There's no need to redraw another set of zones depending on the light source or even draw tones for any animation frames. You can animate the light source position, shading style, as well as colour and your volume objects, carving and adding areas will be accurately used. The beauty of the light shading effect is that you only have to set it up once. You can then use colours to carve areas within those volumes. Depending on your design, you will have to analyze and decide what should be grouped. For example, you could group the arm, forearm and hand layers as one object, while the head could be another volume. If you have a cut-out character composed of several drawing layers, you will need to identify the different layers or group of layers you want to define as volume objects. The light shading effect will emboss the contour of the shape, but if you want to have highlight and tone zones within the drawing, you will need to carve and emboss areas using specific colour zones. If you have a scene with one single drawing layer, you will define that layer as your volume object, since there are no other elements in the scene. Next, you can carve and emboss areas using colour zones within the volumes to create what is referred to as 3D geometry. To do that, you must define which object or combination of objects should be defined as a volume. To create shading zones, Harmony uses the bevel principle to create a three-dimensional shape illusion. A light source cannot interact well with a flat shape to create tone and highlight areas within it. In Harmony, all drawings are flat 2D planes, unless you imported 3D elements. The light shading effect allows you to define your volume zones as well as your light source and animate its position. It can be applied to any object in your scene, not only on cut-out characters. It allows you to add a few nodes to your original puppet rig and obtain a customizable lighting effect on your characters. The Harmony Light Shading effect provides a proper solution to this issue. There are a few tricks for doing simple automated highlights, but the results are not always convincing. Following that, if you want to modify your animation, you have to redraw those zones. To do so, you must draw all the highlight zones for each frame by hand. One of the disadvantages of cut-out animation when wanting to retain the time saving factor and ability to quickly modify an animation, is the fact that you cannot easily create tones and highlights. One of the main advantages of using a cut-out puppet is the ability to reuse your characters without having to redraw them and you can modify your animations very quickly. Another good option is to use circular shading and avoid creating any directional movement at all.Cut-out animation allows for great advancements and time saving in production, but it has certain limitations. This doesn't accentuate the foreshortening as perspective shading does, but it also doesn't fight against it. The right panel of this box is shaded vertically. With a practiced eye, you can do this by instinct, or, as you see in the example, you can draw subtle guidelines back to the vanishing point first. In the second example, the direction of shading follows the perspective correctly, with the angle changing gradually so that it is always along an orthogonal (vanishing line). Beside it is a panel shaded horizontally: again the shading fights against the perspective and flattens the drawing. A common mistake that beginners make is to begin shading along one edge of an object in perspective and to continue that direction all the way down so that by the time they reach the bottom, the direction of shading is working against the perspective, as in the panel at top left. If you are doing a quick sketch or roughly shading an area, the direction of the pencil marks can be very obvious, and even a quite dense shading can still reveal directional marks. This material is NOT open source or public domain. If you see this content elsewhere, they are in breach of copyright law. This article is copyright of Helen South. Try shading with hard and soft pencils, too. Using a sharp point to shade allows you more control, you can do much finer work, and get a greater range of tone out of the pencil.Įxperiment with both to see how they look on your paper. The difference doesn't show up clearly in the scan, but you can see that the side shading has a grainier, softer look and covers a large area quickly (a chisel-point pencil will also give this effect). The example at left is shaded with the point, at right, with the side. To begin with, decide whether you want to use the point or side of the pencil to shade with. The following pages offer a few tips to get you started. The first step to successful pencil shading is to control the movement of your pencil, making sure that every mark you make on the paper works towards creating the shading or modeling effect that you want.
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