Rigging a Character Turnaround in Toon Boom Harmony character by Jazza

hello I'm John and welcome to this video today I'm going to be rigging a very special character here in toon boom harmony and I'm very excited to end today because this is officially my first collaboration so I need to give a massive shout out to jaza from the YouTube channel draw with jezzer who has kindly agreed to allow me to rig up one of his characters for this video and you can watch the video where he drew this character this character turn around and there's a link in the description below and you can also download the files which are currently on the screen in the description of his video so go ahead get them for free and I'll see then you can create your own version of nervous Ned who's here in front of us and so thanks jazzer I really do appreciate it so please do and go and check out Jess's channel and all these wonderful videos I've learned a huge amount from watching his stuff so I highly recommend it so like I said I'm going to be rigging up this nervous Ned character today and this is a proper character turn around I'll be rigging him in three different positions and kind of going from there really it gives most of my videos before that have all been one one position rigs so I'm going to do a slightly more advanced video today showing you how to create a rig of a bit of a character in three positions and so there's lots to do so let's get cracking so this is the am file that comes from from Jazza and it comes off free like I said on his video and so you can download this and it comes with all the different layers that he created so let's just have a quick look at it so here's his initial sketch layer that he did his kind of idea for the character and then he did his lines his guides and then the character sketched out in three different positions and after that he's done his final line art on top and we're going to use this final line art today to rig up our character okay so here we are in harmony got a brand new project file and we're going to start from scratch here so to bring in our character I basically saved a copy of jazz's work with just with the line art and I'm going to go file import images then I'm going to select this line art version which I created earlier which is here somewhere and it's just the line art and I'm going to create this based on the file names and I am going to convert this to a Toon Boom vector drawing and make it black and white and this will bring it in and make it vector line so we can edit it like just as if I'd drawn it myself which I don't think I would be able to because I am nowhere near a good as draw as jazz' so here we go so I can control all these lines and like I would if I had drawn them with my own paintbrush so now we have the character in all three positions on the same layer and so the first thing that I want to do is to go to the second frame and create a duplicate drawing of that drawing and then go to the third one and create a duplicate drawing of that one so now we have three versions of the same drawing on the same layer um and then I'm going to just go and delete all of the extra drawings because we won't need those for now and come back to this one so what I'm going to do now is I'm going to position these carriage that these them characters in the in the right place counter to separate it but when you're doing a turnaround you wanted to be in the same position on the screen and so the first frame I'm going to make the front view and then we have the 3/4 view and the side view so the first one I'm going to delete all the this lot and I'm going to then select him and move him into the middle roughly the middle on the second drawing I'm going to keep the 3/4 view and get rid of the rest turn on my onion skin and then position him where I want him to be going by the onion skin so the red is the previous frame the green green is the next frame so I think we'll go something around there I'll just check I think you could do becoming slightly more to the left okay let's think with that for now and on this one we're going to use the side view or profile view depending on what you like to call it and again to bring him in and then just flick through the frames just to make sure that it looks like these turning so that doesn't look quite why those two look good but this one doesn't look quite right so I'm gonna bring him this way a bit there we go that's better it looks like he's turning basically without a jumping too much okay so that's the basic gist so we've now got the character in the right place on three separate frames and what I'm going to do now is simply color you mean so I've done lots of videos on how to color and palettes so do check out my youtube channel if you are unsure how to do it but basically in the palette window always create a individual palette per character or per background and simply click on the little plus button and create lots of colors naming them as you go along so that you don't get confused one of the really good things about the palettes in harmony is the fact that if you've made a color and you've colored the whole character in a different view say the skin color if you go and change the color it will automatically update on the character live in front of you so that's that one of the most amazing and helpful tools when it comes to the colors and also you can add textured colors or textured fields as well by clicking on the little T plus symbol next to or just above the palette and you can create your own textures in Photoshop and import them to add a bit of a variety and realism to your palettes if you want to so now let's go back to the next drawing and just fill that to the copy that in again so I'll start with the the eyelids so now we should have our character all colored in in three different positions and the main thing to do now is the cutting out process which again this takes quite a long time it'll do vital to the to the process and you also have to do it unlike the other product and other videos that I've done where I've done it on one card you have to cut out every single character individually all they each pose individually and so I'm going to start with the front view and just begin cutting using the cutter tool cutting out and moving them to different layers so let's start with the head I'm just going to work my way through the head staying with your eyes and I think the character is now broken down so let's turn off the original drawers for this for a while and now what I need to do is is give me that layer is I need to go through now and clean up all of those drawings I always do that on the drawing layer instead because you only get to see what you've selected on so this is the neck so obviously the key to cutting out really is making sure that the drawings are as clean as possible all filled in and that if you need it like this neck here that you draw overlap so obviously if you bend the head there's some neck behind it to kind of hide the join to always do the overlap and the same here again with the hair I'm just simply adding a little bit of the color underneath the other pieces just I'm going to mask any gaps that might occur as you're animating again this will need testing as you sort of test the rig later on right and so we have now I've now finished drawing him cutting him out and cleaning up all the pieces and so on the first view mind you so I still got two more views to go and but the first view is now done so I'm just going to order them first of all just as it's the everything the right order but also the top of the timeline is closest to the camera so this is simply drag and drop so I'm dragging the pieces that should be close to the camera like the head and the eyes and stuff towards the top of the timeline and I'll be putting everything else like the legs and the feet go to the bottom of the timeline to be further away from the camera nice and simple right so when the when you've cut out the first pose you then have to basically go on to cutting out the second pose in exactly the same way but this time unlike the first time when you have to create all the layers there also obviously already now created so the thing you have to do now is also cut it out but put the same pieces onto the same layer and so for example I'm going to take my cutter tool now and I'm going to select the head just make sure that I actually on the drawing layer that I want to use which is down here select that and now live via my Apple a but rather that the rather typing in a brand new layer name I'm going to go down now and find the head and where is it there choose that and then say okay so now we've got this the second pose all cut out ready for cleanup and so now once again we go through the rather tedious job of cutting and cleaning up the character one thing to note here is that when you are and cleaning up the second and third or fourth or fifth poses just to keep flicking back between the different poses to make sure that you're filling in the gaps this in a similar way to the first image okay so now that I've finished cutting out and cleaning up the 3/4 view I now move on to the final view which is the profile or side view so once again exactly the same process using the cutter tool cutting out and then using the auto select mode I have to pick the different layers to place the pieces onto and then obviously then spending the time cleaning up of the different layers getting them ready for rigging so I will now crack on with that okay yes so I've now finished and cutting out and cleaning up each of the three different positions which is really good has it taken about or three hours I presume to kind of get to this place so going well but now we can start the reading process which is probably the most complicated piece but I will try and explain as much as I can as I go along so let's always go to the first view and we'll start there I'm gonna go to my node view I can see that it's already fanned out for us if you do need to fan out just click on or go organize it like this click on display up here in your toolbar you click on one of these order buttons and then click okay and it will order it nicely for you and normally what I do is I create a peg for every single drawing and then add extra pegs on top of that to kind of control a group because we've got a character has three different views and we're going to use pivots that are on the drawing layers and the pegs are going to use the pivots though on the drawing layer but to do that each peg must have a drawing underneath it so it's going to be a bit of a simple rig so in this rig you won't be able to control just the upper arm or just the lower arm when you move the upper arm the rest is going to have to move with it so that the pivots stay in as when you switch the position the other way you can do it is to create three completely separate rigs for each position of the character I think that can get even more complicated and so imma do it so this is gonna be quite a simple rig using just a simple hierarchy so I won't create a pegs enticing need them and right so let's get on with it so the first thing I do is create new composite for the point for this project and then turn the original one into the master composite for the character and then create a new composite and connect all the things up that are for the head and connect that composite up to the master composite then group it and then inside that we can then begin to read the parts of the head I always start with the eyes by making it there are in composite and then grouping them and then structuring them inside the group so this is when it gets interesting so what I'm going to do now is I'm going to go into each of these so let's start with the people that are doing that and I went down here and drawing pivot I'm going to select apply embedded pivot on parent peg so whatever band pivots we set in the drawing it will push it up to the parent peg so I'm now going to create a peg for the pupil so now whatever pivot I put on this drawing and on and all the other drawings will push it to this peg so if I take that there if I move it so the pivot moves with the pupil and then because the master peg for the hole I doesn't have a drawing connected I just create a kind of blank drawing and then create three drawings on that blank drawing and set the pivot so that as we you don't want to control the master peg that they'll have its own pivot point because we can't set pivot point separately on different frames when you're using a peg so now we can control the pupil the eye and the eyelid separately and the whole eye including the eyebrow all at the same time I'm not adding other added deformers to the eyebrow and are now creating an enveloped former for the eyelid once I'm happy with the iron everything is working I then start working on the second I doing exactly the same as the first one so you'll see me dropping in the cutter here for the pupil and then inverting that of course so that works properly then adding the pegs setting the pivot points and adding the deformers on the eyelid and the eyebrow the eyebrow is a stroke and the eyelid is an envelope deform and again adding that blank drawing layer which just controls the pivot points for the master I peg now I'm moving on to another part which i think is going to be adding the pegs for each of the other parts of the face and I'm just creating a master peg there for the whole head I'm now just setting the draw into the pivot layers and going through and saying all the pivot points on every single drawing just moving nicely with each pose and then just create another one of those blank drawing layers just to control the pivot for the master head peg now back to the main one I'm working on the second arm now again linking that to a new composite and adding it to a new group and then working on the rig for the arm in this case I've decided to go for a bone deformity arm and then connecting the hand to that through a kinematic output and the sleeve is on a separate layer so that obviously is controlled by its own peg and then create an auto patch for the hand so that the outline disappears when the hand connects with the arm again I'm just making sure that all the drawings now all the pivots are on the drawings and then pushing that into the main pegs and then just checking that everything works in the rig and all the pivots are set properly you and then when I'm happy with that I also then create the rig for this the other arm doing exactly the same thing as the first one which obviously takes a little bit less time than the first time around you once I'm happy with the arms I then start working on the body and then I use a kinematic output to connect all those things that I want to move with the de forma but not be deformed by it if you want something to be deformed by it like the pocket you connect the pocket directly to the de forma not the kinematic output so through the kinematic output you want things like the arms and the head and that kind of thing and the tie but you don't want to be deformed by them you as I rigged I always like to kind of test it out as I go so as I do a little part I do a little test I like here just just testing out seeing if it all worked the way it should do and then there's no weird issues that stand out and I when I'm happy with that part I then move on to another part so I was happy with the body and I now move on to the legs again with the legs on doing a bone de forma which is a really quick way of doing legs and arms and attaching the feet which I also have deformers on them for when you're doing a walk cycles and stuff and to those via the kinematic output a pretty straight forward leg making sure that the color art is on the color art layer so that when you auto patch it over the hips that the line art disappears and with the deformers I always try and match up these are the center points where the bends are the worst thing you can see is when a character clearly joints not in the right place it really stands out as always try and mirror up your joints on the arms and the legs you and then one of the final jobs is just to add a cutter for the pocket so that when the pocket goes past the body is cut I then add a line art node to make sure that the line art goes on top of the pocket okay so I'll counter nervous Ned I've now drawn him I've colored him in I've cut him out cleaned him up and rigged him in the first pose which you can see on the screen here so the next thing to kind of just work on before we finish is basically to look at the deformers because at the moment the deformers work really well in the front view but if I skip to the 3/4 or profile view you'll see that the deformers stay in the original position which obviously doesn't work and when you're trying to switch character because if I switch to the pro to the profile view from the front I need the de forma to work where it is not all the way over here for example so there's a really easy way to solve that what I'm going to do is I'm gonna go to the on turn off the deforms for a second and focus on one at a time so let's go for the eyebrow and along with this I'm going to come into the eyebrow go to the second frame and click on this tool up here which aren't on the default toolbar which says add new chain so I'm going to click on that and you'll see now it says the transformation to so I can use my equation tool and create a new de forma then you'll see now if I switch between them their de forma moves with the eyebrow so therefore go to the next frame that ones behind so there is no eye for this one so I'll create a new chain just to get rid of it basically so come back now as there's one on here I'm gonna select that view that two former come to the second image create a new chain my doors on this land and create a new one and then again just create that new de forma like so again if we switch that moves with it and this on the third one will need I need to form it because that's obviously on the face so create a new de forma and then add it so now we have three deformers on three different images moving with the image so the next one is the eyelid so let's view that one and you'll see there is an envelope too for mode so I'm going to go to this one create a new chain make sure that I am on envelope mode and then come back come down and create a new envelope for this picture trying to create similar points to the one on the previous image right so now if we switch that across you'll see that that works nicely then we'll go to that one again we won't need one for this image because it's not going to be seen I'll just go there create a third one just to get rid of it so now onto this one and so the process continues like so so we need to go on here again new chain and then we will create a new one on here as well so that's the eyelids and the eyebrows done and they should Bend and move as I need them to okay so what's next so let's have a look so we'll go for the tie next and so we'll just do the create a new one on this one no God already so let's just view that I go to the next image and we'll create a new chain and draw that one in not envelope though we want to make sure we're on automatic mode so we can draw that ourselves come into this one create a new chain and now the body so let's just check this one again so we're going to go there and view that one so when I come along new chain and make one again here you can flick between the two frames just to kind of see if your deform 'la is in the right roughly the right place that's a good handy for the body because you want it to be roughly level and the right side particularly on a bone joint like this so that was right and this one we need another one as well so a new chain how's it all the Mogul all the connections still work from the original week which is really good so that's that done now we can do the arm now what you'll see is that now that we're getting deeper into the rig you'll see these ones already seem to have three transformations but we haven't done that yet and this caused me a lot of problems when I was rigging this character earlier so I'd like to spend some time pondering on this and but I'll show you why that is because what's going to happen is if you look at this chain here so this this day arm number one this one is connected through to another deformer so what we need to do even if you just break that chain for a second it then separates it from that reformer so now if we go back to this arm and select it you'll see there is now there's one deform it was the first one but there shouldn't be anymore which is not so now we can do the chain so for go back in I can add a new chain and then create the arm [Music] again just flicking back to my first - motion show is roughly the same size and in the same position and then I can go on to the next one which we all see the same as this arm so let's just make sure we're on the right was selected go to this one create new chain and then we'll pop that in here as well there's been a little bit higher I reckon so we'll just bring it up a little bit like so okay so now we've done that well now we go back into the node view and reconnect that to the kinematic output from the body and what we'll see now is is if we select the arm and the body and turn there deformers on together you'll say both now move with the image that they'd have both have three separate DRAM connections through separate reformers per image without sorry three separate to form as one pair image so again if we went to this arm here for example you'll see it's connected to the transfer to the deformers of the body so arm number two we're going to go into again just disconnect it from the rig for a second and now we can go in and you'll see there is there's a first two former and then it's the same one so we can go to the second image make a new chain etc and again with the next one you'll get high just bring that one down a bit okay so that arm should now be okay as the hood up look at the time that I deducted I do the time you had done that one already okay good I mean setup motor is not helpful right let's just have a look so select what's next oh we connect that our armor let's just double check to the body now if we grab that and move it that all the things you still move with the body and let's just check the other view as well so everything is connected and still working and I'll see all the different images are changing with the character now let's have a look at the legs so they are just one so that's absolutely fine but we have the problem with the foot I think as well so if I go to the leg this is let's just view that and so select the leg view that one only we're going to go to the second image create a new chain and and draw that on and then go to the next one nice save and then to the other leg so just view that one it's a nice chain there so you need a new one for this one I could do be a little bit higher and then on to the final leg so that's their so again new chain create that one that's okay also what I'd like to do here as well is select both legs just for a second view both the deformers and then when you go to here you'll see if they're similar so the top one here we're just going to and edit so that they're the same something like that okay so now if we go to the foot you will see that is connected to the deform of the leg so again all we have to do is go into the leg groups this is number one or dolly one and just for a second disconnect the foot the former from the kinematic output of the leg and now you'll see that if we go to here is it's just got its one original deformer so we can go to the second one create a new chain and add another de former for this image and the same with the third one Oh adding a stroke rather than a bone okay you and then it alternately the same then for this foot so what I do is a little festival reconnect the kinetic output to that foot then come to the second leg disconnect the kinematic output from the foot to former and then we can go in and view this two former and then we can change these so new chain add a new de forma for the foot and then the same for this one so go in new chain and bring that to there like so so now hopefully they all move all the different all the images have their own de forma and obviously the ones that haven't got deformers have got pivots set on the drawing layers and are pushed to the peg rather than being on the peg going down which is all the it which is normally what happens in a rig and let's just turn everything on and let's just have a quick look at it as we move through the frames just making sure that everything is moving with the image which i think is and I've got I am done the neck and I think so let's just do that for a second this is check the neck or got we connect that foot so forget that so again with the neck I'm just going to go to the neck and we disconnect it from the body just for a second go to the first frame that started form of their so I want to go to the second frame and then justly I create those new chains for the neck that's that one and then whoops we'll get here's a new chain like then and go back muscle forget to reconnect it back to the kinematic output and then again the neck now if we just have a little play with that you'll see then with each pose and it's also different for each pose as well right so I think the deformers are now done so yeah like I said I think that's it pretty much the character finished the last thing to do is to a keyframe each pose what you'll see is at the moment it take this ear here for example is if I skip to the next frame it's not in the right position because I've see everything set in position based on the first pose so we just need to keyframe the character now and get all these pieces like here the eye is in front of the nose we need to keyframe those and make sure that everything's in the right place so all we do for that is to create a new keyframe on each pose like so we can turn up the former's for now and what we to do is just go through so for example here this arm needs to be behind the body the same as the other arm that was that one the colony has okay let's just check the tie is definitely in front of the pocket which it is color looks good everything there looks good okay so we can even touch that that's that one done so come to this one so I'll see the ear needs to come in front there the nose needs to come in front of that one there let's have a look so again this arm needs to go back in space so I mean so I was using alt up or down arrow again I'm just going to check make sure that's in front of everything which is clean not at the moment so bring it forward a little bit there goes that's now in front paws of the collar is now behind so we're going to bring that up I'm not that forward and this why need to come forward this flips in front of that collar there let's just double check the legs as well make sure that's been probably in front of everything and behind that that was good and this final pose so this is the second way which also is in front of that one again the ear needs to come forward the nose is there or done the type this is behind the tie and behind there so yes I think now after doing that simple bit of key framing everything is in the right position so whatever pose we're in now everything should be working well just a little play around with the character and so what you would do now naturally is you would drag out your keyframes so you'd leave each pose for about 10 frames and then you'd go back in and you'd add different hands different mouths eye blinks that kind of thing and I would also rename my each drawing as well just to make sure that enemies really really clear and easy to use and but I think apart from that the character is pretty much done there are there are a few other things which I would posit I would definitely do for this rig which I won't do for this now but is Blasi is the case that when you've got this pose here for example you may want the character's arm to come in front of the body because currently they're all it's all hidden behind the body but but you can do that by creating a second composite in a second port in the mold you point out if you go and view my auto patching a minion video that shows you how to do that against quite complicated that I went going to it now because it's been quite a long video as it is and but that's something that I definitely would do so that when you're in this position their arms can come in front of the body but the sleeve stays behind and oh yeah so go check that out there's another has another option and but I think he is done then I think he's done so what I'm going to do is I'm going to release this video of this character rig for free so you should find it in the description below this video so please click on the button and you can download it for free and also please have a play with it you can and you can animate it please use it for non-commercial purposes and if you do make a video and put it up on YouTube please do credit myself and Jazza and put a link to our channels in in your description of your video but go and get it for free and it should it should work well and of course if you do or don't have premium all the deformers aren't going to work for your world only the sort of bone deformers and stuff if you if you've got a lower version so just so just be aware of that of the envelope eyelids they won't work and but yeah feel free to go and do that and and have a play and see what you think I'd love to see what you come up with with this character and so yeah yeah I think I think we're done so yes thanks for watching I hope you've enjoyed this video please do subscribe to my youtube channel by clicking on the big red button and of course please do contact me via any of the social media links above my head as well and if you want to watch a previous video of mine basically about the button above my head and of course again please do go and check out Jazz's channel and all of these wonderful videos now I'll be back very soon with another video okay so that's it and bye for now

Loading