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Perhaps it will be odd, but I think good idea to add a pin or plastic deformation in Photoshop. Take very convenient to construct the appearance of the character.ģ. Add primitives circle – ellipse, square – rectangle. And also the use of deformation lines, as it is implemented in the program Tupi or Toon Boom.Ģ. Smoothing trembling lines, optional with the ability to adjust the degree of smoothing. I tried the old PAP, and willingly want to share some thoughts about the features that should be added to PAP.ġ. I would be more of a challenge in UI design terms. I guess it isn’t much of a programming challenge. What I mean, is really only the abilty to loop or pingpong a given set of frames over a number of exposures to keep the line wiggleing. Here the term ‘moving hold’ comes up, but when you look into it, it can mean something slightly different, like in ‘subtle movement, after hitting an extreme’. Here is a discussion about this (other translations in TV-Paint): The dirty way would be copying a few frames and pasting them a few times (like you would do with one frame, if couldn’t hold it).Īctually I am not sure, if faux-fix is the right term. To you have specific plans to implement faux-fix / looping a set of frames for x exposures? It is arguably not a ‘basic’ feature, but greatly helps to retain the ‘living line’ aesthetics of still or paused objects, while keeping the x-sheet clean and tidy. Here’s a slideshow that runs through the menus.
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But it gives a clue to what we’re thinking. So what’s in the menus? Again, it has to be stressed that these are not necessarily the final toolset and layout. Use this to quickly zoom in and turn the view around up side down – to draw a certain curve or detail just right. The green rings shown here is the zoom/move/rotate tool.
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So no matter how you are zoomed in or rotated, to make drawing more fluent, you can always check your second monitor for the full view. That is for displaying the complete frame if you have a second monitor attached. Only thing to mention about the above, is the small icon that says “2nd”. The rest I think is pretty self-explanatory. They are of course dependent on the pressure input of your pen too. To the left of the above picture, you have two sliders controlling your line thickness and opacity. Flipping a few frames back and fourth, while you are animating, can be mapped to the touch ring or -sliders on the tablet. You access some functions as normal by clicking the interface – and some functions you will want defined on the physical buttons on you Wacom tablet (or other brand tablet). Maybe you prefer to drop the keyboard all together and only sit with your tablet? (you might even own a Wacom Cintiq) – then that’s no problem. The top part of the Animation Paper window (the title/drag bar) can be configured to hold the tools you use the most.īut once you get used to using the keyboard to activate things with one hand and drawing with your pen in the other – you’ll be lightning fast. But an effective and realtime non-destructive compression of each frame means you can have a lot of frames in even a small amount of memory. Speaking of “as many frames as you want” – it is of course limited to the amount of memory your computer holds. You can have as many frames and layers as you want. To write notes, you simply use your pen and write by hand. Dragging the pane-divider further right reveals more space for notes. The active layer in this example is blue – which means you only draw blue lines here.Īt the right side, you have your soundtrack and notes. Setting the color at the little drop-down-tap above makes the entire layer that color. Your drawings are color coded to visually separate each layer.
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Layers can be linked, so when you add or remove frames on one layer, the same happens on linked layers to keep your timing. When you flip frames, the X-Sheet scrolls up/down. Your current frame is always highlighted in the middle (black rectangle). In this example the layer you are currently drawing on is the leftmost. You change the order, by dragging left/right at the bottom of the columns. The leftmost layer is the top one and so on – down to the bottom layer at the right. A layer is represented by a column of thumbnails, like a vertical filmstrip. Easily adjust your timing of keys and breakdowns, by dragging the thumbnail down (or up), adding clone frames, making the key hold longer. The bar shows what your range is, compared to all your frames in the scene. It marks your current frame and shows the range of frames you are currently working on (in this case frame 260-408). What ever you choose, you can always zoom the sheet in or out to work on a detail or see the bigger picture.Īt the bottom of the window you have your timeline. Work in a window or enter full screen mode.