creating the remaining poses
      13m 17s
    7. Fine-tuning the head rotation
      11m 54s
    8. Fixing layering issues
      7m 42s
  6. 2h 10m
    1. Introducing the turnaround
      2m 55s
    2. Creating the B head (3-quarter)
      6m 45s
    3. Creating the C head (profile)
      8m 51s
    4. Creating the D head (3-quarter rear)
      13m 2s
    5. Creating the E head (rear)
      8m 59s
    6. In-betweening symbols manually
      9m 58s
    7. Creating the H head
      6m 41s
    8. Creating the G head
      11m 33s
    9. Creating the F head
      19m 18s
    10. Creating the B mouth (3-quarter)
      13m 41s
    11. Creating the C mouth (profile)
      14m 33s
    12. Adding detail to the C mouth
      7m 42s
    13. Creating other mouths
      6m 28s
  7. 54m 24s
    1. Putting together a head rotation
      14m 29s
    2. Moving frames between symbols to make a rotation
      10m 23s
    3. Using the rig with audio
      14m 59s
    4. Adding expressions to the animation
      14m 33s
  8. 1m 0s
    1. Goodbye
      1m 0s

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