How to Rig a Cut-out Character

In Harmony, a graphic symbol rig is basically a template based on your character'southward model, but in which all movable parts are broken downwards into different layers, and bundled in a bureaucracy that facilitates digital animation, also known as cut-out blitheness.

To make a grapheme rig, nosotros must first make certain you accept a character model to build on. If you lot take any drawing of a character available, import information technology into a new scene, then scale and position information technology to your liking. Otherwise, yous tin draw your character'southward model directly in Harmony. Once you take a model ready, we can start breaking information technology down into parts to build your rig with.

In that location are many techniques you can utilize to break down a puppet. In this section, you will learn about one of the nearly common and simplest methods. For your first character breakdown, follow these instructions to become an idea of the way Harmony works. Once you lot understand Harmony'southward basic functions and commands, y'all will exist able to create your own techniques to satisfy the needs of your production.

Drawing the Pieces

The main breakdown technique shown hither is to trace your model.

Adding Pegs

Pegs are a special type of layer that do not comprise any drawing. They are used strictly to commencement and transform drawings that are under their hierarchy, without transforming the drawings direct.

When rigging or setting up a scene, it is recommended to add parent pegs for each of your drawing layers. This allows yous to continue blitheness keyframes and drawings on separate layers, making information technology easier to work on the position and exposure of your drawing layers independently in the Timeline view. It also makes it easier to create a hierarchy of which trunk parts can exist animated together and independently.

If you want to animate only on pegs, you can actuate the Peg option way of the Transform tool in the Tool Properties view. You can also disable animating cartoon layers, so that just pegs can be animated.

It is also possible to make a drawing layer the parent of another drawing layer. Just like the style animative a peg animates its children layers, animating a drawing layer with children will also animate its children layers. Both layers volition still appear in the animation

as long as they are as well connected to your scene's composite

.

Creating a Layer Bureaucracy

Harmony lets you build your rig in an elaborate bureaucracy, allowing y'all to fix which parts of your rig should influence other limbs, and how they tin can move independently. For example, when rigging a elementary graphic symbol's arm, you lot tin can make the forearm layer a child of the arm layer, and the mitt layer a child of the forearm layer. This fashion, if the grapheme moves their forearm, the mitt volition follow, and if they move their arm, the forearm and hand volition follow.

When building a basic character rig, y'all should at to the lowest degree accept a hierarchy for each arm and each leg. You tin can make a hierarchy going from the trunk, the neck and the head, and rig the arms to the torso, and you can rig the legs to the hips. This would brand a hierarchy like this:

When rigging, go on in mind that the order of the layers in the Timeline view affects the club in which they are rendered. Layers on superlative of the listing volition be rendered over layers at the bottom of the list. Besides, in the Node view, layers that are continued to the leftmost port of a composite are rendered on height of layers connected to ports to the right. Should you need to change a layer's lodge while animating, you lot can nudge this layer'due south position on the Z-axis to override the layer order and force it to appear beneath or over other layers.

Master Peg

Your character rig should ever have a chief peg which connects to all of its parts. The master peg allows you to manipulate the entire rig from a single layer, without having to dispense each individual role. This is useful for positioning and scaling your character relative to the scene, as well as to breathing your character's trajectory when it has to motility betwixt areas of the scene.