The Flash Animator
August 28, 2002
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In this excerpt from The Flash Animator,
Sandro Corsaro shares tips and techniques on drawing in Flash.
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Intrigued by digital animation? Know a little bit about Macromedia
Flash but are ready to take it to the next level? The Flash Animator
will teach you how to create traditional-looking animations faster,
cheaper, and with more delivery options. Sandro Corsaro helps you
to develop a solid understanding of the principles of traditional
animation, and then guides you step by step through bringing those
principles to life with Macromedia Flash. Topics range from creating
basic ball bounces to managing complex character design, sound, and
optimization issues.
Interviews with numerous experts in the animation industry-complete
with beautiful artwork and insights from feature-film animators and
web pioneers-are included to inspire you along your Macromedia Flash
animation path. Interviewees include: Iwoa Takamoto, creator of
Scooby Doo; Brad Abelson, storyboard artist, The Simpsons; Joe Shields, Joe Cartoon; Tom Winkler, Doodie.com; and many other influential animators.
This book's CD contains all source files for the book's examples,
exclusive animation files, and bonus Macromedia Flash cartoons.
There is also an in-depth audio interview with Iwoa Takamoto.
Chapter 3: Drawing in Flash
In this chapter
This chapter focuses on the various tools artists can use to draw in
Flash. Whether you want to splatter paint with your Wacom tablet or draw
line art with a mouse, Flash offers an array of choices.
There are three basic methods in which Flash artists can create their
artwork for Flash: pen/tablet, mouse, or scan and trace. Although some are
more time consuming than others, each has its own distinct advantage.
Working with Tablets
One of the most frustrating parts of animating in Flash is learning how
to draw with pressure sensitive tablet and pen. Many traditional artists
have complained of the slickness and lack of traction on the tablet. (Yes,
I know, I feel your pain.) When I first began using this tool, I would go
absolutely nuts because I could not replicate my stroke with the ease I
had on paper. It felt like learning to ride a bike all over again. One
thing that helped was to place a sheet of paper on the tablet in order to
gain some tooth (or traction). The paper was thin enough so that the
pressure-sensitive pen could still transmit my strokes onto the screen.
Sure enough my strokes got better. Using the paper as a set of training
wheels also prevented me from hurling the computer out the window.
Eventually, I got used to the feel of the surface and got rid of the
paper.
Drawing while looking up at a screen instead of down at the paper
represents another learning curve for many artists. There will be a period
of hand-eye readjustment, even for the highly skilled traditional
animator. With consistent practice and diligent hard work, it won't be
long before you're replicating your pencil art perfectly. Turning on the
pressure sensitivity will turn your pen into a loaded wet brush.
Consequently, the artist will have to learn how to delicately gauge the
applied pressure. Mastering the digital stroke is a skill that saves an
enormous amount of time in the long run. Practice drawing simple shapes or
familiar characters when starting out. Try tapering your paint strokes by
gradually building and then releasing pressure as shown in the following
figure.
 Figure 3.1
People always ask me how long will it take to learn to draw with
consistency straight into Flash. It's hard to say because each person
brings their own individual work ethic and artistic potential to the
table. I have seen some talented traditional animators struggle with their
hand eye re-coordination. But, during my interview with Hanna Barbera
legend Iwoa Takamoto, he knocked out a beautiful gesture drawing on his
first try.
Tips with the Tablet
Tablets come in a variety of brands and sizes. For the purposes of
animation, bigger is not always better. As an independent animator, a
smaller tablet is a wiser choice for travel convenience. The actual area
on which you will draw will never exceed a few inches. Many animators use
the small 4x6-inch models. I recommend the 6x8-inch Wacom Tablet. It's
small enough to use on a plane, and big enough to use without feeling that
your workspace is cramped. I used to work on a 12x12-inch tablet, which
was simply too clunky and cumbersome.
 Figure 3.2
Working with Scanned Artwork - Page 2
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Figure 3.1
Figure 3.2