- #FDUPLICATE AND FLIP SOMETHING ON PENCIL 2D HOW TO#
- #FDUPLICATE AND FLIP SOMETHING ON PENCIL 2D FULL#
You cannot edit end caps independently when the entire vector path selected. Vector paths with more than two endpointsįigma will display cap properties in the advanced stroke menu ↓ if a vector path with more than two endpoints is selected. You are able to set each end cap independently of the other. Vector paths with two endpointsįigma will display cap properties in the right sidebar if a vector path with only two endpoints is selected.
Figma displays the cap property differently depending upon the type of vector path you have selected.
#FDUPLICATE AND FLIP SOMETHING ON PENCIL 2D HOW TO#
“If you know how to do it on paper, why not just do what you know?” he says.Tip! You can also type a CSS color directly in the field. “I’d say animation and compositing could use more women, and I think in the digital world, the CG animation, there’s a lot more women (than in 2D).”ĭuncan shrugs off the common suggestion that digital is always the best solution. “I wanted more female animators, but in the hand-drawn paper animation era, there weren’t that many to begin with,” he says. “For instance, in the hummingbird scene, rather than having them land on (Mary Poppins’) finger and then go, we would sort of advise, ‘Hey, it’d be nice to have a beat,’ because we knew we were going to animate some character stuff that they were not aware of.”Īnd while it wasn’t completely by design, Duncan’s crew was about 40% women. “He made sure everything was harmonious.”īeing on set also gave Duncan’s crew creative input. ”He really has a good appreciation for animation and he understood it,” he says. Powell redesigned the costumes by painting them to look more “animated” after test footage showed a more realistic style meshed poorly with animation.ĭuncan credits Marshall for the easy work environment. Beebe had a knack for combining shots and finding more active camera movements, while Myhre designed the greenscreen stage down to the inch to facilitate the dancers’ performances and the animators’ needs, he says. Keeping that look was important, Duncan says, but the vintage Xerox technology doesn’t really exist anymore, requiring the look to be added in After Effects.īefore pencil was put to paper, Duncan flew to London for live-action rehearsals and then three more times over a five-month period for the shoot.ĭuncan, Capobianco and supervising animator Chris Sauve collaborated with Marshall, cinematographer Dion Beebe, production designer John Myhre and costume designer Sandy Powell to refine the sequence. Eliminating that step saved enough time and money to keep animated features at Disney in the black and created a sketchier look that defined the era. “Dalmatians” is significant for being Disney’s first animated feature to replace the process of having an artist trace finished animation pencil drawings in ink on a cellulose sheet by using then-new Xerox technology to duplicate and darken pencil drawings directly onto the cel. Work began with Duncan’s crew heading to the Walt Disney Archives in Glendale to see original artwork, backgrounds and cels from 1961’s “101 Dalmatians” and the original “Mary Poppins.” For most, the chance to work on a sequel to “Mary Poppins” was a big draw, Duncan says. Finding enough animators with 2D paper experience who were available required using a few animators from Europe and bringing in a couple of artists from Brazil. “The big challenge was trying to put that crew together almost overnight,” he says. Final compositing was done in Nuke, with vfx house Framestore doing final touch up and color tweaks. Final pencil drawings were scanned into ToonBoom for ink and paint, and rough compositing in Adobe After Effects. Even when work from artists abroad had to be done digitally, it was printed to paper for clean-up.
All the animation and clean-up was done on paper. It’s pretty cool.”ĭuncan assembled a crew that included 14 animators, 50 clean-up artists and about a dozen ink and paint people.
#FDUPLICATE AND FLIP SOMETHING ON PENCIL 2D FULL#
“It was amazing having a full team of people and literally hearing the paper flip,” says animation veteran Ken Duncan, Duncan Studio’s president and chief creative officer.