Animating Dialogue: Moving the Mouth | John Pomeroy | Skillshare

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Animating Dialogue: Moving the Mouth

teacher avatar John Pomeroy, Animator & Directing Animator

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (55m)
    • 1. Introduction

    • 2. Lesson 1

    • 3. Assignment

    • 4. Lesson 2

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About This Class

Dialogue is very important to expressing personality and mood in animation. Creating great dialogue right requires that you know the tips and tricks used by the professionals. In this course, John Pomeroy, an animation legend, describes what he has learned over decades of animating at Disney with Don Bluth and others. He also shares what he was taught by some of Disney’s Nine Old Men.

In the second of two courses on animation dialogue, John Pomeroy continues teaching the fine art of animating dialogue. John picks up where he left off in Animating Dialogue, Speaking Through The Body, with a pose test showing body movement and the scene folder. John continues to walk you through the steps you’d go through if you worked in an animation studio.

In Animating Dialogue, Moving the Mouth, John Pomeroy discusses fine tuning and enunciation of dialogue with the mouth. John goes through the process of finishing the animation test started in the previous course by describing the details of approaching mouth movement and completing a dialogue scene.

Lesson Introduction – in the video introduction:

  • John Pomeroy does a quick review of the previous lesson and describes the material to be covered in this online course.

Lesson Part A - in this online lesson:

  • John Pomeroy describes dialogue seasonings and how to use them
  • He then describes the dangers of over-animating
  • John describes what he learned from “Nine Old Men” member, Ollie Johnston, about the fine points of animating the face and mouth
  • He continues talking about mouth expressions used for enunciation of different sounds
  • John discusses using Squash and Stretch in the cheeks for emphasis
  • He also describes how different parts of the face work together to express dialogue
  • He then continues to show different mouth and facial shapes used for animating dialogue


  • John Pomeroy describes the assignment of updating the animation pose test with mouth movements.
  • John walks through fine tuning dialogue using the exposure sheet (x-sheet).

Lesson Part B - in this online lesson:

  • John Pomeroy does the lesson himself describing the process he uses for updating the key frames with mouth movements.
  • During the demonstration, he shows how to use an animator’s mirror to ensure the mouth shapes and facial expressions are accurate.
  • John’s final result is an animation that combines the elements of both courses

Meet Your Teacher

Teacher Profile Image

John Pomeroy

Animator & Directing Animator


John Pomeroy, animator and directing animator, started work at The Walt Disney Company in 1973 as a background artist, and became a full animator in 1974 to work on Winnie the Pooh and Tigger Too. While working at Disney, he met fellow animators Don Bluth and Gary Goldman, and began working with them on an independent short film project, Banjo the Woodpile Cat.

In 1979 John Pomeroy, Bluth, Goldman and several other Disney animators left the studio to form the independent studio Don Bluth Productions (later to become Bluth Group), which produced the film Secret of NIMH and the animation for laserdisc video games Dragon’s Lair and Space Ace. The independent studio later reformed as Sullivan-Bluth Studios and opened a major animation facility in Dublin, Ireland.

Pomeroy... See full profile

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1. Introduction: welcome to talk by a pro. I'm your instructor, John Pomeroy. And today we're gonna be talking about fine tuning and the enunciation of dialogue with the mouth. Now, in our last lesson, we talked about how to make dialogue spoken through the body and developing a post test. We also talked about the basic tools of the layout three X sheet and the storyboard, or Anna Matic. We also talked about how to listen to your tape recorded voice and figuring out the phrasing and your accent points. And then you were given the assignment of to shoot your first basic post test. Um, now we're going to be learning the fine science of the enunciation of the dialogue now through the mouth. Now that we have our post tests with a body, it's time to go to the facial expressions and the mouth 2. Lesson 1: Now we're going to be learning the fine science of the enunciation of the dialogue now through the mouth. Now that we have our post tests with a body, it's time to go to the facial expressions and the mouth. And, uh, one of the things I wanted to touch on with the Post Test was as I was reviewing my own drawings, I saw a opportunity to kind of sweeten the post test a little bit with a little extra articulating gestures. So what that would be would be like head nods had turns or shakes. Um, I blinks, gesturing with the hands or arms enhancing gestures with shoulders. All of these things are like dialogues, seasonings, and if you can put them into the dialogue to enhance great. If not, then just go and keep it simple and don't use them. But if there's an opportunity to use them and it helps amplify the emotional content of the dialogue, please do it. Well. As I was going over my post test here, I can see areas where, towards the end, where the little twinkle character is looking up at the viewer and she says the word perfect. I thought it would be really nice to put like a little head shake in there. So let me give you a demonstration of what I mean by that if she she's looking not exactly sad, but she's has a look of concern on her face, and she says he was perfect. So I'm thinking, as she comes from her lower anticipation pose up into camera and then settles again right before she reaches her, keep owes or extreme pose on the word perfect. I would like to start a little head shake and, um, coming up from the anticipation pose from Post three and oppose four. I would create a pose. Three A. Now that's just a temporary number that will be changed once it's employed into the post Test, and it gets animated with the rest of the scene. But let's just say she's coming up from the anticipation pose, and her head starts to turn towards us as she begins a little bit of a head shake. It would be like a back and forth head shake, and she just before and while she's saying the word perfect. So I'm going to set this up. Her eye line will be right about there. It would be there. She won't close her eyes. I'm gonna leave those open and she's shaking her head. This is a tough one, though. When you're in movement and you're trying to rotate object in space. I guess practice is the best teacher, but it works really well if you're able to pull it off all of these increments. The stem that the little flower cap that she's weren't wearing all has to turn in unison with her head to I direction. She's looking up at the top corner of her eye, making eye contact with whoever it is that she is lamenting that he was perfect. I proud nos. Here's the I line and access to the face and rough mouth placement, and right about this time I would say she is starting to put her hands out, as she's saying the word perfect. So we'll put little balls and rough arms there to describe for the hand placements gonna be . So there's the first position of our little head shape on the word perfect. She's coming up, and then the next part will be a She's coming down because the head shake these little dialogue sweeteners, hat work best if they are like coming just before the word and linger a little bit after the word. It feels a little bit more fluid rather than mechanically doing a head shake when she stops it. Or extreme pose says her word. And there's a head shake that would get very mechanical and robotic life. But to keep it fluid, you want to start a few frames before she hits the extreme pose of perfect. So coming out of that, we'll have other part of the head shake and she comes out of it. I'll do a rough placement here. We'll see the head coming towards us. So we've got one position of the head shake here. This position, the head shake, then this and then finally this. So we'll see. You go back and forth maybe three or four times just enough, not too broad, just a little bit of a head shake to give it a flavor of urgency. I'll go back later and further refine and define these drawings. That's the nice thing about seeing a character post test first before you tie everything down because then you can see for rooms for improvements and pushing things or adding little little animation sweeteners to it. Hands will come down right about there. Arms. I'm just putting riel basic shapes here. Now we have this fed shape employed in this where she says he was perfect for you. Just a little dialogue sweetener. And then after I get mawr information drawn in there and I start working my mouth, I'm a tone some of this down just to refine it a little bit if it's a little bit too broad in some sections, but I think it's a nice little addition. After listening to delivery of this line, he was perfect. It just has. It's begging a little embellishment like this. Okay, so we've got some little dialogue sweeteners here with our coast test. Ah, now we're ready to get involved with the fine points of mouth Annunciation. Looking back on my days when I first started out of Disney, I can think of some of the mistakes I used to make and, you know, there were a lot of I think the equation was you had to go through about 20,000 really bad drawings to finally start getting to the really good ones on. That's not far off from the truth. When I look back on, think of some of the scenes that I animated. The first handicap that I had to get through was over animation on Sometimes I'm still struggling with that because it's so easy to get caught up with drawings, moving and actions and making it overly complicated. But when I first started out, you know, in my animation career I had two great mentors, Frank Thomas and Ollie Johnston, and Frank was a ah, dear mentor in helping me understand talking through the body. But it was Ollie Johnston that really gave me the fine points of speaking through the mouth . Once I had my post test finished. Then I needed his principles and his critique to help me understand what a fine art it waas that he had learned. How does have a character speak through the mouth for it to look fluid, for it to look convincingly and for not to look too choppy or overactive, which was thing that I always had overcome. I remember having a scene in the movie. The rescuers and I was working as an animator on Penny under Ali remember bringing a scene to him where, uh, Penny was mimicking Madame Medusa, who was the villain? She was mimicking Madam Medusa's walk for Bernard Bianca, and she had a broom over her over her shoulder, and she was walking like her. And she turned 3/4 into the camera, looking at Bernard Bianca and mimicking Meta Medusa's saying the words, You're too soft. Well, I remember taking my first post test to him, and it was just over acted. I was enunciating over, enunciating over animating each of the words, and he said, Well, no, there's a better way you can do this. You can just simplify that and not open your mouth so much. And these other words and at the very end, on your words, soft. Then you deliver your extreme mouth expression, your extreme mouth open. So instead of going your too soft it red, you're too soft. It had a nice, smooth, organic musical quality, too, and that was gold. I mean, you can only learn that sort of thing through making mistakes and through the process of learning. And, uh, the idea is to not get your dialogues too choppy. You don't have toe open and close the mouth with every constant vow and syllable, you can orchestrate it so it has texture. I think we might have spoken about texture in your body post test so that you don't have huge broad poses for every particular drawing that you're quiet. First, you build up to a crescendo, where you can exhibit your key, pose bam and then settle down. Same thing is with dialogue. You start out small and build up slowly into your crescendo into the keyword. The emphasis of what you're seeing is all about, so we would like to maybe explore some of those areas of phrasing and texture. I'd like to kind of give you a really brief run through of miles opening and closing, though I can remember untold book years ago, written by a man named Preston Blair who worked for Disney. And he gave kind of basic synopsis for beginning animators on opening and closing dialogue , bowels and continents. And I won't review that, but I'll just share with you some thoughts about how to do this. So keeping dialogue riel simple. Some of your basic sounds would be like the a r a H sound, which is an open mouth teeth showing maybe the tongue, maybe the lower teeth also showing, uh, this is your sound that she would use for words like Apple or hey, Or, you know, any kind of an open mouth where you would display the teeth, eyes open and this would be an expansive type of sound, expansive type of face would be used and then for different constants. Theis Sound or C Sound T sound can all be expressed by an open mouth. Or actually, it's a split mouth with teeth showing. But it's not open. You're getting the exposure some teeth in an S sound or a C sound t sound. So between these two type of mouth expressions, a lot of dialogue can be displaced to realize. And then, in between the two, you will get you know, your little pucker sounds like if a character says you and that would be stretching, they, um, lips forward into a pucker sound, maybe even turning up the upper lip puckering out the lower lip. Some chanted cheeks and I and when you're doing miles like this, you want to realize that the cheeks offer a perfect opportunity for some nice stretch and squash. So you want to make sure that you're able to lose this line underneath the eye, as as cheeks stretches forward a little bit, and sometimes if it goes even further, you would lose this dimple right there at the cheek. And it would just become a line coming off of the cheap, whereas it being pulled even further. Sometimes you might even put to the wrinkle lines there for a real deep pucker. Then, when you get further into expressing a word, let's see if that were you. I'm trying to think of a word where you would have a pucker, but it would be stretched if they were to say the word, your you would see that pull even further out. This would pull further away from the cheeks. What you would lose that dimple line all together. She'll turned up lift. Now what my mentor Ali was trying to show me is that there's a way to save words, but you don't have to commit to a fully open mouth or fully closed mouth. You can choose in a lyrical way to go say, if you had words that were a constant where the mouth was closed and then you had in on a word where the mouth was open. Like this. You can orchestrate your sounds in between so they blend and they kind of move into your final pose. So you're not going to an open mouth, then to another close mouth than to an open mouth, which would make it very, very choppy. Now, one of the things that's important to kind of understand the different displays and arrangement of the facial features for the best effective dialogue and you have basically two portions is divided by the eye line. Looking at our character twinkle. Here we have the area that's around the eyes, and the eyebrows will refer to that as an eye mask. And then we have everything below that, which would be nose, mouth, cheeks and chin. That's an other area itself. So looking those areas right now, try Teoh to a drawing of the areas around that the brows kind of defined the top, the eye mask, the eyes and I like to put I'd like to see her eyes at a slight angle. It gives her a little more feminine quality, but I lived. That's the mask I'm ask. And it will be important to understand how that works in concert with the spoken word. Um, below that, the knows all of this area would work as a unit. As this area works is a unit, and they need to work together. They're separate, but they complement each other for the best readability in the best dialogue. Um, exposure. We have mouth there, cheek and chin area. Remember that This is very fleshy right there. The cheek area. So that could be used for some great stretch and squash possibilities. When she pronounces, say, if she is, um, saying the word hey, in a happy way so her cheeks will be pulled up against her eyes, eyebrows will be pulled up Sometimes. What I like to do is consider the the I and the eyebrow. As a unit, you can continue that line from the cheek all the way around and the reason for that it helps you to control these units so they don't get disjointed to each other. Which is easy to dio. You think in terms of that as a shape. But the iess seated in then below that is the nose bringing up the corners of the mouth in the lip kind of happy, smiling, a big open mouth now. Also, if you want a break away from symmetry, if you want one corner of the mouth higher than the other, that's great. Your teeth. You can choose to have bottom teeth exposed and then tongue in the backboard and then the stretching her cheeks and her chance. So I'm squashing the cheeks together, stretching the chin a little bit. Those were pulling alright, browser up, so she's fully expanded. So let's just pretend for a moment. She's saying, Hey, you! So she does just the opposite and contracts together when she says the word you so back to the basic mask, let's say if she furrows those eyebrows down a little bit. So these units I units that frame the I, they start to squeeze in a little bit and just a reminder. I haven't even touched the mouth yet. I'm speaking with the eyes for this for this word of you. So the whole face it's important that you speak with the whole faces. Well, it's just the mouth. Now she will pool, let's forward and pinch them. Maybe the upper lip will turn up just a little bit in the lower lip will stretch out. The cheeks will stretch as the corners being pulled away from the cheek. So we've got eyebrows going down. We're seeing a pulling between the eye line and the cheek as she's puckering. Same word you, the lips are being pulled forward. Bottom and top chin is being raised. Everything is slightly changing and expanding and contracting. There might even be some my lines up here as we get further into analyzing dialogue, things might happen. Might like flared nostrils. If she expresses anger going back to the basic, I'm ask. Start with a nose. Her nostrils may flare a little bit and there may be a pinching up here. Uh, a crease for the sheikh. If she is doing a constant sound like a T, lips will come up. Maybe even the the lips will pooch out a little bit. There, this will be pressed. The cheek will be pushed together and pressed against the I, which do ah, harder, you know, if the characters expressing anger, you bring the eyebrow down even further and once again dividing the face and half one side does not have to equal the other We can do change this. I brown changed this hit where we can pinch one side of the expression more than the other , just to get a little more facial dynamic like that. It's really pinched in here and left a little open on this side. It reads a little bit better if you're consistent on on your facial display, so that if this side is really pinched tight, try to open this up just a little bit more. So the dynamic is that you're doing this. You're pinching this side and leaving this one open, as opposed to pinching this side and then pinching this site leaving this, it mixes it up and it doesn't give ah, you know, unification to the whole pose that keeps its stronger if it's pinched on one side. Okay? 3. Assignment: So for your assignment, I would like you to take your post test that you did in lesson one. And now put in some final mouth movements and enunciation to your to your dialogue. So I want you to make the mouth say he was perfect. Okay, But before we dio before I let you go, I'd like to review a couple of things about fine tuning dialogue and mouth shapes here on my ex. She like we covered in less and one he was perfect is shown by the editor Squiggly little lines. And then I put my word placement on the side next to that where it's where I written out. He was perfect. Now I know that on frame 21 he was Twinkle will start to pronounce the word the word he and start the letter the the sound h So, um, I actually just a just a zey hope I'm going to draw a little symbol of a mouth in the shape of an h sound saying age saying he so on frame 21 the mouth on twinkles should be formed something like that. Then on 27 the mouth should start to close and start to form a pucker in preparation for the W in the word waas. So right around let's see frame 27 more mouth pulls forward in a slight pucker Preparing for the word waas Then on the vowel sound on for waas waas on frame 31 the mouth would open like that teeth very much like in the word he Now the nuance in this is that you're trying Teoh unify the mouths a little bit so they don't don't get real choppy and just opening and closing. So I'm gonna ask you do is went on the open mouth for waas. Try to get a slight pucker. Not a lot just reminiscent of the w sound for Waas And the reason is because you're gonna go right back to a pucker for the word perfect. So you're trying to strategically open and close your mouths in way that will set you up for the next word, which is important. So when you come to the S, the constant and waas you're already set up, the the mouth has come forward. You can see a little bit of the teeth, but there's a slight pucker to it. and then you've set yourself up for further pucker wrinkle marks a pinched mouth for the p sound on frame 37. So we've gone from open mouth close pucker slightly open mouth with slight pucker angularity to it to ah puckered s and then a pucker tea And then you're now set up for the word perfect So that so the e r in perfect will hit right around frame 30 39 I think mouth pulls forward opened at the very end in a same type of mouth that she would use for was the W and WAAS you will use for perfect. And you would hold that up to about frame 45. You would keep that pucker forward. And then on 47 the bottom lip will tuck in underneath the top lift and you'll see a couple of wrinkles, signs, a couple of wrinkles and maybe even a tooth for the letter f perfect. So we go from the pucker sign, you're still puckered, but we get a little piece of tooth there and we got some wrinkles where your bottom lip is now underneath your teeth. For the word F on frame 51 it opens again. Perfect. Same mouth sound, pretty much as you did on the first mouth with he. So it's an open teeth showing maybe the bottom teeth also and tongue her for. And then it starts to close towards each other on frame 57. You keep it open. Still, it would just get a little smaller. You would see the top teeth. You would see the tongue inside. Perfect. That would be your K in your t sound. Actually, your case out on 57 and then after that would be your T sound. So use this type of thinking about mouth movements that I've given you a demonstration here on your actually use that in your final test with all of your dialogue Annunciation and we'll take a look at my version of it when we come back. Good luck 4. Lesson 2: Hey, welcome back. Now that you've got your post test done, or actually they're not your post has but your final dialogues test, which is great. Um, I'm gonna do my version of the final test with all the dialogue bells and whistles in it. One of the things I'm gonna include Here's my ex. She just to keep me informed about what we talked about when we were last going over dialogue, nuances and articulation. Remember that I put the mouth symbol of each of the vials, and Constance is as they were, expressing the words, he was perfect. So I like to keep that by my side, because that will kind of informed me as I'm doing my final version of the dialogue test. So I've got my original post test here that I did of twinkle uh, that I like. But there was one thing that I wanted to tweak. And that was when I put that little animation dialogue sweetener of the head shake in there . When she says perfect, I thought it was a little bit too broad at the end, so I toned it down just a little bit. And now I think it works a little bit better because I wanted to embellish it. Not be, you know, overpower. So I'll start here on drawing one. And that's her poser default pose. She's looking at the viewer offstage before she says her line. I actually can keep that mouth shape because that works well with, um, it's a inhale that she does just before she starts to say he was perfect. I've got a drawing, too, and this is where the character will begin to say the word he. So I'm gonna change this mouth and doing so I'll have to change the placement of the chin and cheeks because she's going to stretch it a little bit. So she says, he I'm gonna open the mouth of a little bit. I see some of the teeth we may even see some of the lower teeth to, and now one of the things I like to use as a tool that most animators have had as a tradition is the old animators Pau and Friend the mirror, and, uh, I can always look at myself gazing into the mirror and see the enunciation of words and how they should be formed. So I'm looking at. He was perfect. He was perfect. He waas perfect. So there's a lot of mouth articulation there. I'm trying to think of ways that I can simplify it a little bit. He was perfect. So going back to what Ali told me years ago, If I can phrase that correctly, I could go. He was perfect. So the waas and perfect could be all in a poached lip position rather than being too choppy and up and down and open and closed. So I'm gonna I'm gonna go that route. I'll keep the word he open like this and then I'll start to bring the next pose and action . Which was he? Waas. And this will be the w sound the pucker on her face. So I'll keep the cheeks right about there and bring her lips forward in a little pucker. He waas now in the transition between drawing three for killing three. As I bring the head forward and down, I'll start to close the mouth. Let's see, I would make a drawing to a and that would be right about frame 25. So right about here, I would make a drawing three a. Because that's gonna be transitioning me from an open mouth into a pucker. A little pucker. So let me start to turn the head around and maybe the eyes which start to close here. That would be kind of my I break down people's air, still looking up at the person she's addressing offstage Now. I don't want a smiling mouth on this because she's not in a happy mood. She's anxious, so I'll show a little bit of teeth there and a little bit of as she turns around. Flower eyebrows are also coming down a little bit in anticipation. He waas So I got the beginnings that he waas you know, I'm thinking this this mouth might be open too much for the word he because as I look in the mirror, I'm thinking doesn't go like, hey, it's more like he he waas he waas. So I think I want to show less mouth, maybe, And it, uh, not as wide open as I've got it. So let me change that. That's the benefit of having a mirror by your side. You can kind of correct yourself, give dialogue the best attention possible, and I think she might even have her bottom teeth showed showing. And her tongue? No. Yeah, I think that works better. So he he we're seeing top teeth, bottom teeth and a little bit of tongue. He maybe even pinch side of the mouth. That feels better to me already. And they're bringing it down into waas. Okay, now for drawing three A. Which was the beginning of my head. Turner, my head shake. You would still be on the word. He So we have a vowel sound still happening with the e sound. Right? Make sure that this next you three I'm gonna jump to drawing for because that's my key post where she says Perfect. I want to see how my head shape goes into that. I want to make sure if I have enough time because I wanted to have a little bit of a pop, but not too much, because if it's too much, it'll look like a jerk on the head rather than a nice time to shake. So three a. I'm going to place drawing three a. Write it about frame 31. So I will have an open mouth for the word waas. So that will be my open mouth Me Erase the bottom part of her chin. I want a slight stretch in a pool in the cheek area Just looking at her annunciation of the word waas I'm coming out of a pucker but this will be my bottle sound for a a sound for was But I don't think it will be too much upper teeth I'm looking at myself Waas waas So I'm pulling the jaw down, exposing more teeth the bottom And then it will swing back up for the s sound. So I think Let's see Start to open her mouth a little bit down, See a little bit of teeth right there. Well, what? What? What? What? Just a little little bit picker. He was perfect. And now we're coming up to drawing number four, which will be perfect. That'll be the starting forming the pizza. So raise her mouth and start her in a slight pucker. I think that just more and stretch it, I got a couple of really slight little wrinkles. They're showing a stretch and just a little bit of one right there where we see a little bit of her lip line peace out. So she's pulling the cheeks or pulling in this direction as she forms letter t perfect. In between these two drawings, I'm gonna put my transition drawing which would be an s sound as she finishes her little head shake here. So bring the head back around knows, coming around Now it's important that I get something that transitions nicely into the P sound for perfect. So I'm not gonna have a big open mouth for Waas for the Yes, I'm going to do a little mouth and I'm going to do a slight pucker is if you see Waas watch . Perfect Waas Perfect Waas Perfect. So as I'm starting a form that pucker on the s sound, I'm setting myself up for the p sound Perfect. And it won't It won't be jarring. It'll be one shape melting into another. See a little bit of teeth in here, Little pucker waas Perfect. I will call that three b and that will be on frame 33 on my exchange. Three b waas Perfect these waas. Now I go to my other head shape drawing. I'll call that for a and I will put that on frame. Put that on frame 41 more. Hey, and that's the head. She's coming down a little bit from the extreme pose, and that will be the, uh, still holding their e r sound and hurt her mouth. So I'll change this mouth and she will be puckered some of our lives a lot of lip under here. I don't know her Her was perfect Her So I got my, uh, puckered mouth here for the word perfect her for and now we're final pose where she settles and that will be a que sound or heart see sound for perfect See, going into t perfect. I, actually to simplify matters, could probably just do. I could probably do like a slight open mouth showing teeth only, but it can't be a happy smile. It's got to be something with a slightly turned down mouth because she's she's not a happy mood, is she's saying this line. She's a little distressed about something, So I am going to do a mouth that similar. I think you mouth we did way back here on drawing number two were she said he was perfect. The he sounds to be very much like the C T sound for perfect Onley the teeth or clench their together. So that's that's some dialogue economy there. You don't have to invent several mouth movements and designs. You can recapture the same design elsewhere in your scene. And because of that, it will have given a kind of harmony for the whole of the whole song for the whole line. Now what I need in here now, I'm going to put a intermediate drawing for B for my let's see f sound, which will be on friend 47 for be. And as her head is coming down and settling, I position I breath Jones. No, this will be the F and perfect. So trying to get a shape that harmonically works between the pucker of are perfect and the c t sound of perfect the t sound see sound. So I am thinking still a slight pucker coming out of the her effect. Give her lots of upper lift, show some teeth because the teeth are gonna be featured in this. So we start to introduce the shape of the teeth in there, and then it transitions really well to the C T set and then chuck in her bottom lip underneath the teeth and you'll have the f sound. We have the word her perfect, perfect, perfect. And that's just a simple way of doing it. Perfect. Okay. And that finishes that, Um I think I put everything I need to put in that for a good test. So why don't you take a look at it and see what you think with all the bells and whistles and the nuances of the mouth movements. And it's been great teaching you and I hope you tune in for our next lesson on top by pro thanks. He was perfect. He was perfect.