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Understanding line tool drawbacks when animating

From: Flash Professional CS5: Character Animation

Video: Understanding line tool drawbacks when animating

When you create your images in Flash, there are several different looks that you can assign to your character and each of these looks has its own pros and cons and I'm going to be covering each of them. So the three major looks that most people use are the Line tool, the Fill or the flat color, so you can see the line on the left, fill in the middle, flat on the right. So the pros of the Line tool are it's very fast and easy to draw. So let's just pick that nice little solid area and do a good demonstration. So I'm going to match the line weight of the character we were looking at here, a little bit heavier.

Understanding line tool drawbacks when animating

When you create your images in Flash, there are several different looks that you can assign to your character and each of these looks has its own pros and cons and I'm going to be covering each of them. So the three major looks that most people use are the Line tool, the Fill or the flat color, so you can see the line on the left, fill in the middle, flat on the right. So the pros of the Line tool are it's very fast and easy to draw. So let's just pick that nice little solid area and do a good demonstration. So I'm going to match the line weight of the character we were looking at here, a little bit heavier.

So we just draw and we can create our character very quickly, very easily. So it has speed on its side and ease-of-use. The line weight can be changed very easily. Let's just select everything, go into our Line tool, and as you can see I'm changing the Stroke size, quite brazenly. Let's make it lighter. That gives you a great deal of power over the weight of the image. And then also it has a very small file size, because we're dealing with many of the smallest number of points that we could use to create this image. It's hard to see how we could make it much smaller than this.

Now on the downside, when you scale the Line tool, it tends to clump and it looks quite ugly. Let me show you what that looks like. I'll do all three together for comparison. Let's scale this down, and zoom in just a little bit, and the weird thing happens with the Line tool when it hits a certain point, it seems to stop getting smaller. The flat color and the fill character are legible, even at this tiny size. You can still kind of make out arms and legs and such.

The line character is a bit of a clumped thing and if you have a lot of these it looks quite ugly and eye-catching. This causes pretty large problems. So let's undo that. The other disadvantage is that the line weight is so consistent that it doesn't vary, so therefore it just ends up looking extremely mechanical. If you especially need to compare to the middle character who looks like he was drawn by an ink brush or something a little more creative, this seems to have been carved in. It just looks like it's been machined. It's not a nice look I think.

Another disadvantage when playing animation with the Line tool, I found that you don't get quite as good a frame rate strangely enough as you will when you're working with these flat color areas. Another disadvantage is that when different lines of different colors overlap, it can be very difficult to control which line is on top. So I'll show you what that looks like. If I grab this line here and pull it out, it's then blobbing over the black line. If I wanted to put the black line on top of that, I'm not quite sure how I would rather do it frankly. Even when I make a new black and pop it down, this one still wants to be on top.

And if it happened to put the lines on different layers, it's a terrible chore. So let's undo all that. So slightly hard to control some of the graphical elements in there, and the big one for me, if you are into animation and you create your image out of these lines, and let's say you want to shape tween from this pose to this pose, here's what happens. All the lines disappear on the in-between frames, and if you wanted to correct out the process, it's pretty dire. You have to keyframe all of the secondary ones.

You have to then fill them with the Ink Bottle tool frame-by-frame and if you have many, many frames, this is really tedious, and then you've got to paint out this little guy at the top because of course that's not going to look good here. So it's pretty boring and it's just honestly not suitable. So that's the Line tool and that's why we won't be using it. So that leaves us with the Fill tool and the Flat Color tool. So let's look at the Fill tool. The Fill tool has the advantage of looking much nicer, where you can taper the line so that it looks it's been drawn by an actual artist.

It scales down much more nicely as we saw if we zoom out. It still looks good whereas this is clumpy. I've not been able to detect any major frame rate impact as I did with the Line tool. On the disadvantage, it takes a little longer than the Line tool to draw and if we look at the points, the geometry inside with the Subselection tool, just click on this, and you can see that of course there is an inter line. There is an outer line. They've been colored in. Let's go a little tighter on this, so you can see exactly what I mean. So I've got an inter line for one side of the stroke and then outer for the other, and then these are filled with a solid color.

So of course this is doubled in points of the line version and the other disadvantage of this is that it can make shape tweening a little trickier and I'll show you an example there. Here's an arm where we've roughly colored it and painted it with the same technique and if I do a shape tween on this from this pose to this pose, it begins to break apart, and this means that I have to add lots of secondary shape hints and other points to try to encourage it to not mutate like this. So that by no means is a deal-breaker.

We can work around this problem, but it does create a little more time that we have to spend tweaking all these points. So ideally what I like is a system that combines some of the strengths of both and also that looks good. So that would be our flat color version, and in this case you can see there are the areas that don't have any line work at all because the flat color basically speaks for itself. I think this style looks great. I think visually, stylistically, it's the most sophisticated of all the Flash looks and you have seen that all over the place. If you watch commercials very carefully, it'll come up a lot in some of the animated ads and there's a reason for that.

The reason being it is the most adaptable to Flash and that's the fastest and it allows for very cool physical action. So as a good rule of thumb, the more detail your figure has, the harder it'll be to animate. So obviously the flat color having fewer points is easier to animate. Now the disadvantage of the Flat Color tool occurs if you move two areas of the same color in front of one another. Hands can get disappeared and if you move the hand in front of the face, they're in the same color areas. There is no black outline to keep them separated.

So that's why we've added these little areas of shades. We've had to add these and little areas of bright and these can be increased in color or contrast if needed to. A closer approach to what we're seeing here on the physical left arm of the character. So as you can see here with the dark color of the background hand, that's the workaround for not losing that against the body. If that arm were the same color and we began moving it around, we wouldn't know where the chest ended and the arm began. So I don't see extra engineering that we have to do on our character's color and these little shadow areas to be so dire that we have to not use it.

So I think this look is definitely the optimal one and this is the design style that we'll be animating with, not for this particular character, but an original one of our own. So that's essentially it. So the weaknesses of the line and the pure fill character will be abandoned and we will work as best as we can with pure color. It'll be a lot less struggle and I think a little more enjoyable for us. The end result looks pretty cool.

Show transcript

This video is part of

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

83 video lessons · 21261 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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