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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.
In this chapter, we're going to do the turnaround. And as that suggests, it's going to involve going from the front view, the A pose through the three-quarter, the profile, the three- quarter rear, the rear view, and so forth. And before we go much further, I'd like to just take a step back, and see what we've done so far and how it's going to be integrated into the rest of the project. So here are our angles, and again, as I explained earlier, the reason why I call them A, B, C, D, and so on, is because I don't like calling them profile, three-quarters profile, because they stack arbitrarily in the library, they follow the alphabetical patterns, and you end up having to scroll through your library to find things.
That's why the A, B, C, D, E, F, naming convention works better. You'll get used to it very quickly. And let's go forward. I've made some little diagrams, so this is essentially an overview as if we could look down upon the whole setup. So the A view front on, and the B, three quarters. Let's keep going. So what we did essentially in the previous chapter is we took the A view, and we took the three-quarter front to the right side, and the three-quarter front to the left side, and we spun a whole clock rotation out of this, and this gave us great flexibility and a lot of different poses that we can use for the head.
It really articulates the head. Now let's see how this works with the rest of it. Imagine that we could look down from a high viewpoint, and again, here's our familiar A, cycling through the other eight positions. And what we did was, in the clock sequence of the pivot points, we basically spun those from the A direction. So the center of this will be identical to the A pose, and the 3 o'clock is identical to the B pose, and the 9 o'clock is identical to the H. This is the naming convention that I developed and it gives me great flexibility in moving between each of the states, because there might be a time when you want to integrate for example, the profile, or the C into one of the clock points here.
And if you follow this course correctly, and if you're very thorough keeping the layers consistent, you will be able to do this. So take a while to look at this, if you're in anyway confused about why some of these frames are called A, and some are called 3, this should make it clear that essentially I've used a different numbering system for the three-quarters B head, but we will be able to repurpose a lot of the work that we did on the clock chapter when it comes to doing these full turnaround. I'd also like you to bear in mind the key points to focus on are working on the A head, and the B and the H.
So make this your focus if you feel like your time is short. I find it's very rare when I actually need an E head or a D head or an F head. For the rest of this chapter, I am going to walk you through how to fully tween between this entire circuit; a 360 degree turnaround. You may just find a part of this useful, you might find all of it useful, but it's sure as good to know how to do it just in case you ever need to. So with that, we'll proceed.
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