Larry the Liger - just sort of fooling around
Moderators: Víctor Paredes, Belgarath, slowtiger
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Ham&Cheese
- Posts: 8
- Joined: Sat Oct 14, 2006 4:24 pm
Update!
http://www.lowrestv.com/moho_stuff/larry7b.mov
Hands... tail... stripes. I like what I did this time with the hands. I basically did a "back" view hand with "movable" finger bones. By translating the finger bones I can easily create a nearly side view of the hand.
I will do a "front" hand the same way and have all the bases covered. I need the bones rather than switches for the hands with this one. Forgive the meaningless hand and tail motions... pretty much just testing out the rig.
Tail needs some work. Used a stroked line for the tail with a custom brush. This was very fast. It looks okay I think but I may try a "solid" version just for comparison. If I use squetch on the tail the stripes "multiply". Also a "shape" tail will be easier to do interesting things like "puffing" out the fur and stretching it long and thin. I like to do all my animation in the bone layers as much as possible. It will get annoying keeping track of point thickness... the tail is the very last layer of a long list.
And of course... I have a bazillion jillion bones with constraints all over the place.
I get very sleepy trying to imagine animating this guy using point motion. All those pointy hairs and stripes! Thank goodness for bones.
-vern
http://www.lowrestv.com/moho_stuff/larry7b.mov
Hands... tail... stripes. I like what I did this time with the hands. I basically did a "back" view hand with "movable" finger bones. By translating the finger bones I can easily create a nearly side view of the hand.
I will do a "front" hand the same way and have all the bases covered. I need the bones rather than switches for the hands with this one. Forgive the meaningless hand and tail motions... pretty much just testing out the rig.
Tail needs some work. Used a stroked line for the tail with a custom brush. This was very fast. It looks okay I think but I may try a "solid" version just for comparison. If I use squetch on the tail the stripes "multiply". Also a "shape" tail will be easier to do interesting things like "puffing" out the fur and stretching it long and thin. I like to do all my animation in the bone layers as much as possible. It will get annoying keeping track of point thickness... the tail is the very last layer of a long list.
And of course... I have a bazillion jillion bones with constraints all over the place.
I get very sleepy trying to imagine animating this guy using point motion. All those pointy hairs and stripes! Thank goodness for bones.
-vern
very nice hand movements......ive been trying to work out a good set up for the head and i think ive achieved that, but your hand rig looks very efficient
Last edited by dreeko13 on Fri Dec 01, 2006 1:23 pm, edited 1 time in total.
Thanks Gnaws!
Those stripes were a happy accident. I originally intended just to do "flat" stripes, no drop shadow. While fiddling around I came up with a "trick" so that I can have a clean sharp edge on the top and the drop shadow below without using a mask.
The zigzag shape of the stripe is filled with black. A duplicate shape is under that one with a soft edge fill and slightly transparent. This is the drop shadow. Normally the soft edge would show on the other side as well but I have a third shape connected to the black stripe above everything that is white.
Each stripe is on a layer set to "multiply". So the white shape is never seen. I have another white shape set to "screen" that fades the stripes on the inner legs.
I have learned a bazillion things this week. I have opened a rift into some kind of knowledge dimension.
-vern
Those stripes were a happy accident. I originally intended just to do "flat" stripes, no drop shadow. While fiddling around I came up with a "trick" so that I can have a clean sharp edge on the top and the drop shadow below without using a mask.
The zigzag shape of the stripe is filled with black. A duplicate shape is under that one with a soft edge fill and slightly transparent. This is the drop shadow. Normally the soft edge would show on the other side as well but I have a third shape connected to the black stripe above everything that is white.
Each stripe is on a layer set to "multiply". So the white shape is never seen. I have another white shape set to "screen" that fades the stripes on the inner legs.
I have learned a bazillion things this week. I have opened a rift into some kind of knowledge dimension.
-vern
I'm so glad for you and I hope you can put your newly acquired skills and knowledge to good use in animation projects. Keep up the good work. I'm really enjoying it to see you develop and growheyvern wrote:I have learned a bazillion things this week. I have opened a rift into some kind of knowledge dimension.
)
The layer work is pretty straight forward.
In order to utilize switch layers for head turns and body turns I kept everything as much as possible on one layer. I will have to deal with those stripes at some point... they are on their own layers.
The mane is 3 layers; top, middle, back. I will probably use "multiple" switches and the switch master script for that.
The arms are between the front and middle layers.
Currently in the actual document, a lot of the shapes are on separate layers. This is just to aid in drawing... so many lines! Eventually I paste everything into one layer to do switches. This is a technique I started recently. Makes life easier. Plus if you save those layers BEFORE combining them you have sort of a "backup" for revisions later if needed.
I will try to post some more detailed screen grabs later when I get a chance. I am on a roll now and hate to break my flow.
Here's a quick early test of another character Gary The Gopher:
-vern
In order to utilize switch layers for head turns and body turns I kept everything as much as possible on one layer. I will have to deal with those stripes at some point... they are on their own layers.
The mane is 3 layers; top, middle, back. I will probably use "multiple" switches and the switch master script for that.
The arms are between the front and middle layers.
Currently in the actual document, a lot of the shapes are on separate layers. This is just to aid in drawing... so many lines! Eventually I paste everything into one layer to do switches. This is a technique I started recently. Makes life easier. Plus if you save those layers BEFORE combining them you have sort of a "backup" for revisions later if needed.
I will try to post some more detailed screen grabs later when I get a chance. I am on a roll now and hate to break my flow.
Here's a quick early test of another character Gary The Gopher:
-vern
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CartoonM!ke
- Posts: 110
- Joined: Mon Apr 17, 2006 4:54 pm
- Location: Walnut Creek, CA, USA
- Contact:
Everytime I look at your work and your explainations on how it was done, I learn so much and get really fired up to work on some of my own stuff.
I am totally blown away with your use of what AS gives us. Your work and postings has really helped me think-though drawing and boning with AS.
Thanks. Especially for sharing!
I am totally blown away with your use of what AS gives us. Your work and postings has really helped me think-though drawing and boning with AS.
Thanks. Especially for sharing!
Thank you Mike!
I love sharing how I do this stuff. It is almost as rewarding as the final product.
This current project has really got me excited. I was at a user group meeting tonight for another application. (They graciously allow me to show my Moho stuff.) Someone asked about the pointy hair spikes. That it must be a nightmare to draw all those points.
I told him it wasn't that hard for me now and did a quick demo. During the Liger creation process I found out how wonderfully useful that Split Curve... script is! Makes that whole process really fast.
Actually now I save even MORE time. I just copy and paste a whole set of pointy spikes and bend and twist them with all those distortion tools to fit what I need.
I have sort of a special layer of different pointy hair pieces to choose from. or I steal from other parts already done.
I created Gary the Gopher in a fraction of the time by using this technique. That is probably why he has so much spiky hair. It was so easy to put them in I got carried away.
-vern
I love sharing how I do this stuff. It is almost as rewarding as the final product.
This current project has really got me excited. I was at a user group meeting tonight for another application. (They graciously allow me to show my Moho stuff.
) Someone asked about the pointy hair spikes. That it must be a nightmare to draw all those points.I told him it wasn't that hard for me now and did a quick demo. During the Liger creation process I found out how wonderfully useful that Split Curve... script is! Makes that whole process really fast.
Actually now I save even MORE time. I just copy and paste a whole set of pointy spikes and bend and twist them with all those distortion tools to fit what I need.
I have sort of a special layer of different pointy hair pieces to choose from. or I steal from other parts already done.
I created Gary the Gopher in a fraction of the time by using this technique. That is probably why he has so much spiky hair. It was so easy to put them in I got carried away.
-vern