Professional Character Design & Rigging | Jared Freitag | Skillshare

Professional Character Design & Rigging

Jared Freitag, Animation Supervisor

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
21 Lessons (2h 40m)
    • 1. Intro

      0:50
    • 2. Design Part 1

      11:48
    • 3. Design Part 2

      8:26
    • 4. Design Part 3

      8:19
    • 5. Design Part 4

      8:31
    • 6. Design Part 5

      5:27
    • 7. Head Rig Part 1

      13:09
    • 8. Head Rig Part 2

      7:24
    • 9. EyeBrow Rig

      8:06
    • 10. Ear Rig

      5:52
    • 11. Eye Rig

      8:32
    • 12. Neck Rig

      5:04
    • 13. Arms and Legs Rig

      5:22
    • 14. Parenting and Layering

      7:55
    • 15. Adding Strokes

      7:55
    • 16. Hand Rig Part 1

      7:54
    • 17. Hand Rig Part 2

      9:52
    • 18. Hand Rig Part 3

      9:33
    • 19. Hand Rig Part 4

      13:32
    • 20. Blink Rig

      5:53
    • 21. Thanks

      0:46
22 students are watching this class

About This Class

Using Adobe After Effects we'll design and create a professional character rig that's ready to animate. Bring your characters to life with this professional rig that will give you extreme flexibility and personality. Through this course we'll use tools like "Joysticks n sliders" and "Duik Bassel" to give your character the edge over the "Boring cookie cutter" styles that pollute the animation field. -LEVEL UP- your character skills and take a step towards being AWESOMEer.

Joysticks n sliders here: https://aescripts.com/joysticks-n-sliders/

Duik Bassel here: https://rainboxlab.org/tools/duik/

Transcripts

1. Intro: you. This is Jared with backwards animation. Welcome my course on professional character design and rigging. And this course we're gonna be using to plug ins, doink and joysticks and sliders using those to plug ins within after effects. We're gonna build a character rig. Designed it on the professional level. I know what you're thinking about. What is professional, even mean? It's relative. Well, this is essentially a character that I would build for any one of my clients or even a production studio that I'm animated for. So very hands on course, it might require a little bit from you, but by the end of it, you're gonna have a fully functioning rig that probably works by far better than anything you ever created. So it's gonna be a really fun course, a lot of stuff to it. So I'm excited to take this journey with you. 2. Design Part 1: So when you open up after effects, first thing you want to do is we're gonna create a new composition on. I'm just gonna do 1920 by 10. 80. That's fine. I'm gonna switch my frame rate to 29.97 and then duration. We don't need very much since we're gonna just be just be doing a looping cycle. I probably don't need more than five seconds, and then we can zero these out. All right, now we have a blank canvas. So using this as kind of a reference for what I want my character to look like, Um, I think what I'll do is I might as well important, right? So we'll go file import file and then on the desktop. I have my image. Oh, sorry. I I have it set up. Kind of weird. So all I'll drag my image into my composition and I'll name this one. Something interesting character poses. Uh, call whatever you want. I do not care what you call it. Just have fun with it, okay? And I'm gonna use this center character because he seems to be the most centred of all of them. And I'm gonna rotate it just a little bit. There we go. That looks pretty good. Okay, so now that I have my character sketched out radio, I'm gonna go ahead and I'll start with I'll serve with head. So using the head as a reference point, I'm going to start to draw in some different areas here for the head, and then I can adjust thes and manipulate them later. But this is just to give me an idea. Okay, So that will go that way. And now that I have my head kind of drawn and I'm going to start using the grid So if this is my center point on the grid, that means I can go out 12 and then I'll go 12 and then this is where that would go. And the grid simply just gives you a great reference point on where everything falls. So this one, Tiu three, is where this one lands. 123 is where this one should blamed. All right. And everything is looking pretty good that I think I'm gonna call Nice. Call it a day. All right? I'm just gonna rename this one face. I'm gonna take the stroke off. This will be a stroke Lis character. Only the great Doctor. Okay. And then I'll kind of center the image a little bit closer to the face that I have now. Next, what? I'm gonna dio. I'm gonna create the ear that's sticking out right there for me. And if you can get away with doing simple shapes, then do it. I don't feel like you have Teoh complicated by using a pencil. If it's a circle, make it a circle. Next, we'll put a little curve here. And this one, we can use the stroke. I'll just do black turn the fill off. Looks good. And sorry if I'm moving a little bit quicker than you'd like. This is It's not a character design course. This is supposed to be a character animation course, So I'm just doing a very quick build, hopefully quick build so that we can started animating this guy. All right, that's good enough for in here. They don't call this one because that is right here. And what you can do is duplicate it. Its scale and change. This didn't negative. And now we have two years who have to rename it left here. All right. Next, we're going to do some eyes. So the eyes are also a nice little circle. Trips take the stroke off, make it white. Um, yeah. Where is this? We'll call it eyes duplicate that he lips. We'll move it over. Here we go. And then we're gonna do some pupils. And I separate these because the pupils will move separately in the eyes. Pew Bull people. And then what we can do is just shift. Select, scaled down to the desired pupil size. Move it over. And I always like Teoh scrunch my people's inward. Otherwise it looks a little too brainwashed. Zombie. Look, there we go. That gives it a more focused look with the attention on the center camera. All right, We're starting to get somewhere. Next, we'll do a nose. So the nose we want not to cover the eyes. We can leave that tip colored in. We'll just do the same flesh tone that we have. And then the nose we could do a stroke, will do three point stroke on, and then all around the corners, around cap brown joint, they don't call it nos. All right. And then the mouth Mouth's gonna be a very simple rig. It was kind of do that. And, um, I think we'll just call it a day there, fill it with black, and I could take the stroke off, and then the eyebrows, What the eyebrows will be. They will be a simple stroke. When they get, they will do, even for 15. Looks good. We'll take the fill out and then we'll turn on rounded corners for the stroke ground cap. And I'll do around. Sure. So we'll call this one mouth mop booth. It will call this one Eyebrows. Okay. Just make sure everything you're naming is very clear. I want to make sure everything you have as a very defined name. Keep it organized. Okay. Next. The cool thing is for this shape one we can just duplicate come here to transform, and we'll go. Negative. Now we're two eyebrows. Okay, that's turning this face back on. Looks all right. I guess we're not trying to win any awards here. Just want to get it done. Next. We gotta do some hair. So the hair you got to do a little thinking about how are we gonna create this hair. Um, it was start doing it. I guess Turn this stroke off. Hair will look probably a little bit different from the sketch, because we're not gonna do a stroke on the hair, but this will give you a good idea. And well, come around through here like this. Let me turn the face off. There we go. I get a clear picture of where I'm going. Actually do this. I was pulled that down. All right. Looks pretty good. We'll delete that one. Just keep it simple. Okay? The next will fill the hair with a color. I don't know. What do you think should we do? Ah, wild color. They will dio some like soft green color, you know? Why not have some fun with it? Then we can change the eyebrows. I don't wanna make these a little smaller. 12. Change the eyebrows too. A little bit of a darker color. I like it. 3. Design Part 2: next. What we're gonna do is we're gonna create a neck. So using the pencil, you're gonna click right around the nose, hold shift, and then click down to about the center of the chest. We'll scale it up to the size that are neck is doing even 80. Turn the fill off. Change the color, do a little bit darker that are our original skin tone color. Call it neck. Then we'll move it down below the face. Okay. And we can also give this a round corners round. Cap. Sorry. Okay, the next we're gonna do the body for the body. They were kind of go like so. So probably using the grid for this. We don't need a stroke. Yeah, let's turn the grid back on. Okay. I think that's a little wider than I wanted. All right, we'll go there. And then how do I want to do this body? Sure, we'll go like that, and then we'll come out with a little bit, and, uh, it will finish it up. Okay, So next will solo this and we'll look at the grid. So if this is my center line right here, I'll put that right on the center line that will move out. 123 4.5. 1234 Maybe we'll do four. Okay, you know, move these around and then also these, um, these little control points. They also need to be in the exact same position as the other one. So 123 123 Move it in. And then here's my center. 0.123 Just over 123 just over. All right. So this is the body that I'm gonna be working with. It's quite a bit smaller than the sketch, but that's OK. We're still figuring it out. Um, I don't need it play. So for this shirt color, what could it be? Maybe we'll do a contrast color to the hair. So maybe orange. Something like that. Okay. And I'll just call this, um, torso. All right. I'm gonna put torso behind the neck. It doesn't feel center, does it? Maybe the neck isn't centred. That's why. Yeah, Neck isn't centred. All right, there we go. All right. So we got torso and I want a mask off the neck. We don't need to see it all, do we? So the way we can do that is we're going to create a new We're gonna create a new shape right up here for the neck is And this is going to be our neck mask. We want to make sure that we we want to make sure that we expand it out far enough so that that we don't get any breakage outside of the mask. Okay, I will put this up here, and then we'll collapse that down, okay? And then I could just changes to black so we know exactly what we're working with. Don't call it neck mask. Well, moving on top of the neck. Oops. And then this little switch here is called your switch. It's your transfer mode. So we're gonna toggle the switch is so we can see this thing here called Track Matte now on the neck. What we're gonna dio as we want to make sure that the mask, um, is either revealing the shape layer or removing the shape layer. So since the black is what we're removing, we're gonna do an Alfa Matt inverted. So now all we see is the neck up above. So if we turn all this stuff off and that it looks pretty good, right? And so if we kind of rotating, rotate the neck. Okay, next. Come on, we rotate the neck, you can see it. We have some movement in between Just a little bit, Uh, but then obviously breaks If it goes outside of our mask Now, we don't want the next to be rotating quite so much, especially where it's at, because it's so low down here, the is gonna break a lot easier. But if we move our anchor point up, it'll stay within the confines of our mass quite a bit better. So now it's looking pretty good. Um, next, I think I want to move some of the torso elements up. Maybe we'll put put it like that. This is gonna elongate his legs and shrinking his torso. But that's OK. I think I think that's gonna be pretty cool. Um, so next thing we want to dio is give him some hips. So back on the torso, we're going to come down here. We'll give him some hips, like so. All right. I think that looks pretty good. Maybe let's give him some brown pants too kind of compliment. Is orange shirt all right? Not too shabby again. Some of this stuff might actually change. Once we get into the rigging of it, we might find that certain shapes break a little bit too easy, but we'll find all this out real soon. 4. Design Part 3: all right. Now, what we're gonna do is we're gonna create an arm shape. All right? We'll call this done, and we'll expand this, uh LD 50 like 50. All right? And we'll take the field off. No, Phil. Okay. And so that's gonna be his arm. And what we'll do also is round cap. Then we'll do around joint. All right? Looks pretty good. All right, that fits up there. Pretty nice. Let's go and rename this to right arm, and then we're gonna start adding we're gonna add a little shirt sleeve to it. Okay, So what will dio is I'm going to rename this layer arm because we're gonna be using this as the parent shape. Okay, a lot of things are gonna get parented to this arm, and we want to make sure everything is labeled correctly. So what I'm gonna do is I'm gonna duplicate that arm layer. I'm gonna call it sleep. The next thing I'm gonna do is I'm gonna expand down to the path of the sleeve and expand to the path of the arm. You grab your little pick whip tool, which is a spiral from the sleeve path and drag it to the path of the arm. So now when I change the color of my sleeve, let's say I change it to orange. Then I come here and I add trim path. Then I pull it in. If I was to animate the arm, you'll see my sleeve moves with it. And that looks really good so that it's perfect. That is exactly how you want to do it. So make sure everything that you add onto the arm is parented to the arm. Um, let's see, what else do we need to do? Well, the sleeve. I don't want it to be rounded like that. So what I'm gonna do is I'm going to make this one a but cap instead of around cap. What ends up happening, though, is you see the shoulder of the arm popped through the sleeve. So a simple way to fix that is just add a trim path, um, to the arm. Okay. Groups will pull it down behind asleep. There we go. Easy peasy. Now the sleeve. I want to give a little bit of expansion to you. Want to come out? Ah, a little bit wider than the arm. So it looks like the arm is going into it. And then another thing we need to do because if you noticed, when the when the hand or the arm portion moves up above, um, the sleeve, it actually goes behind. We want this forearm to move in front of the entire arm. So way to do that is to duplicate your arm shape, pull it up above the sleeve, we'll call it four arm, and then we also have to make sure that the path of the forearm is attached to the path of the arm. Now, when we come here into the trim path section, what we're gonna do is we're gonna pull it down so that it, um, hits right around where this where the elbow is so right where the armed Benz is, how far you want your forearm to go. So now if we animate the arm, it's got to be turned on. All right, well, now if we animate the arm, it goes in front. And that's what we want. Looking good. All right, well, now let's say that we wanted to have the sleeve instead of being around or like a but cap, we want it round on top. Way to do that, Duplicate the sleeve, come down to your path. Oops. I'm sorry, your stroke and make it around cap again. But then what we're gonna do is we're going to move this guy up so that it's not so long but actually hides behind the cap portion and we don't need to attach is anything because it's already attached from the previous time we did it. So that is our arm. And it's looking pretty good, Bruce. So as for that arm we will do, we'll move it back in the position, and I'm gonna duplicate this and call this one left arm. Um, and instead of scaling it because sometimes scaling things is not your friend. Whenever you are when you are rigging, I'm just gonna move it over to the opposite side, and we'll get us close as possible. All right, that's looking pretty good. One thing I'm not a big fan of is I think this little Taper here is, I don't know, looking kind of weird. I think I'll get rid of it. Or at least I don't know. Maybe I'll put one down here just feeling kind of strange to me. All right, let's put one on this side, too. All right. I guess it looks better. Or maybe it doesn't. Who knows? Change this pant color cause it's he's looking to like Flintstone's Glenn Stones. Meet The Flintstones everything. Should we do some crazy color? No, I don't know. I've never been good with colors, so don't take my word for it. Let's get the eyebrow color. There we go. 5. Design Part 4: all right. And now the cool thing is, because we have arms done, we can call this call. This one left leg. All right, so let's move this left leg into position one. I think I'll put it behind the torso. Why not too? Let's bring back up our original little guy. And now I will position all this stuff where it needs to go, just like so. Okay. And I'm just gonna get rid of the forearm because I don't need it sleeve to I don't need Sorry, sleeve. I don't need sleeve, too. We'll change it to the pan color. Um, will expand it to fit its dimensions. You know what? I'm sorry. I actually think I do want sleeve. So sleep, too. We'll bump up to just doing even a five. Now. It's too big. 80 still too big. I'll move it around. Let's do 70. That looks good. And then on our sleeve will do 70 as well. Now, coming back into sleep to what we're gonna do is expand this down, become our pants so like both sleeves and change it to your pant color. All right. It's looking good. We're getting somewhere next. What I'll do is I'll duplicate this. Rename it right leg, and I'll move it over. Oops. What's know me? Okay. Not too shabby. Look pretty good. All right. I like it. I like it. I love it. They will make him, like a like a hipster, getting some high waters. Ask your 88. All right, cool, kids, let me do it. It's not that one. And we go. 88 is looking cool, All right? Next he needs a foot. Let's give him a foot. I'll just give him some very simple, basic feet, right? We don't need a stroke and maybe his feet. Anything black, gray, white, Probably white. But who knows? All right, that's good enough. And what we'll do is we'll call this one right foot. We'll turn our anchor point down here. I think when we're done, it's not really gonna matter, But it's okay. Lets give her nice little anchor point. Now, I have this line here for the crotch, and I think I want to bring that back. But I also want to move the hips a little bit further into position. Okay, that's groups that looks pretty good. And then we'll go ahead. We'll give him the line. We'll go three, and we'll make it black. That workers. You look weird. Probably looks weird, doesn't it? Well, I'll just keep it for now and then If I want to change it later, I will. Round kept. Boom. All right, Now let's go and duplicate this foot duplicate. Call this or left foot. And this one I think we can scale and not worry about. We'll move it over to fit. All right? Our character is looking pretty good. Not too bad. I don't know. What do you think? Those pants A little too wide? I don't know. That's fine. For now, I guess. Looks like he has a dress on. You're not supposed to be wearing a dress. All right, Maybe we will scale these two down a little bit. 56. All right, let's try 56. There we gather that looks better. All right. 56 it is. And we'll call it a day. Maybe all pull these hips and a little more. If you like the hips extending out, then feel free to leave it. I'm just gonna move my name because because Well, I'm gonna move these feet up just a little bit and I don't know. Now leave the feet. I'll leave the shoes. Alright, guys. So we have a body. We got everything that we need. They'll pull the shirt down a little bit. Looks Yeah, I like that. 6. Design Part 5: All right. The next thing we need are some hands. Everything's labeled pretty well. So we want to make sure that our hands stay labeled well, is to table. Well, also also is what I meant to say as to what did I say? I don't even know. All right, for the hand. What? I think I'll do. We'll do this little square shape. Gonna have some big hands, but that's okay. I think we can handle it. Handle it. And the next thing I want to dio one, I'll just rename this left hand. And the way that I typically do hands is I just you I do, um, a shape path for sleep with a stroke. Okay. And then we'll change the stroke color to the hand color. Well, all right. I'm gonna call this one pointer that I'm gonna change it, Teoh a round cap. But I'm gonna duplicate pointer, and then I'll rename it middle and I'll move it over to the middle. Maybe up a little bit. Well, that's fine. I don't duplicate it. Rename it ring, move it over and down, and then finally duplicate ring. Call it Pinky. I'll move Pinky over and down. Finally, we need a son. So coming back to pointer, all duplicated. Move it down in bed change. What I should have done is change the rotation to the bottom of the finger hitting W You can rotate it out a bit. I'm just gonna put some down where the hand or put the thumb where belongs next. I'm gonna hit. Why? On the keyboard. But I'm gonna change the anchor point to the bottom of each finger. Come on hand. Work with me. All right, then I'm gonna change the final anchor point of the hand down here. It will actually go below the wrist. Maybe right there. So now, if I rotate it over here like so and then moving into position, we can get a feel for what we're looking at. And clearly that hand is too big, much too big. So I'm gonna skillet until it fits properly. That looks a lot better. There we go. That's that's good. So 73 is about what we need that in the night. I don't know. Maybe I'll I'll scale down the arm a little bit so that we can see the palm. Maybe. What do you think 38 is pretty good. I like that. All right, so we'll scale the arm down to 38. So what I'll do is I'm gonna duplicate left hand and I'm gonna call this one right hand. And if we come over to scale were negative. Move this one over and we rotate it into position. And then we were going to change this Armas. Well, what we What did we dio? 38? That's right. Now will change this 1 to 38 as well, so we'll go arm forearm 38. 7. Head Rig Part 1: in this part of the tutorial, We're going to be doing something with joysticks in sliders, so if you don't have it, that's OK. But if you do, this will be a quick crash course on how to use it and how to get some really cool head rotations with it. So starting off, I'm going to solo everything in just in the face. So do hair all the way down to face. I'm gonna solo and in fact, maybe I'll change the colors so we can see no degree. All right. The first thing that we're gonna dio is when using joysticks and sliders. There are five key frames that we need to make starting here. It frame zero is your neutral pose, and then you go forward. Four more frames and you create your poses in each of those key frames. So what I'm gonna do is I'm gonna keep the position of the face all key the position of the years on hold, shift s and also key frame the scale of the ears, the eyes Let me think about how I wanted to the eyes. Typically, when I do a rig, I like to create compositions for everything so that their nested in their own little folder or their own little composition on it makes it easier to manage. But for this one, I'm gonna try something different. I want to see if we don't put things in composition if it makes it easier on a computer to actually animate a character. Because if you if you created a few rigs on your own, you might find that some of these rigs can be very labor intensive on your computer, meaning there's a lot of lag. So if you move an arm or tried to do a blink, you can take a little while to actually see the result of what you've done. And that is just not a very conducive way to animate. If things are very slow and it takes you a few seconds actually moving arm into position, it doesn't make it fun to animate. So I'm gonna try to find a way to alleviate that problem, and I'm going to see if we can do everything in one composition, Um, and we'll see how it works. So I might be doing some thought process on my own. Just figure out how to do it, but bear with me, and I think it might be pretty cool. So I'm gonna parent the pupils to the eyes, and I'm going to keep the position of the eyes. Um, I might key the scale as well. I don't know. Next, we're going to change the nose around, too. So for the nose, I think I might do the path shape. So a key, the path, shape the mouth. I'm gonna keep the position. So GOP lips key that the eyebrows, we will keep the position and the hair. We're actually gonna key the path, not the position. All right, so that's looking pretty good. We have everything that needs to be keyed, keyed. So hit you on the keyboard, and it's gonna pull up all of your key frames. We go and pull this up a little bit. Okay? So next your character will be looking to the left. So we're going to set up all of our positions for the left turn so you can start doing some stuff like the mouth will move over. The face will move over just a little bit. The year this year will move forward. And this year will move back. One thing I should have mentioned. If you are going to be adjusted in the scale, make sure you hit why on the keyboard and move your anchor points to the middle of your object. Um, otherwise, you can have some issues down the road. But I'm not gonna worry about it right now because they don't necessarily need to be animating anything like that. All right, next will pull the pupils over, and you can see the hair is covering the eyes. So a way around that is your hair can go below. Um, your some of your face features. So then next, what will do? And this is where it gets a little tricky is now we're going to be adjusting the hair path . So how old hair look when you turn your head, Teoh the left? Well, let's play around with them. Find out I like to hold shift when I move these points because they don't move up and down because we're doing a lateral move. They only move per perpendicular to this. OK, so make sure you hold shift when you move everything over, so this will come over. We're just gonna flatten these out. This will come in. Are you a little bit All right. Next. We'll move this. They will do this. Move this forward. That's pretty good. Everything looks good. Except this little guy right here, they all move that into you. All right, now, let's move over to what do we got the notes? All right, so we're changing the path of the nose. So using joysticks and sliders, this is where it gets a little labor intensive is if you're animating a lot of path shapes you're going to start to see, um, a very slow, slow process in your computer when you animate just a position or scale. It's OK is not that bad, but having a lot of shape layers move like this, you're gonna possibly start to slow down your computer quite a bit. Let's see how that nose looks. Not too bad. Maybe it stretches out a little too far. Look. All right, You know, maybe with this one, I'll move this up this down like this. This is where you get to kind of have fun with it and see what is your character, what their profiles look like. And to be honest. I don't know if that nose is gonna work when we turn it, but we'll give it a shot and see how it does. All right. And finally, the eyebrows move over the eyes. All right. Not too bad. I see a little breaking the hair right here. I want to fix that so we can move it down a little bit. All right. Looks pretty good. Now we get to near everything to the other side. Um, if you do control, See, I'm not gonna get into that just yet. So now we've pasted it, and we want to move it in the opposite direction. And I'm sorry if this is gonna confuse us now because your anchor point kind of plays a role in this. But you can see that when we moved to the left, we go this far and we moved to the right. We try to go the same distance. So what we'll do is we'll come back to the face control, see back to the center and moved over. That's too far. Oops. We'll move it over to about the same distance. All right, so this guy move back. This guy went forward that works pretty good. Now, the hair. What we're gonna do is paste the original origin that will start to move these guys over will flatten out some of these bumps of this in just a little bit of this over. Okay, so that'll go over there. Move over. All right. Looks pretty good. The hair is moving nicely back and forth. I like that. All right. Next the eyes will come over again. We want trying to make sure that it is the same distance from the center on the left and the right. Okay, Now our nose going, Teoh put it back into its original position, and then I'm gonna try to rotate or not rotated, but moving around so that it fits nicely like it did before. And then we'll get to kind of move it around, back and forth to see how it looks. That's looks, like, comes up a little bit. This definitely is lower down here. You know, I kind of like I like this shape better. It's got kind of like a s curve to it a little bit, so maybe I'll try Teoh do. Replicated over here looks pretty good. I think this one. It's close, but it's not quite. Yeah, it's good. I like it. All right. So even knows that moves around what we got now the mouth. Remove the mouth over. That's pretty good. Now, don't worry about the ears just yet. You can see that they don't quite go behind the head yet. Pull this one out. 8. Head Rig Part 2: Okay, so we have a left and a right movement. The next one that follows, um, will be our up position. So what I'm gonna do, I'm going to copy the key frames to their original neutral pose. All right? And then starting with the face, I'll move it up just a little bit. This year will come up this year, will come up, be hair, remove the path around. Said these will probably mellow down little. This might actually come up. These forehead parts will come up. No. Probably change inward. Maybe not too much inward. Okay, That'll put him down. All right. That might be good enough. I don't know. I don't know how it's gonna look, but we'll find out. Maybe we'll pull these sideburns up a little bit too. All right, Good enough. Next we'll pull the eyes up. Then we'll do nose up this one. We can actually just do the path, so well. Whole shift p on her keyboard. Make sure you key the position for all of your frames. And then on this one, we can move it upwards. All right? I hope that made sense. So even though we're not changing the position before knows, frame one. We're not changing changing the position here or the position here. They still need key frames in order for the plug in tow work. And then finally, on this friend, we can move it up, move the position up. It's just how the plug in works. So I gotta deal with it. All right? Next, the eyebrows will come up, Teoh. They can even come up above the hair. That's fine. All right. That looks like a good head movement up. I like it. All right. Finally, we get to do the head, rotate down so many copy and paste on my key frames to the final frame, and now we're gonna move the head down a little bit, so we'll go like that. And then the years old grabbed them both. Pull them down. The hair is a different beast. I'll grab all of it and pull it down together. You pull the sideburns down a little bit more. These guys will come down, are roll or like are bulges in the hair will probably get a little more intense because it's now hanging down into a space. Um, all this is good looking good on these. These bumps here will probably mellow out, too. Just like they mellowed out when we looked up. All right, that looks I'm sure it looks a little weird, but that's OK. Once we start to move other things around like the mouth and the nose in the eyes in the eyebrows. What Look is weird up down. There we go. All right, so that's how I do ahead. Rotation takes a little playing around with to see to get it right. If there's anywhere that you have a key frame that you don't need, just feel Frito, select it and delete it. You can see, In the years I did not adjust the scale and also in the eyes, I didn't adjust the scale. I'm trying to keep it as simple as possible so that, um we don't have to adjust to many things, right? You want to keep it very simple. So now the cool thing is, we can select all of our shapes, all of her objects that have key frames assigned to them, and make sure each one of these slots has key frames. If you get across toe one and it doesn't have a key frame like that. You need to figure out what key frame goes there. Okay, It has to have five key frames in total. If you do not have key frames, the plug in will not work for that shape layer. So you might move the head and everything is moving properly. And you're like, Wow, that looks great. Except for the mouth, the mouth isn't moving for some reason. Well, it's because you don't have five key frames. Make sure you get those five key friends. All right? Now that we've got those set up, we can actually create a joystick for the head and let's see what happens. So we're gonna select all of our objects for the head. We're going to come up here to this little square. This is called create a new joystick. We're gonna click on it, and I'm gonna call this one head rotate hit. Okay, I'm gonna move my whole thing just upward over the head. And now let's play around with it, See what happens. Actually, move it over so we can see. Wow, we got head rotation. Oh, man, that looks really good. The nose kind of does this weird little you thing, but I guess I expected it. But look at that. We got a head movement look so cool. 9. EyeBrow Rig: find your eyebrows. We're gonna come into the contents and we're going to expand both shape one and shape too. So the cool thing is, watch this If I adjust my keep my shape one into a more neutral position, which I think this was it. I can copy that key friend and paste it to that one. And it updates it to mere it perfectly. And that's because we've scaled the transform to a negative. It's the same exact shape. Only the contents is backwards. So that's a cool thing. Weaken Dio Um so we're going to run through the same joysticks and sliders method that we just did with head. So if this is my neutral post for the eyebrows, if I move over one frame, this will be a new expression. We're gonna get five expressions, So this is gonna be my kind of left of the joystick expression, but I want to do is I'll make it be kind of like a like a not confused, But what are you talking about? Type expression. Okay, so we're gonna push some extremes and it'll be that one the next. What? Weaken Dio is right here, Well paced origin. Don't get me. It'll paste it back the next. This will be the right and the right one. I think I'm going to make it more of a sad expression. We'll go kind of like that. And when I can do is copy this path and paste it to that path. Next, what we have is the up position. So if I paste origin, it would give me that neutral pose. I paced orginal, give me the neutral posed. What I can do is pull these up really extreme and don't even like. Don't be afraid to go too far because you can always, um, turn it back on the control when you animate. So don't limit yourself to what you've rigged it at always give yourself more room with your rig so that you can have that flexibility when you animate and then finally will paste origin. And this will be my angry or frustrated face. So we put way down over the I Maybe right there, we'll give a little curve inward. I'm gonna copy that. Paste it. All right. That's looking really good. Okay, So there is one thing that we need to dio and that is create a mask so you can see that the eyebrows come down in front of the eyeball. But you can still see the I That's not normal. You don't want to be able to see the ice, so we're gonna mask it out. And it's pretty simple is a pretty simple solution. So what we'll do is we're gonna create using the pen tool. We're gonna start, appear the forehead, and we'll come across hold shift. I'm gonna skill that I don't need a stroke. Then I'm gonna come down. Oops. Look, calm down here. Move it over. And then I'm going to follow the curve of my eyebrow, just like so. Well, the curve, this is gonna look messy, but that's OK, because we will not see it. All right, let's look good. So next What I've got to do is I'm gonna move this down. I'll call this eyebrow a mask, I'm going to expand the shape and I'm gonna key the path. And then as I scroll forward on my key frames, I'm just going to keep the positions of the path in line with the eyebrow. Even if they go up above the eye and I don't have to worry about it. I'm still gonna move that because I want to be safe. All right, I'll move these down and down. Listen up and then up. And this might make more sense in just a second. But essentially, we're just creating a shape later, only to hide the eyes from the eye. Brows come down. Okay. And then once that's done, we can actually put this over where my eyes, We'll put these in front of the eyes, and then we're gonna go Alfa, Matt, um, inverted. I'm gonna need to do it over. The pupil is well, so well for the pupil will do. Alfa Matt inverted. All right, you see what happened. Now we've taken away the shapes from behind the eye. That's a real simple way to fix it. Now we have to make sure we remember, um way have to remember where what shape players we have. So we have two masks. Um, that was three men, and I guess it's only two masks. Anyway, I'm gonna parent these two masks to the eyebrows. Okay. And then next, What I'm gonna do is select the eyebrow. So now I have eyebrows and then to eyebrow masks selected. But I'm gonna come up here to my square and create a new joystick, and I'll call this one eye brows. So now watch this. When I move my joystick, my eyebrows move with it. Been that pretty cool? I love it. It just makes it makes it so much easier. Not just so cool. Okay, so now I don't need anything to be this big. This is just way too big. I move that over and I'll go in. Center this back over the face. I'm gonna change the opacity. Like 30. Maybe so I can see through him. Let's see. Oh, yeah. Okay. So, eyebrows, they're still working. I brought, still move. And then also you can see it. If I crunch it down, it's still masks out my eye. So that works. Great. It's working. Perfect. 10. Ear Rig: next. What I want to do is I want to create It's called a, um, switch template. Now, for me, swift switch templates are extremely confusing. I still don't quite understand it. Way to do it is duplicate that here, and I'll call this one rear. So left your rear and we'll put it behind the face on. And then I'll select both of these guys. Control, See? And then I'm gonna create a switch template, and we'll call it left. Gear hit. Okay. And what that does is when you hit, okay, it creates a new composition. So go inside that composition and then control v your shapes, and we'll just it will center them both here on what? What you see has happened is we've created two errors. The first area error is in left ear. And because it has all this stuff tied up with a position, it's going to give you an error because it can no longer read the joystick. The 2nd 1 is doing the exact same thing partially because we should have done this before we rigged up the head. But it's neither here nor there, So I'm gonna put the left rear behind the left ear. Now, this is where it gets tricky. So you can basically view this composition is two things. Essentially, this composition is split into two. It's got one side, which is, um, 100% opacity and then has the other side, which is 100% or 0% opacity, and depending on which year goes on which side will determine which here is visible at which would ever given time. Um, and the problem is that it's not always so perfectly to find because you're dealing with objects such as a face, which is in a much different size or space on object like a body would be. So sometimes it takes a little bit of playing with t actually get it. So if we come back into here and we go left a year to the head rotate, um, joystick. What we can do is we're gonna we're gonna bind it, and we're gonna see what happens. And honestly, I do not know. Hey, look at that. It worked perfectly. Oh, I guess that year needs to come up above everything else. So we're gonna reposition this left ear. We'll just put up on top of the body. All right, Now it's rotated back, and you can see that's where it switches, which is right here, Which is okay. It's not perfect. We'd wanted to switch, maybe more like right here. Actually, you know what? I think it's a good place to switch. Let's see. Let's go back inside and look at what what we did. So we have the top left ear over to the left side of our composition and the left rear eared to the right side of her composition. But if we start to move these guys around, such as so it's going to effect, at which point the ear pops in front or behind. Okay, I I think I like that better. So now we can do is we can do the same thing to the right here. I'm gonna pull the right here to the top. I'm gonna duplicate it, then then pull it this one to the bottom. But I'm gonna call this one right here, rear. Okay? So if I select these guys control, see to copy and then create a new one called right year, I'm creating a new switch template. It's gonna give me a new composition right here called right here. If I go inside control V, you'll get the same errors, Which again is easy to fix. Just delete whatever script is on there. Then I'll center these guys out. Use your line tool to center. Okay, Now this one's gonna be backwards. So right here on top will go into the right section and then the back will go into this section. Now let's bind everything together to the head. Rotate and let's see how it does. Hey, there it goes. So now we're getting some ears. That switch in front and behind the face is perfect. I love it. It was pretty simple. 11. Eye Rig: All right. So everything is looking really good on by the wave if you are having some trouble with it moving really quickly. Um, something to know is if you edit purge all memory and disk ash, you might be running with pretty full this cash so you can go and empty it on. And that might make it a little quicker. Am I not? I might freeze your computer. Who knows? So I guess it made mine a little quicker. Okay, what we gotta do now? Now we have to do the pew pools. So we have eyebrows. We have ahead now. Need to make the eyes moved. The way that we're going to do that is we're gonna come down to our pupils, expand these guys out, come back to our frame zero, and I'm going to move just the positions of these guys. There we go. Then. If I hit you on the keyboard, it will bring up just the position. So if I move over one frame, I know that my eyes were going to move to the left, and what I'm gonna do is I'm actually gonna break it outside of the the white part of the eye. I'm gonna have to mask it out later. The next thes eyes are going to move in the opposite direction. I'll put over there, just copy and paste, and the next we're gonna go up and finally we will go down. Okay, That looks good. But I'm gonna duplicate the eyes. Move it above the pupils. Uh, this might be our problem. So if we do album at you can see we have the I'm asked out, but this is where the problem might occur, so we're gonna have to think about it. So if we have the eyes looking up and we put the eyes down, you see what happens. Our pupils are still visible, and that's because I'm using the circle of the I to be a mask for the pupil. So the way that this needs to happen is uh huh. This is what we dio. We'll move the eyes above the eyebrow mask, turn the eyebrow mask on the ivor. Oh, Mask is going to have an Alfa Matt change the color of the eyebrow. You could leave it a darker color if you want. Um, let me just make sure I'm doing this right? Do no track, Matte. For now, I just wanted thinking about how to do this. Okay. I'm sorry. I've I've gone off the deep end. I'm confusing the crap out of myself, even. But, you know, I know what I'm doing with these Alfa Mats, and you probably don't just yet, but let me walk you through exactly how I've layered layered this. All right, so let's get rid of everything. That is not the eye for the eyebrows years. Okay, guys, let's take a look at what I've done. Okay, so So basically, all start from the bottom up. Maybe I'm over. Explain this. I don't know. So what do we have? First off, we have just the I just the eyeballs, the whites of the eye. Next we have the pupils, which is where we have all of our animation. It's the black part. Next we have another white pupil on top. It's turned off, so we can't see it. But it's there just to mask out the pupil. So I haven't Alfa Matt. So that means that if the pupils go outside of the eye, they disappear there. They're bound on Lee to the outer edges of the I. All right. Next we get into the eyebrow portion of this. So this is my eyebrow mask. The eyebrow mask is now only visible when the eyebrows come down over the eyes in the way that that happens is that I have the I whites on top of the eyebrow mask. And this is set up as an Alfa Matt. Okay. And this one has also turned off. So that means that I have one to three I whites. Okay, Sorry if it over explain things for you, but it can be very complicated. It confuses me sometimes. But there you have it on over explanation that either clarified things perfectly or we're getting confused. You and I am okay with either one. If you have questions, ask questions. Anyway. Now we get into the the pupils. So selecting our pupil layer, the one with all the animation on it. We're gonna come up here, click the square, and we're gonna create, Enjoy stick. And I'm gonna call this one Eyes hit. Okay, that I'm going to scale this down. Teoh, what do we do? The eyebrows 20. We will do this one at 20 as well whenever I set up my my Riggs, I like to do things from the top down, so the first thing you'll hit is the eyebrows, and you go down into the my balls and then you'll go into the mouth, and that's typically how I layer everything on. Then we can select both of these and just center them to each other. Now let's look at the eyes. What happens when we move? Hey, looks pretty good. We have eye movement. Perfect. That is exactly what we wanted. And now we are crushing it. If you don't like it to be darker, you can change your eyebrow mask color to whatever color you want. I'm just gonna do mine as the normal flesh tone, and you can see that we're kind of breaking through here. You can kind of see the whites of the eye. It's not a very clear picture. A way around that is. Come to the shape layer that your eyebrow mask is being Alfred, too, and just expand the stroke. So if you expand the stroke, it essentially makes that shape bigger. Then it'll block out anything like that white that's coming through 12. Neck Rig: This is the portion of the rig where we're going. We're going to jump in to do a Bassel Do it. Bassel and I am using What am I using? 16. 2.7 16.2 point seven. Um, we're just version 16. I don't know. What I'm gonna do is whenever I used do Bassel I like to create my own rigs. They have an auto rigging system where they kind of control everything for you. That works just fine, but I tend to like to simplify my rigs so that there's not a whole lot going on. It just makes it easier to control and work with. So starting off, we're gonna put a controller on the head. I'm gonna do this round one with the cross in the middle. Click that and we're gonna move this straight up to right around the bottom of the mouth, just like right in the center of the chin just upward that I'm gonna rename this Ted. Okay. Next. What I'm gonna do is I'm gonna select everything within the head, um, within the head group, and I'm gonna parent it. Except for this. If you have anything parented to something else. Make sure you uncheck it. So have the eyebrow mask parented to the eyebrows. You want to make sure that that gets dese not de selected, then pick whip to the head. So now when I move the head, everything moves with it. Look good. Sound great. Perfect. So whenever I moved ahead, it should rotate, just like so next. What I want to do is I'm going to come in here to the neck. I'll probably I'll move the neck down to where the center of that is, and I can leave that one there. Okay, so this is the fun part. So now I'm gonna select this shape, and then I'm gonna come over here to you links and constraints. But I'm gonna add bones, okay? And I'm gonna get two square boxes to red boxes. Next. What I'm gonna do is it creates these three transforms, you know, I don't need them, so I'm gonna delete him. Let's just talk about what we have done. So if I come to my neck and solo it, then I come up here to these guys in turn. Amar, basically what's happened is it's created these controls for my neck. All right, That's a beautiful thing. It's pretty cool how that works next. What it's done is it's given me some control arms. I basically don't need any of them. There's only one that I'm gonna keep, and that's this one. This one gives me a nice bend in the neck. But I'm gonna do is I'm gonna pull it straight up. And now, if the if the neck moves left or right, it gives an automatic bend to it. All right. So I'm gonna leave that how it is gonna turn these off. Turn that off. Next thing I get to do is I'm going to parent this neck path to my head. So this neck path, which is the top one What? I'm gonna center it out. I'll do the same thing to the bottom one center. Next, we'll turn these three off, and now you can see the neck moves with my head. Pretty cool stuff. That's just a very simple way to create neck. You can also pull this up to so now it kind of bends around. You're a shape layer. Anyway, that looks good. Just center this back out 13. Arms and Legs Rig: The next thing we gotta do is we're going, Teoh, rig up the arms. I'll show you how to do one, and then I'll just kind of fast forward into the legs and are the other legs in the in the other arm. So basically, this works the same way that the neck worked. Select your shape, layer. You could probably just select the arm layer. Let's see how that works in an ad, Bones. All right. No, you can't. So select your arm shape, Add bones to it. You'll see, we get some cool bones and everything is bending nicely. All right, so that's perfect. That's exactly what you want. Now, if we come back here to the arm again, we're gonna delete thes transforms because it creates three. We don't need them. Next. What we're gonna do is it creates a lot of stuff. A lot of it we actually don't need. So what we're gonna do is we're gonna grab a control point. And if you see that it bends the arm like so we're gonna keep that one and we'll delete the other. Next we come. Teoh, where are we? The elbow controls that one bends it so we can delete the other and then the wrists we don't need. Okay, So what this leaves us with is a wrist control, an elbow control and his shoulder control along with to control arms, which I will just straighten out to keep the arms straight. These air. Nice to have for when you bend the arm. It could give some really nice flexibility to your character. I just don't need them at the moment. But I'm gonna leave in there like self. The next thing we have to do and this is imperative that you do it in this order is we're going to select the wrist path or the hand path. We're gonna create a controller on it that I'm gonna rename this. See, this is his right hand. And make sure you name it before, uh, you rig it and right hand will come down to the elbow, the elbow apparent to the shoulder. Next in this order, once everything is parented. So those hand parented to the elbow elbow parented to the shoulder. Next, in this order, select your hand hold control arm, shoulder and then hand control. Once you have those four object selected. We can now come back to the links and constraints. And we're going Teoh Otto Rig due to do. Okay, now, when we move our hand control, we have movement. Look at that. They look so cool. I love it. Um, And the next thing we need to do is we need to parent that hand right hand Needs to come to controller right hand. Let's see, maybe a little remove this year, all right? Another thing I'm gonna dio is I'm gonna reverse the path so that now my arm bends inward and when I rotate guys like, so gang looking good looking good, The next thing I want to dio is there's this I k line, turn it off. You don't need it. It just complicates and confuses things. And then I'm also gonna turn off all of these things except for these guys. I'll leave these open, I'll leave them on. So here you can see get a quick glimpse at what I'm talking about. You put a nice little bend in something feels more natural, right? Let's make him not so angry. All right, guys. Now I'm gonna go through and rig everything else so I'm not gonna bore you with how I do it . You've already seen it Just copy and duplicating Flynn 14. Parenting and Layering: um, All right. Everything is now rigged, and we have a working character. Now it's timeto assign things to their corresponding things. Sorry. That was confusing. Basically, we're gonna take everything that is controller can be controlled by the body, and we're gonna parent it to that. So these two guys, which are the hips, are going to come here to the torso. We're going to apply it to the torso. Now, if you want to split up your torso from your hips, let's say, actually, no, it I'm going to do that. Might as well, right. All right, Torso. Here's what we're gonna do. I'm just gonna move the shirt portion of the torso upward, all right? And then I'm gonna move the torso part in. We're just a little bit This is going to give me some room to look him. Move those hips. All right, So here's what we're gonna do. I'm going to duplicate the torso, moved towards the two below torso, and I'm gonna call it hips next. What I'm gonna do is I'm gonna delete the shirt from the hips. So now I just have hips. Okay. And then next on the torso, I'm gonna delete the hips and I can delete this little line. Bill don't need that. Now. I'm gonna move the hip control up to the top just a little bit, and let's hit W. Here we go. That looks pretty good. All right. And then I'm gonna I'm gonna attach my hips to my torso. Okay? So now I'm of my torso. I can rotate it like that, or I can move my hips. Actually, I take that back because I might want to animate them separately. So what? I'm gonna do you as I'm going to create one more control, I move this control down, maybe two here, and I'm gonna call this this body, okay? And then both the hips and the torso will come up here and connect to the body. So now the body will move them both. But now I can also rotate the torso left and right. And separately, I can rotate the hips left and right. So that just breaks it up and gives you a little more control over your rig. So now, with that done, what I can do is I'm going to grab my two hips, come down here to my layers and gonna find my hips. There we go. And the next I got a fund. My arms Let's turn things back on to see what we're working with And I want to grab my shoulders to shoulders that I'm going to attach them to the torso. Okay, Now, let's see what happens if I rotate the torso, the arms, move with it. And if I rotate the hips, the legs move with it. You hear that? Now we can start to get some interesting poses going on here, guys. All right, but we're probably looking at this and thinking, Well, there's too many controls. I don't like looking at all this stuff. You're right. Me neither. So let's fix that neck mask for some reason, is not on torso anymore. So we'll put it back with torso, and we're gonna start turning off a lot of stuff, Basically anything that's orange through here, we're gonna turn off, okay? And then I'm gonna move all of my core control, such as the body, the feet in the hands. I'm gonna move into the top and all of this orange control stuff. I'm gonna move down to the bottom of my composition. Let's get it out of the way. It's too confusing on the next one I'm gonna dio is I'm going to hit toggle switches and I'm gonna shy all of these layers. Now that I've hit this button, that little guy goes away, they're still there. But if I hit this, then they go away. Okay? So anything that you don't want to see just hit this little guy right here. And in fact, I'm just gonna shy all these two, huh? Remove this down and I'll show I it. Okay. All right. I like Teoh. I like to have my controls go from the top down. So little head, body in the hands, and then the feet care And then all these red ones. So, like the eyes eyebrows and I had rotate will come up here on these three. Uh, I think I'll move them down. It will go down like that and then I'll lock them. And what I'm trying to do is I'm trying to clean up my work area so that it is clean. I want to look nice, So why don't do is a lock all of these. Actually, I'll shyi all these and a shiny arms as well. And I can get rid of my sketch. Look at that. So now we just have a few layers that we have to worry about. I left the hands there so we can actually maybe animate them with the fingers within the hands if necessary. 15. Adding Strokes: if you needed to have, like, a stroke on your fingers for whatever reason, here's how you would do that. The way to add a stroke is let's start with the pinky. So duplicate your pinky. Take pinky too, and drop it down. We're gonna change this to Black. If you increase, it will say to their What you can do is add a trim path and we'll pull it up. Okay, So that we don't see the bottom of the pinky. And so that's how we're gonna create a nice stroke around fingers. I'm saying that the fingers kind of pass in front of each other. There might be a wise idea to put a stroke on them and do it this way. Uh, the other thing that you'll need to dio is to parent Pickwick Pinky to to the path of Pinky one. Once that's done, you can go through and do it to the rest of the fingers. So So if we decide that we want a stroke on our character, the real simple thing to do is start with piece by piece. So if we started here on the right arm, well duplicate right arm two and move it down. We'll make it black when you have to decide how big your overall strokes gonna be because we're going to expand this out. Um, well, say 42 is a good one, so that would be a total of four points. Now, if we duplicate the forearm Black 42 you can see it breaks right there at the elbow. So what we have to do is trim our path inward so that it hides right there. All right, that all looks pretty good. It's a little bit thicker than in the, um, hand stroke. So if we do the hand stroke as a template for what we're trying to achieve, let's see how 40 looks. Oops for 40 is pretty close. Let's try Teoh. All right, that's not too bad. All right, so that's how we're going to achieve that stroke Look. So we just go through duplicate whatever layer wants a stroke, and then we move it down. The sleeve gets a little tricky because it's got to expand outward and down. Let's dio 57 trim path. We'll do like 32. That's too far, 31.5, but that's pretty good um and it looks all right, but it you can see that the sleeve this is this is the problem with rigging. Is that the sleeve? It moves in front sometimes in the time that you don't want it, Teoh, Uh, let's go ahead and put a stroke on the shirt. That should be easy. Just to Well, maybe even one. All right, All right. So it really just takes a matter of playing around with to achieve that stroke. Some strokes, air easy. Just by applying a simple stroke, other strokes or a little more difficult, like the arms and the fingers. So I'm gonna go through apply stroke to this, and then we'll see what the final product looks like. Now that I finished with adding all the strokes, My character Hey, really pops more. I like the way that he looks. Let me walk you through a little bit of what I've done. Um, so you can see here at the neckline. I've added a caller to his shirt. I think it makes it stand out better as a character. Um, that was really simple. All I did was add these two these two shapes here they're not moving there. My well, they're basically just shape layers that create a dome. And then I continued with the the neck mask to give that kind of that collard look. If I move it, you'll see the neck continues down. Uh, and that's what my torso looks like with a collar on it. So it was fairly simple. Um, other things that I have done, I don't know, but I really like it with a stroke. Oh, actually, so here at the hips, what I did was I put the put the legs behind the hips so it goes, um or wait, No, never mind the legs air in front of the hips. What I've added is this crotch piece, and so the crotches kind of masking out that big line that I get from the legs. Another thing that it does is it makes it have a really nice transition as the leg comes up . All right, so it, um, it blends that line in pretty smoothly. And then as the leg comes up, it's still connects to the hips below it. So there's no breaking in this character, meaning that you don't see where the leg ends. So it actually turned out really nice 16. Hand Rig Part 1: Finally, I want to talk to you about the hand rig. I feel like we need to dive deeper into this. Just having one poses enough. I want to actually show you guys how to create some fingers that you can move an animate without having to go inside of each shape layer. So to make sure that we have left no stone unturned, I'm gonna show you how to do this. The first thing we're gonna dio and I'm gonna try to walk you through it slowly because it can get kind of complicated. We're going to select our hand, one of our hands. We're going to go control shift, See? And I'm gonna call this just right hand and make sure move All attributes is selected. Okay. Next. What I'm gonna do is I'm gonna center my hand within my composition. So if you come to this align option, we're just gonna put it right in the middle of our composition. Next, I want to make sure that I'm rotated perfectly upward. So your rotation should be a zero. If you've done your hand, um, properly, the next thing I'm gonna do is I'm going. Teoh, shrink down my composition to fit my hand a little bit better. That looks pretty good. Uh, come up to composition and go crop cop to region of interest. Now we have a composition that it fits the hand pretty well. I'm gonna center this again just to make sure. Um, I think that thumb is throwing it off. Let me when you do that. There we go. That looks pretty good. Okay, so what are we gonna do? Well, what we need to do is I need to grab just one finger, so I'm gonna duplicate this hand. But I'm gonna call this finger, OK? And then coming into the contents, I'm gonna delete everything but the pinky. Okay, so now we have just one finger all alone, and then on the hand comp, I'll leave it how it is for now, But primarily we're gonna focus on this finger, and what I want to do doesn't gonna straighten it up. We're gonna do just a straight finger, just like so. And then I'm gonna key frame a few things. So this will be my neutral pose. Okay? But I actually want to pull it forward one frame, so I want neutral pose here. Then I'll bend the finger forward and down, like so you see, it's doing some weird stuff. That's okay. Well, we have to do is we have to round our joint brown joint, and then we'll do that with the stroke as well. Are the pinky too? Okay, that looks pretty good. If we want to get some overlap, you can add like a finger tip to it. But just for the sake of speed, I'm gonna show you this method so it goes bending backwards straight up, and then we'll have it bend forwards. Okay, that looks pretty good. All right. And then the next thing that I want to do, because I'm gonna control shift, see, and call this just finger, All right? And then I'm gonna come in here. I'm gonna center out my finger so that it is right in the middle of my composition, and then I'm going to shrink this compas. Well, so click this little button here, region of interest. And let's make it a little bit smaller to make sure we have the right size. Just make sure that it doesn't break outside that any point, so we'll move this down just a little bit. All right, That's pretty good. Next we'll go. Composition, crop copter. Region of interest. There we go. I will come back into the hand. We'll put this up. We'll place this finger back where belongs then hit. Why? On the keyboard and want to put this little rotation down to where it should go. Okay, that looks pretty good. Yeah, maybe I'll look this up. All right. Cool. So we have this, and it's all set up. So what I want to do is I'm gonna duplicate these fingers and I'm gonna move them into position, okay? So each finger is gonna go to where it needs to be, and then finally will do our point. Your finger. Sorry. Sorry. Finally, will do art, though. And then we'll rotate it outward a little bit. And I think that's good. All right. So now that we have this whole set up, um, what we can dio is delete everything except for our palm. So we're gonna leave that square there, which is our palm. And this is where it gets a little tricky. So what we're gonna do is we're gonna go, um, time enable time remap. Okay, So what this does is it sets up the option for us to actually attach the timing of this bend to a slider control. So that means that we can bend the fingers and they're not just not just gonna play three frames and then be done. So what we're gonna do is we're gonna come back into our character. We're gonna move the hand into position with it. Why on the keyboard and we'll change our rotation point down to here, down towards the bottom of the poem that will rotate it, and then we'll put it where it needs to be. And since we're dealing with right hand, I'm gonna connect it to my right and control. 17. Hand Rig Part 2: Okay, now, coming to the right hand control selected and close this stuff. We're gonna go effect expression controls, and then we're gonna add a slider control, and I'm gonna call this one. Call it pointer. Hit. Okay, then I'll duplicate it. Don't call this one, Uh, ring do. Okay, you can probably see where I'm going. Pointer. No, I'm sorry. Should be point your middle and then ring, and then Pinky finally fell on. Then I want to do one more, and I'm gonna call this one. Splay display is basically when your fingers separate, okay? They go wide or tight together, and we're gonna set all these up. It's gonna be really cool. Okay, So the next thing I want to dio it's enclosed finger. So I'm gonna come up here to my hand control, and I'm gonna expand down to my effects. I'm going to open up. Um, just for the sake of these, I'll do one and then I'll show you how weaken duplicate the code that's set up to it. So now I have my right hand up here, and the way that I did that is you just grab your cop clicking grab and lifted up right here in this bottom purple part. Okay, now, with my time remap expanded, I'm gonna grab this pick whip right here. I'm gonna pull it down to my pointer down here. All right? So let's make sure that it's working. So there's movement. It's moving too fast, but there is movement. So what we're gonna do is we're going Teoh, right? Click on the number of zeros. I mean, just do that again. Sorry. Right. Click go. Edit value. And what we're gonna do is slider range will go from zero Teoh. I don't know. Let's try point three. We'll see what that does. Okay, We got movement, We have movement, but I think I didn't set it up. Probably. So let's go back into the finger. And what we need to do is we need to have a intermediate position. So right now it just kind of passes through itself, and that's not what we want. We wanted to feel like it's bending, so I'm gonna expand this over one frame and I'll expand this over one frame. So now we have a middle frame that we need to create. This will be the finger of us. This will be the finger basically curling in like it's about to bed. Okay, so I think that'll be a good position. Let's try to do the same thing with this one. All right? That looks pretty good. Alice, come into our character poses and see how it works. It's OK. It's still kind of passes through itself. So we gotta fix that. Let's come back here. They will go like that. Maybe we'll open this up a little bit. Let's open this one up a little bit, too. All right, We'll come back in here. Let's see how it goes. All right. Looking good. Okay, so now we're gonna move forward till we see it stopped moving altogether, and it stops moving right around 13. So right, click the number. Go ahead. It value, and we're gonna go point 13 hit. Okay. And now this is the extent of our entire range. This is all that we need so that I'm gonna edit all these to be 0.13 2.13 value 0.13 and a value 0.13 And finally go 0.13 All right, so that's set up now. What I'm gonna do is I'm gonna copy my time, remap control. See, I'm gonna paste it on to the other fingers. But where we're going to defer or where we're gonna change it is if you if you, um expand this down instead of it saying, pointer, this one we're gonna call. Um, sorry I did this wrong, man. I am really on a roll today. So since this one's in the front, the one that we've just edited this was actually Pinky. Sorry, guys. It is not the not the pointer. So I'm gonna change this one to say, Pinkie, because that's what we called it on our slider control. So just go pinkie and select off. And then this one, we're gonna call ring. Okay, then we go, control. See, on our time remap. Well paced it. And then we're gonna call this one middle Control V. This one will be pointer. And then finally, this one will be called thumb. So when we now come into our right hand, let's see if everything is working properly. So the question is, can we pose this in a way that works? Let's find out. So starting here with the pointer. Um, we'll straighten it out a bit, So if you go right to the middle of this slider, your finger should be straight. And if I come just a little bit past the center and get a little bend in it and then so forth So we're gonna get this nice little curve here to kind of see if we can have a nice little bend, a rotation in the hand and we can. That's not looking too bad. Maybe ease up on a little bit and then the thumb, Let's look at the thumb. What's happening to the thumb? The thumb. We're gonna add one more thing. And in fact, for this hand I think our thumb needs to be in front of. So if this is our thumb, it needs to be in front of the pointer and maybe even in front of the middle finger. So we'll put it up a little bit. And since I'm in here, I'm just gonna rename these so that I know what the heck I'm looking at probably should have done that to begin with. So I'm sorry. All right, so now we have some more clarity 18. Hand Rig Part 3: next. What I'm gonna do is I'm gonna hit our select them all it are on the keyboard, and I'm gonna be pulling up the rotation. I'm gonna pull the hand up here again, and then I'm going to expand on the display, okay? And now this is where it maybe gets a little tricky. So what I'm gonna do is I'm going to attach my I'm gonna attach all my rotation points to display. So come down here to your splay ace slider. Uh, well, do the same thing with the middle. I'm gonna leave the thumb alone. I will not use the thumb. I'm gonna give it its own rotation point and you'll see why in just a minute. Okay, so now we have everything set up to the, uh, display option. Let's see what happens. I'm gonna lower the value because I know 100% is just too much, so maybe I'll do like one. All right, Let's see what happens when I move it and it looks like nothing. Let's go back to 100 see what happens. All right. Sorry. 100 was fine. Leave it at 100. You know what I'm gonna sell about the hand so that I can actually see what the heck I'm doing is they're just going way to slow. And that's another thing it's gonna doing. This process is going to slow down your ability to animate, move things quickly. So if it's not something that you want to do or need to dio, then don't do it, Okay? And then for some reason, display is not working out. That's weird. But if you look wow, everything is moving very crisp and clean. That's nice. Awesome. I love that. Okay, maybe it's not bending in the right spot because I don't like to see that knuckle, so it might take a little getting used to him playing with. But there you go. You know, it's something. Yeah, And if you're doing, like, a peace sign like that, maybe maybe the some can even come up all the way. I don't know, drill up to you anyway, so let me just open that up. We'll get back, Teoh. All right, here we go. Medal. You do. All right. So we gotta work on this play. Come on, let's fix this. Let's get it done. I'm natural. Pose for this hand Looks pretty good. I love it. So it's come back into here. I don't understand why these rotation points are working. Character poses splay slider. It should be. Should be doing its thing. Oh, it's because I said it back to one. I guess it reset somehow. Okay, So you can see how it moves inward. Almost like it's trying toe pinch something. That is a cool effect, but it's not what we want. So in order to get what we want, we want all the fingers to kind of separate outward from the center. So that means that our this is where you're gonna have to follow along pretty closely. Our pinky, we're gonna come down to our expression here, and what we're gonna add is an ass trick. And that's a times for this coat. That means times negative one, and we're gonna see how that works. And now if we come back into our character poses and we open it, you can see now it goes the opposite direction. Okay, That might be what we want. Let's just keep playing around with it. Let's come back into the hand. Now. The ring finger is next, and I'm going to expand my rotation. Come here to the very end of my code, and I'm gonna go times negative point five. We'll see how that does. Okay, It slows it down. It's not slowing enough, so let's Let's try that again. So let's try negative point to. I'm feeling pretty good about that one. All right? I love it. So that means that all we have to do now is come into the middle finger, expand our rotation, come down into our expression. We're gonna go Astra 0.2. We come back into our character pose. There we go. So this is a splay, okay? And if we zero out all these fingers, it might make a little more sense. Okay, there we go. So it's like you reach out for something to grab it, but yeah, basically, that's looking pretty good. Another thing that we might want to do is instead of our slider range starting at zero. Maybe we'll started at negative 50 and then we'll only go up to 50. So it's a negative 50 to a 50. And the reason for this is it. This is our zero point now, and we can also crush it in a little bit. That might be too much more than you want, but it gives that nice ability to twist twist the hand a little bit. Okay, Now, let's work on the thumb. You're probably wondering, why do we leave the thumb out? I'm gonna duplicate. I'll duplicate display. I'm gonna call this one Some rotate, and then when I find the thumb in here, I'm gonna lift this up again, and I'm going to expand my thumb, rotate, and now I'm gonna pick whip to my thumb slider. Now, let's just see what we have going on. So if I come down here and play around with my gum rotate, you can see now I have this rotation in the thumb. That's pretty good. Let's expand the positive value to let's say, let's just try 100 see. See what we get. All right. I'm gonna leave it in 100 cause you never know. You might want that kind of flexibility in the hand. All right, So this is our thumb rotate where we can actually expand it open, maybe like we're gonna grab something, and then you can also bend the thumb to curve it in inner out. Okay, so we're certainly get some really cool flexibility with our hand. All right, So this is how I would set up a hand in order to create a really flexible rig and do some really cool stuff with it, okay? And then you just start posing it around until you find something that fits something that works really well for what you're trying to achieve. 19. Hand Rig Part 4: um, so next what? We have to dio as I'm gonna duplicate the right hand and I'm gonna call it left hand. So now we have a right hand and the left hand. We're gonna pull this left hand down here, and it needs to scale in the negative. Um, value. Okay, We're trying to reverse it the next I'm gonna position it right over here. It changed the rotation point down to about the bottom of the pond. Just rotated into position. Okay? And then I'm gonna attach this one to my left hand control, and I could just get rid of the other layer now, in order to make them move. What I can do is I'm gonna select my right hand control. Oh, wait, no, That's my left hand. Oh, no. Sorry. That is my right here. Hi, I early morning. So I'm gonna select it that I'm gonna grab all of my expressions control, See? And I'm going to select this hand here. This controller I know on the left hand control, that is correct. And I'm gonna go control V now what I have to do, it takes a little bit of time, but instead of it saying, See, right hand. I now have to make sure it is See left hand. So just go ahead and go through an update. All these And if you don't see it, you have to expand your rotation. But it's not just the rotation we're gonna be doing. We're also gonna have to update the time remap. Okay, so expand your time, remap to fit accordingly. Let's see, we could probably just you on the keyboard. Here we go. Now we can expand these and go toe left hand. Come on, left hand, left hand finally left hand and make sure that it says Exactly, um, what it did before, If you change any spacing or any line within this, it's not gonna work properly, so make sure it all says the same stuff. Lips. All right, so let's go back into my character pose and let's make sure that it is functioning, OK? Do we have movement? Yes, we dio All right, so we have hands that move, and they can now be animated. Um, yes, I like it. I like what I see. One final thing that I want to dio um and this might be overkill. So forgive me if it is, but I want to actually make it so that the hands can be reversed. I'm gonna save it. Make sure you save, save, save, save. So I want to make sure the hands could be reversed so that if my arm comes down, it doesn't always need to be the front of the hand. That showing okay, we can also get the back of the hand. So how can we do that? We'll straighten these out so we don't have ah, broken arm going on. Look this up, and then I'm gonna change this reverse, so that bends out the opposite way. Okay, So the way that we're gonna get a reversed hand that we have to have two hands on, we can also we can add that within this composition, it's just gonna take a little bit of thinking It's gonna take a little thinking. So let me think. Oh, man. Okay. If I I do it this way, let me see what happened. So I'm gonna try toe to group all these into its own compositions. Over control shift. See, I'll call this right front. Uh, head. Let me see if these poses still work. I'm gonna be happy if they dio. Yes, they do. Okay. Perfect. So we'll come back here into the right hand, and then I'm going Teoh duplicate my right front hand here, and I'm gonna call this one right back hand, and I'm gonna bring it down here into this composition. So the way that right back and is gonna work, it's actually gonna be scaled the opposite direction. So what are negative? And I'm gonna go inside, and I'm gonna change everything around. So now my pointer will be on top. My film will come to the bottom below the hand. I believe. So. It'll go pointer. Middle ring. Okay, so this is my backhand. Let me see some. Yeah, some needs to go below below a b palm. Or maybe we can adjust where this goes. I don't know if we can. Let's just see if we trim the path a little bit. Clips. Does it work? Definitely breaks, but maybe we can duplicate the rectangle. Bring it down, take off the trim path and remove the stroke clips. Let's remove the stroke on this hand and we'll remove Trump path. So now I have a solid square shape, and then I have a square shape on top with stroke. I don't know if that's gonna work, but let me look. Another thing we need to do is look the pinky up a little bit. They knew the ring down because I was starting to see the pinky breaking through at the bottom. You don't want to see that. So now the right Can we have two options? We have a backhand which fits for this. It looks all right. It's not perfect, but it looks all right. Um, maybe you can pose this one a little bit different, so it's looking better. But anyway, I like that. I think it looks pretty good. We can add a little bend in the pointer. That looks pretty good. Okay, so another thing we need to add now, Now I have all this craziness set up is we're gonna go with our control with our right. Can't controllers selected? We're gonna go effect expression, control. And what we're gonna do is a check box control. I'm gonna call this one front hand, then I'm gonna duplicate it. I'm gonna call this one back hand. And what we're gonna be doing is we're gonna attach. Ah, rapacity, ease for the front, the back hand to these check box controls. So if I move my hand composition up here again, what I'm gonna do is I'm gonna select a composition hit t on the keyboard for both of them and then coming back into this comp, we're gonna expand down until we find our front hand and backhand controls. So the front hand we're gonna pick with the opacity to front, hand on the backhand. We're gonna pick with opacity to backhand. Now they're both at zero. And what we need to do is coming to expand the opacity and coming here to your expression, we're gonna go to the very end. I'm going to ask Tricked times 100. We'll do the same thing down here as strict 100. And so what this does is it's creating a capacity of 100% on this composition. So now when we check one on it will turn on that hand. Why is the front hand not coming on? All right, let's look at our friend hand fretting hand because I turned it off. That's weird. All right, make sure they're both turned on. Now, when you come in here, you'll see that when you select them on, they both come on. So on one final thing before we wrap it up, if your hand looks blurry, you need to make sure that this star is selected. It's called continual Rast Aries ation. Okay, come back in here and make sure these have it selected as well. This is what clearly this is what makes your vector shapes stay clear because we cop because we put them inside of a composition. It wants to rast arise. Or essentially, it wants toe lock in that aspect ratio of how many pixels it takes to create that composition. And when you lock in the number of pixels a composition has, you cannot scale it above that size. Otherwise, it makes it blurry. But if you select this little option here, it says, you know what? Who cares about how many pixels you remain with? You can have as many as you want, so make sure it's scaled or it make sure these continual arrest or ization is selected. And, um, that's about it for the hand. All right, guys, that wraps up this tutorial on, um, character rigging, but how to design a character, how to build it and rig it. So now you can go have fun, you can animate it and just really explore kind of the flexibility that your character has . I hope that this was easy enough to follow. If you have any questions, please ask. Please feel free to comment and rate this course. Let me know what you guys thought. If, um, if there's anything I can improve on, please let me know. I'm always open to criticism, and I have loved to hear your feedback, so thanks for taking my course. 20. Blink Rig: And so let's add a blink to it. There's a few ways to do it. I am actually going to use Joy six and sliders again. There's some kind of cool flexibility that we can add using joysticks and sliders. So I'm going to show you my method for that. Starting off, we're just gonna grab a rectangle tool. We're gonna draw out a shape, make sure it's big enough. Well, put it there. And I'm just gonna move it upward like so. And then I'll add a stroke cause I'm using strokes. So do a stroke of three. Make that stroke black. Actually, no, my struggles to Sorry. And then we're gonna fill it with his skin tone color. And then once we have that, you can control click your shape and go control D, and they will move the other one down below the eyes. So right there next, what? We're gonna dio Oh, come on. Sorry I added these onto my foot control God make those again Real quick group. All right? And what we're gonna dio Because I'm gonna call this blink that I'm gonna expand until I find the transform option within my rectangle and I'm gonna keep the position and I'll do the same thing to the other rectangle. Keep the position. Now I can select my blink shape layer and hit you and give me only those two key frames. So the way this is gonna go, this is my neutral pose for the blink. Then we're gonna go to the left into left. I wanted to you a full blink. Okay, so I'm gonna move these into position like he has just blinked. That looks pretty good. And then, for the right position of my controller, it's gonna be a blink as well. So I'm just gonna copy these key frames to that. Now I'm gonna open the eyes of again and think about this. So if this is my neutral pose, my left and my right pose, this is gonna be my upward pose. And for the upward pose, I'm only going to do the bottom eyelid and I move the bottom eyelid, maybe just above half way over the I. Then I'll pace back my neutral frames. And this is my down pose. So I'm gonna move the eyelid, the top eyelid down. Maybe just just, um, passed the 50% mark. With that done, we're going to go back into our joysticks and sliders and we're going to create the new joystick, and I'm gonna call this one blink. So let's just see if this is working. So if I go over this way, those shapes come together, I go this way, the shapes come together. And then if I go up, my bottom eyelid comes up and if I go down, my top eyelid comes down. So that is exactly what we want. Next, I'm going to scale this and put it into position. Um, I'm gonna put it on this side of his head and you could put it wherever you want. It's really just a matter of what flows the best for you. So cool. Now we have this blink shape. I'm gonna move my blink shape down towards where all my head pieces are on and the blink congee. Oh, well, put it below the eyebrows. Okay. Actually, it will put it below. Yeah, well, put it below the eyebrows, and what we need to do is we're gonna find the eyes shape, We're going to duplicate it, and we're gonna move it up above the blink. Okay, Next, what we do is select or blink, Come down to your toggle switch modes. Click it and we're gonna create an Alfa Matt with the eyes. Another thing we need to do is we need to attach this blink to the eyes so that when the head moves or rotates, the blink will move with it. So let's see if this works so one will start with a blank. All right, that looks really good. Another thing we can do to give it a little more depth to the eyes. Select your eye shape, which is your mask for your blink. We're gonna expand the stroke. It's go out just a little bit. And what's gonna be cool is that this line for the blink is going to expand Pastor I and give it that little pop that it needs. It makes the I feel like it's set back behind the island. So that's a really cool, um, thing that we can have to it next. I want to make sure that this blink is moving with our head, so it's gonna move ahead. That looks good. All right. I love it. 21. Thanks: you guys are still watching. You made it all the way. The end. Well, that's impressive that thank you guys. So much for watching it really means a lot to me that you take this course I blown away that you made it to this part of the video. Wow, Pravo. If you have any questions, please comment and let me know and even raped their course. Like I want to know what you think about this. If there's anywhere I can improve, I'm open to criticism. Please let me hear it. Yeah. Thank you guys again. So much for watching. And I hope that this course met your expectations were exceeded it. And just have fun with your character rig Post away and show me what you've created. Thanks for watching