Toon Boom Harmony 11.1
Getting Started Guide (Standalone)1

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Legal Notices
Toon Boom Animation Inc.
4200 Saint-Laurent, Suite 1020
Montreal, Quebec, Canada
H2W 2R2
Tel: +1 514 278 8666
Fax: +1 514 278 2666
toonboom.com
Disclaimer
The content of this guide is covered by a specific limited warranty and exclusions and limit of liability
under the applicable License Agreement as supplemented by the special terms and conditions for
Adobe®Flash® File Format (SWF). For details, refer to the License Agreement and to those special
terms and conditions.
The content of this guide is the property of Toon Boom Animation Inc. and is copyrighted.
Any reproduction in whole or in part is strictly prohibited.
Trademarks
Toon Boom® is a registered trademark and Harmony™ is a trademark of Toon Boom Animation Inc.
Credits
Art Development: Shabana Ali, Marie-Eve Chartrand, Tania Gray, Annie Rodrigue, Anouk Whissell
Technical Editor: Peter Cawthorne, Pamela Grimaud, Liven Tam
Technical Reviewer:Joel Baril, Marc-André Bouvier-Pelletier, Lindsay Brown, Elke Starck, Lilly
Vogelesang
Technical Writer: Shabana Ali, Marie-Eve Chartrand, Christopher Diaz, Annie Rodrigue, Liven Tam,
Tamu Townsend, Phoebe Wang-Chao, Anouk Whissell
Publication Date
2014-11-28
Copyright © 2014 Toon Boom Animation Inc. All rights reserved.

2
2

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Contents
Toon Boom Harmony 11.1 Getting Started Guide (Standalone)
Legal Notices

1
2

Contents

3

Chapter 1: Introduction

5

Chapter 2: Interface

7

Adding a View

7

Tool Properties View

9Interface Navigation

9

Chapter 3: How to Draw

13

Chapter 4: How to Create a Traditional Animation

15

Cleaning Up

19

Chapter 5: How to Paint

23

Closing Gaps

25

Chapter 6: How to Morph Drawings

27

Chapter 7: How to Import Bitmap Images

31

Chapter 8: How to Build a Cut-out Character

39

Drawing the Pieces

39

Parenting Layers

42

Master Peg

44
47

Chapter 9: How to Use Bone Deform
Rigging

47

Adjusting the Deformation Chain

49

Display the Deformer Controls

52

Animation

53

Chapter 10: How to Animate a Cut-out Character

57

Chapter 11: How to Create Templates

63

Creating a Template from the Network View

64

Chapter 12: How to Set Up a Scene

67

Positioning the Camera

67

Positioning Objects

69

Repositioning the Pivot

70

Chapter 13: How to Animate Objects and the Camera
Animating a Layer

73
73

3
3

Toon Boom Harmony 11.1 Getting Started Guide (Standalone) Contents

Animating the Camera

75

Chapter 14: How to Create a Multiplane

79

Positioning Elements in the Top and Side Views

80

Chapter 15: How to Set Up Objects in 3D Space

83

Chapter 16: How to Import Sound and Add Lip-Sync

87

Lip-Sync

87

Automatic Lip-Sync Detection

88

Chapter 17: How to Add Effects to a Scene

91

About Effects

91

Adding Effects

93

Module Library View Toolbar

94

Module Tabs

94

Tone Effect96

Animating an Effect Over Time98

Chapter 18: How to Export a Movie

103

Glossary

104

Index

115

4
4

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 1: Introduction
Harmony is a complete animation software allowing you to do endless creative projects. It comes witha very wide variety of tools and features.
In the Getting Started Guide, you will learn about the main features covering the basic concepts ofHarmony, which will quickly bring you up to speed. Refer to the complete Harmony documentation
available online at docs.toonboom.com to learn about all the tools and options, as well as advanced
techniques.
This guide is divided as follows:•

Interface on page 7•

How to Draw on page 13•

How to Create a Traditional Animation on page 15•

How to Paint on page 23•

How to Morph Drawings on page 27•

How to Import Bitmap Images on page 31•

How to Build a Cut-out Character on page 39•

How to Use Bone Deform on page 47•

How to Animate a Cut-out Character on page 57•

How to Create Templates on page 63•

How to Set Up a Scene on page 67•

How to Create a Multiplane on page 79•

How to Set Up Objects in 3D Space on page 83•

How to Animate Objects and the Camera on page 73•

How to Import Sound and Add Lip-Sync on page 87•

How to Add Effects to a Scene on page 91•

How to Export a Movie on page 10355

Toon Boom Harmony 11.1 Getting Started Guide

6
6

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 2: Interface
It’s important that you become familiar with the following elements of the user interface as this will
help you to start using Harmony. You can learn more about the highlights described here, and how to
use them in a production context, throughout this guide.
When you start Harmony for the first time, the default workspace is displayed. It contains all of themain elements you need to use.

1. Menus
2. Tools toolbar
3. Camera view
4. Timeline view
5. Tool Properties view
6. Network view
7. Colour view

Adding a View
How to add a view
1. Select the view you want to add from Windows > the desired view.
‣

You can also use the Window drop-down menu button in each view. Click the Add View
button and select a view from the list.You can open several instances of the same view
except for the Timeline, Tool Properties, Colour and Drawing views.

77Chapter 2: Interface

By default, the view appears tabbed.

How to dock a floating window in the workspace
1. Drag the window’s tab onto one of the workspace’s views. You can drop the view onto the otherexisting tabs to tab the view with the other ones. You can also drop the view onto either side of an
existing view to insert the floating one beside it. When you get close to one of the edges, a black
rectangle will appear, indicating where the view will be inserted.

88

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Tool Properties View

The contextual Tool Properties view contains the most common options and operations related to thecurrently selected tool. As soon as you select a tool from the Tools toolbar, the Tool Properties viewis updated.
For example, if you choose the Selecttool in the Tools toolbar, the Tool Properties view displays
the optisons and operations related to the Select tool, such as Snap to Contour, Snap and Align, Flip
Horizontal and Flatten.

Interface Navigation
Harmony supports zoom in, zoom out, rotate, pan and reset view for easy interface navigation for theviews.
Command

ActionAccess Methods
View > Zoom In
Press 2 or roll the mousewheel up.

Zoom In

Zooms into the view.

In the Timeline view, press
Ctrl (Windows/Linux) or ⌘(Mac OS X) and roll themouse wheel up.
View > Zoom Out
Press 1 or roll the mousewheel down.

Zoom Out

Zooms out of the view.

Zoom In or Out

Zooms in or out of the view.

Roll the middle mousebutton up or down.

Moving parallel to the view.

Hold down the Spacebar anddrag the mouse in the directionin which you want to pan the
view.

Pan

9
9

In the Timeline view, press
Ctrl (Windows/Linux) or ⌘(Mac OS X) and roll themouse wheel down.

Chapter 2: Interface

Recenter view

Recenters the view on your mouse
cursor.

Reset Pan

Resets the view’s pan to its default
position.

Press N
View > Reset Pan
Press Shift + N
View > Reset View

Reset View

Resets the view to its default position.

Reset Rotation

Resets the view’s rotation to its
default position.

Reset Zoom

Toggle Full Screen

Resets the view’s zoom to its default
position.
Enlarges the selected view to fullscreen. The full screen process isdone in three stages.
First, the selected viewenlarges to the maximum
width or height, but keeps
the tool views such as
Colour or Tool Properties
view.
Second, the view enlarges
to full screen.

Press Shift + M

View > Reset
Rotation
Press Shift + X
View > Reset Zoom

View > Toggle Full
ScreenPress Ctrl + F(Windows/Linux) or⌘ + F (Mac OS X)

Third, the view returns to
its original size.
Rotate 90 CW

Rotates the Camera view 90 degrees
clockwise, like an animation table.

View > Rotate View CW

Rotate 90 CCW

Rotates the Camera view 90 degrees
counter-clockwise, like an animationtable.

View > Rotate View CCW

Toggle Quick Close-up

Use the Magnifier tool toquickly center on themouse position and zoom
in to a pre-defined value
such as 4X. Then you canzoom out again. Hold theshift key and press Z tozoom in and back out
again. Replacing the Reset
Zoom by pressing Shift +.
The area where you zoom
in or out is dependent on
the cursor location in the
Camera view. If you zoom

10

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

in and them move thecursor to a different
location when you zoom
out the mouse will becentered on that location.

If you are using a tablet or track pad that supports touch, then you can also use the standard two-finger
gestures for zoom, rotate, and pan of the canvas in the Camera and Drawing views.

11Toon Boom Harmony 11.1 Getting Started Guide

12

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 3: How to Draw
As soon as Harmony is started, you can start to draw straight away using the default drawing layer.

How to draw
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Timeline or Xsheet view, click in the first cell of the drawing layer.
3.

4. In the Drawing or Camera view, start drawing.

5. To select a different colour, in the Colour view, select a different colour swatch. Double-click on thecolour swatch to open the Colour Picker window and change the colour. Remember that anythingalready painted with that colour will update to the new colour.

13

Toon Boom Harmony 11.1 Getting Started Guide

14

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 4: How to Create a Traditional Animation

The first step to complete a traditional paperless animation is the rough construction, which is theskeleton of your animation. You would usually start with the main action. For example, to animate awalk cycle, you will start with the torso motion and the legs. Head, arms and clothes will be added
later during the secondary animation.
For a satisfactory animation, complete the main action before adding all the details. If you start
animating all the details right away, you will lose a lot of time if you have to make corrections. Your
animation will often look too rigid.

How to animate
1. Press Ctrl + U (Windows/Linux) or ⌘ + U (Mac OS X) to open the Preferences dialog box.
2. Select the Exposure Sheet tab.
3. Select the Use Current Frame as Drawing Name option. When this preference is enabled,drawings will be named like the frame they are created on (frame number).
4. In the Tools toolbar, select the Brush

tool or press Alt + B.

5. In the Colour view, select a colour for the brush. It is a good idea to choose a light colour for yourrough animation. This will help you in the task that follows, the clean up process.

6. In the Timeline or Xsheet view, select the cell where the first drawing will appear.
7. In the Camera or Drawing view, draw the first key drawing.

15

Chapter 4: How to Create a Traditional Animation

8. With your first cell still selected, do one of the following to mark your drawing as a key drawing.
This will help you stay organized.
‣

In the Mark Drawing toolbar, click the Mark Selected Drawings as Key‣

In the Xsheet view, select Drawings > Mark Drawing As > Key Drawing.

‣

In the Timeline view, select Drawings > Mark Drawing As > Key Drawing.

button.

9. In the Tools toolbar, click the Onion Skinbutton. The Onion Skin feature displays your previous
and next drawings as visual references to help you draw your new pose.
10. In the Timeline view, click and drag the blue onion skin markers to extend the number of previous
and next visible drawings.

11. In the Timeline or Xsheet view, select the cell where your next key drawing will appear.

12. In the Camera or Drawing view, draw your second key drawing.

16

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

13. In the Xsheet or Timeline view, identify the drawing as a key drawing.

14. In the Xsheet view, select a cell between the two key drawings.

15. From the Timeline View toolbar, click‣to create an empty drawing or press Alt + Shift + R.

In the Xsheet view, right-click and select Drawings > Create Empty Drawing or press Alt +Shift + R.

16. In the Camera or Drawing view, draw your new pose.

17Chapter 4: How to Create a Traditional Animation

17. If necessary, in the Xsheet or Timeline view, identify the new drawing as a key, breakdown or inbetween drawing using the Mark Drawing toolbar.

18. In the Timeline or Xsheet view, select a new cell and repeat the previous steps for each new
drawing.
19. In the Timeline view, disable the layers you do not want to show during playback by disabling thecheck box.
20. In the Playback toolbar, click the Loopbutton if you want the playback to loop.

21. In the Playback toolbar, click the Playbutton to start the animation.

18

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Cleaning Up

When your rough animation is completed, it is time to clean it up and ink it. This step is also called
tracing. It consists of tracing solid and clean lines over the rough animation to close any open zones.
This is the final paperless animation step before the ink and paint step.
You will need to add a new drawing layer to draw your clean. This is the equivalent of adding a sheetof paper and tracing the rough using the animation disk. This method allows you to keep the roughs
and the cleans intact. You only need to disable the rough layer to prevent it from appearing in thescene.
If you plan on tracing your animation in the Drawing view, you can turn on the light table to display all
the layers in your project.

How to trace your animation in a new layer
1. In the Timeline View toolbar, click the Add Drawing Layerbutton.

The Add Drawing Layer window opens.

2. In the Name field, name your new layer.
3. Set the Line Art and Colour Art options to Vector to get a vector layer or to Bitmap to have abitmap layer.
4. Click OK.
5. In the Timeline view, click the Lockicon of the layer containing your rough animation to preventthe layer from being selected in the Camera view.

19Chapter 4: How to Create a Traditional Animation

6. In the Timeline or Xsheet view, select the new layer’s cell corresponding to the first key drawing ofyour rough animation.
7. In the Tools toolbar, select a drawing tool such as the Pencil

tool.

8. In the Colour view, select a colour for tracing your animation. Pick a dark bold colour, such as
black, to make sure it contrasts well with the light colour of your rough animation.
9. In the Camera or Drawing view, start tracing the first key drawing.

10. If you have other layers in the way, you can disable them temporarily in the Timeline view, so that
only your rough animation and your clean up layer are displayed in the Camera view.
11. In the Tools toolbar, click the Enable Onion Skinbutton.

12. If you are not using the Onion Skinning by Drawing option, extend the Onion Skin range in theTimeline view, otherwise use the Onion Skin Add One Previous Drawing and Onion Skin Add One
Next Drawing buttons in the Camera View toolbar to add drawings to your onion skin display.

13. In the Timeline or Xsheet view, select the next cell corresponding to a rough drawing.
14. In the Camera view, trace your next drawing.

20

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

15. Repeat the previous steps for each drawing.

21

Toon Boom Harmony 11.1 Getting Started Guide

22

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 5: How to Paint
Harmony has some very powerful colouring features when it comes to painting. To paint yourdrawings, you will use different colour swatches, unlike some paint programs where you modify one
swatch each time you want to paint with a different colour.

In the Colour view, you choose a different colour swatch for each colour you want to paint in yourdrawing. You can add as many swatches as you want. You can also rename them and modify existingones.

When you modify the colour of an existing swatch, it automatically updates all the zones painted withthis swatch throughout the entire project. The colour swatch has a unique ID number that associates itwith the painted zones. This way, you can change the look of your character at any time without having
to repaint it!
In animation, specific colours are used to paint each particular character. In order to maintain absoluteconsistency, a colour palette is created for each character, prop and effect throughout the production.
These are referred to as master palette1s.
Master palettes contain a colour swatch for each zone to colour with a precise RGBA colour value.

1A master palette is a group of colours attributed to a character or a prop. The palette is used throughout theentire production to maintain consistency in the look and to ensure that the same colours are used throughout
the production. Also known as palette.

23

Chapter 5: How to Paint

Using a master colour palette has many benefits, including:•

Each character consistently retains their dedicated colours.

•

You cannot accidentally use a colour which is not in the master palette.

•

Standardization and colour consistency throughout the production•

Multiple artists can use the same colour palette and produce the same results.

Harmony uses palettes to hold all the colours needed to paint your elements, allowing complete
control and consistency in your painting process.
A palette1 is created by assigning a set of colours to each character, prop or effect. You will create a
new palette and add a new colour, known as a colour swatch, for each zone of the character, such as
the skin, hair, tongue, shirt, pants, and so on.

How to paint drawings
1. In the Timeline or Xsheet view, select the drawing you want to paint.
2. In the Tools toolbar, select the Paint

tool or press Alt + I.

3. In the Colour view, select a palette.
4. Select a colour from the palette.
‣

If you are working with vector layers, double-click on a colour swatch to open the Colour
Picker window and modify the colour.

‣

If you are working with bitmap layers, use the RGB/HSV controls to select a colour.

1A palette or master palette is a group of colours attributed to a character or a prop. The palette is usedthroughout the entire Toon Boom Studio project to maintain a consistency in the look and avoid the colourchanging during the animation. Also referred to as a master palette.

24

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

The colour palette will only appear in the Colour view when you select a drawing element.

5. In the Drawing or Camera view, start painting the colours on your drawing.

Closing Gaps

When painting, notice that some of your drawing areas are not closed. To close the zone, you candraw the missing line with the Brush or Pencil tool or close the gap with an invisible line. To do so, youwill use the Close Gap tool.
The Close Gap tool lets you close small gaps in a drawing. The Paint tool only paints closed areas. The
Close Gap tool creates small, invisible strokes between the two closest points to close the colourzone. You do not need to trace directly over the gap. You can draw it a few millimetres away and the
Close Gap tool will automatically choose the two closest points and close the gap.

How to use the Close Gap tool
1. Do one of the following:‣

In the Tools toolbar, select the Close Gap‣

From the top menu, select Drawing > Drawing Tools > Close Gap.

‣

Press Alt + C.

tool.

2. In the Tool Properties view, select the Auto-Flatten
be flattened in your drawing instead being on top.

button if you want the stroke you draw to

3. You can display invisible lines by selecting View > Show > Show Strokes or press K. If you do notdisplay the strokes, a message box will appear.

25

Chapter 5: How to Paint

Select the Don’t Show This Message Again option to prevent this message box from appearing
again.
4. In the Camera or Drawing view, trace an invisible line near to the gap to be closed.
The gap automatically closes.

26

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 6: How to Morph Drawings

When it comes to morphing, you will need to practice and become at ease it. Once you are familiar
with the basic rules, you can start creating morphing sequences. To begin, start with simple elements.
When you are confident with the morphing process, you can start to use complex and advanced
morphing techniques, such as head rotations or full characters.
You may want to delete an entire morphing sequence in order to redo a sequence from scratch.

How to create a basic morph
1. In the Timeline View toolbar, click the Add Drawing Layer
project.

button to add a new layer to your

2. Rename the new layer ( for example, Morphing).
3. In the Timeline or Xsheet view, select the first cell in the layer.

4. Do one of the following:‣

In the Tools toolbar, select the Rectangle‣

Press Alt + 7.

tool.

5. In the Camera or Drawing view, draw a rectangle.
6. Do one or both of the following:‣

Hold down the Shift key to draw a square.

‣

Hold down the Alt key to draw the rectangle from its centre.

7. Paint your rectangle using the Paint tool.

27

Chapter 6: How to Morph Drawings

8. In the Xsheet or Timeline view, select the last cell.

9. Do one of the following:‣

In the Tools toolbar, select the Ellipse‣

Press Alt + =.

tool.

10. Draw and paint the ellipse using the same outline colour as the rectangle.

11. In the Xsheet or Timeline view, select the first frame and all the frames up to and including the last
frame, which is the rectangle drawing.

12. Do one of the following:‣

From the top menu, select Animation > Morphing > Create Morphing.

‣

In the Xsheet or Timeline view, right-click and select Morphing > Create Morphing‣

Press Alt + M.

Arrows appear between the two key drawings to show that computer generated in-betweens havebeen created.

28

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Use the Playback toolbar to play the morphing sequence. To flip through the inbetweens toggle between
comma ( , ) and period ( . ). Press F4 to toggle between the two key drawings.

How to delete an entire morphing sequence
1. In the Xsheet or Timeline view, right-click on a cell between two keyframes.
2. Do one of the following:‣

From the top menu, select Animation > Morphing > Delete Morphing.

‣

In the Xsheet or Timeline view, select Morphing > Delete Morphing.

The entire sequence between the two keyframes is removed.

29

Toon Boom Harmony 11.1 Getting Started Guide30

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 7: How to Import Bitmap Images
A bitmap image1 is an image composed of pixels that are both size and resolution dependent. In
Harmony, you can import bitmap images and vectorize them, making the images editable. Then you
can use a variety of drawing tools to edit the image. Or you can always keep the original bitmap image
as is.
Also, you can choose to import bitmap images on bitmap or vector layers depending on your project.

You can also drag and drop a bitmap image directly from the Library into the scene (Camera) as a quick wayof importing a bitmap image. However, you will not have access to all the import options.

How to open the Import Images dialog box
1. Do one of the following:‣

From the top menu, select File > Import > Images.

‣

In the File toolbar, click the Import Images‣

In the Xsheet view, right-click anywhere in the frame area and select Import > Images.

button.

The Import Images dialog box opens.

How to import a bitmap image in its original format
1. In the Files section of the Import Images dialog box, click Browse to find and select one or more
images on your computer.

1An image composed of pixels with a single resolution (size). If it is enlarged too much, it will lose definition andpixels will begin to appear. This is known as pixelation.

31

Chapter 7: How to Import Bitmap Images

2. Decide if the bitmap image will go on a new layer or an existing layer. To add the bitmap image toa new layer, go to step 4. To add the bitmap image to an existing layer, go to step 5.
3. Add the bitmap image to a new layer by selecting the Create Layer(s) option and one of thefollowing options:‣

Create Single Layer Named: Creates a layer you can name.

‣Create Layer(s) Based on Filenames: Creates a layer based on each unique filename prefix.
For example, the filenames a-1.tga, a-2.tga and b-1.tga will create layers name "a" and "b",where "a" has two drawings and "b" has one. When creating a single layer from these threefilenames, all three drawings will be inserted in the new layers.

4. Select the Add to Existing Layer option if you want to place the bitmap image on a layer you selectfrom the list. If only vector
layers are available in your scene, they will not be displayed in thelist. You can choose to encapsulate the bitmap in a symbol by selecting the Create Symbols forImported Items option.
5. In the Import Options section, select the Keep As Original Bitmap option. In the Alignment
section, decide on the size and placement of your image within the camera frame. Depending on
the Scene Settings (the height and width in pixels that you chose for your project), an image thatyou import may be scaled to the point where all its individual pixels become visible. There are three
options available in the Alignment section:
Parameter

Description
Enlarges or shrinks (but not distorts) the image height tomatch the full height of the scene grid.

Fit

If the image orientation is landscape, this will enlarge or
shrink (but not distort) your image width to match that of
the scene grid.

32

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Note that the Fit alignment rule equals the Center Fit rule in
the layer properties.
This is the opposite of the Fit parameter. If the image
orientation is portrait, its width will be made to match thewidth of the scene grid. As a result, part of the image’s
height will extend beyond the height of the frame. This canbe useful if you want to make your background move up anddown, or from left to right to make it appear as if thecamera is panning, or to actually perform a camera pan.

Pan

The opposite will apply to a landscape image. Its height will
be fit to the scene grid, therefore it is possible that theimage will extend beyond the scene grid's boundaries.

33

Chapter 7: How to Import Bitmap Images

Note that the Pan alignment rule equals the Center First
Page rule in the layer properties.
Scales the image in proportion to the scene's resolution.
The system looks at the resolution of the bitmap image, forexample 4000 x 2000, then compares it to the scene's
resolution, for example 1920 x 1080, and adjusts the scale
factor in proportion. So, in this example, the bitmap would
appear at 208% (4000/1920). If you import a bitmap that is
960 x 540, it will be displayed at 50% (960/1920) of the sizeof the project resolution.
Project Resolution

Note that the Project Resolution alignment rule is equal to
the As Is rule in the layer properties.
6. In the Transparency section, select one of the following from the Alpha menu:
Parameter

Description

Premultiplied withWhite

Individual pixels at the edge of an image are
blended with white.

Premultiplied withBlack

Semi-transparent pixels in the original image
are blended with black.

Straight

Pixels at the edge of an image are blended withblack, white and greys.

Clamp Colour toAlpha

Premultiplies the colour value with the alphavalue. When the colour is clamped to the alpha,
the colour value cannot be higher than the alphavalue. It calculates the real colour value faster.
When the RGB values are multiplied with thealpha value, that is, if you have a pixel of value
R=247, G=188, B=29 and the alpha is 50% or34

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

the image has a 50% transparency, then theactual RGB values that are output would be halfof the amounts listed above.
7. Click OK.

How to import a bitmap image as a Toon Boom bitmap drawing
1. In the Files section of the Import Images dialog box, click Browse to find and select one or more
images on your computer.
2. In the Import Options section, select the Import asToon Boom Bitmap Drawing option.
3. Decide if the bitmap image will go on a new layer or an existing layer. To add the bitmap image toa new layer, go to step 4. To add the bitmap image to an existing layer, go to step 5.
4. In the Layer section, select the Create Layer option, and one of the following options to add thebitmap image to a new layer:‣

Create Single Layer Named: Creates a layer you can name.

‣Create Layer(s) Based on Filenames: Creates a layer based on each unique filename prefix.
For example, the filenames a-1.tga, a-2.tga and b-1.tga will create layers name "a" and "b",where "a" has two drawings and "b" has one. When creating a single layer from these threefilenames, all three drawings will be inserted in the new layers.

5. Select the Add to Existing Layer option to place the bitmap image on a layer you select from thelayers are available in your scene, they will not be displayed in the list. You
list. If only vector
can choose to encapsulate the bitmap in a symbol by selecting the Create Symbols for Imported
Items option.
6. In the Alignment section, decide on the size and placement of your image within the camera frame.
Depending on the scene settings (the height and width, in pixels, that you chose for your project),
an image that you import may be scaled to the point where all its individual pixels become visible.

Make sure you are in the Camera view’s Render Mode when judging an imported image, otherwise it may
appear blurry. You can also adjust the quality of a bitmap image displayed in the OpenGL mode by using
View > Bitmap File Quality. You must select your bitmap image using the Transform tool.

The following three Alignment Rules options are available:
Parameter
Vertical Fit

Description
Enlarges or shrinks (but not distort) to your image height to match
the full height of the scene frame (alignment grid).

35

Chapter 7: How to Import Bitmap Images

Enlarges or shrinks (but not distort) to your image height to match
the full width of the scene frame (alignment grid).

Horizontal Fit

Actual Size

Scales the image in proportion to the scene's resolution. The system
looks at the resolution of the bitmap image, for example 4000 x
2000, then compares it to the scene's resolution, for example 1920 x
1080, and adjusts the scale factor in proportion. So, in this example,
the bitmap would appear at 208% (4000/1920). If you import a
bitmap that is 960 x 540, it will be displayed at 50% (960/1920) of thesize of the project resolution.

7. In the Transparency section, decide how the bitmap image will be antialiased, more specifically, theway the pixels along the edge are blended in the RGBA (red, green, blue, alpha (transparent))
channels. Your bitmap image will exist in the bitmap layer of the newly created drawing element.

Parameter

Description

36

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Premultiplied withWhite

Individual pixels at the edge of an image are blended withwhite.

Premultiplied withBlack

Pixels at the edge of an image are blended with black.

Straight

Pixels at the edge of an image are blended with black, whiteand greys.

8. Click OK.

How to import a bitmap image and convert it to a Toon Boom vector drawing
1. In the Files section of the Import Images dialog box, click Browse to find and select one or more
images on your computer.
2. In the Import Options section, select the Convert to Toon Boom Vector Drawing option.
3. Decide if the bitmap image will go on a new layer or an existing layer. To add the bitmap image toa new layer, go to step 4. To add the bitmap image to an existing layer, go to step 5.
4. In the Layer section, select the Create Layer option, and one of the following options to add thebitmap image to a new layer:‣

Create Single Layer Named: Creates a layer you can name.

‣Create Layer(s) Based on Filenames: Creates a layer based on each unique filename prefix.
For example, the filenames a-1.tga, a-2.tga and b-1.tga will create layers name "a" and "b",where "a" has two drawings and "b" has one. When creating a single layer from these threefilenames, all three drawings will be inserted in the new layers.

5. Select the Add Existing Layer option to place the bitmap image on a layer you select from the list.
layers are available in your scene, they will not be displayed in the list. You can
If only vector
choose to encapsulate the bitmap in a symbol by selecting the Create Symbols for Imported
Items option.
6. In the Vectorization section, decide whether you want to import your image in black and white or
grey.

Parameter

Description

Black and White

Vectorizes drawings as a solid black line; creates a 100%
vector-based drawing.

Grey

Vectorizes your image as a mix of vector contour and greyscale bitmap filling. Lines keep the texture from the scan,and the white of the paper becomes transparent.

37

Toon Boom Harmony 11.1 Getting Started Guide

38

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 8: How to Build a Cut-out Character

There are many techniques you can use to break down a puppet. In this section, you will learn about
one of the most common and simplest methods. For your first character breakdown1, follow these
instructions to get an idea of the way Harmony works. Once you understand Harmony's basic
functions and commands, you will be able to create your own techniques to satisfy the needs of yourproduction.

Drawing the Pieces
The main breakdown technique shown here is to trace your model, completing the hidden lines andfilling the gaps

How to break down a character
1. In the Timeline view, add a new drawing layer for each body part to separate. You can press Ctrl +R (Windows/Linux) or ⌘ + R (Mac OS X).

2. In the Timeline view, select the layer's first cell in which you want to draw the part.

1In cut-out animation, the breakdown is the action of breaking a character into pieces to create a puppet witharticulations. To breakdown a character, the artist will cut parts, such as hands and arms, from the character's
model and paste them in separate layers. Next, the joints will be fixed and the pivots set. In additional
animation, a breakdown is an animation pose generally found between two key poses. The key poses are themain poses in an animation and the breakdowns are secondary poses, ones that help to describe the motion andthe rotation curve.

39

Chapter 8: How to Build a Cut-out Character

3. In the Tools toolbar, select a drawing tool.
4. In the Colour view, select a colour swatch.

5. In the Camera or Drawing view, draw the new part.

If you are working in the Drawing view, click the Light Table
button in the Drawing View toolbar
to display the other layers as washed out colours. You can also press Shift + L.
6. In the Tool Properties view, you can set the Pencil tool width to 0 to create an invisible hairline if
you want to close a shape without drawing an actual stroke.

‣

Select View > Show > Show Strokes or press K to display the invisible lines.

40

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

7. In the Tools toolbar, select the Paint

or Paint Unpainted

tool to colour your drawing.

8. In the Colour view, select the corresponding colour.
9. In the Camera or Drawing view, paint your drawing.

10. In the Tools toolbar, select the Selecttool. Select your drawing and flatten the lines by clicking
the Flatten
button in the Tool Properties view.
11. If your lines are composed of several pencil strokes, you might want to combine them into one
single smooth pencil line. Using the Select tool, select the pencil lines to be merged and in the Tool
Properties view, click the Merge Pencil Lines
button.

41

Chapter 8: How to Build a Cut-out Character

12.Repeat the entire process until the break down is completed.

Parenting Layers
Harmony lets you extend your rigging techniques beyond normal boundaries and sets new standards.
You can create hierarchies without encapsulating pieces inside each other by creating a linked
structure between layers.
You should create a hierarchy on the arms and legs, and keep them separated from the body. This
gives you more animation freedom, and when you need to scale or skew the torso, it will not affect theentire body.

How to create a hierarchy in the Timeline view
‣ Drag the child piece (hand) and drop it ON the parent piece (forearm). Then, you can drag theparent (forearm) piece onto another parent piece (upper arm).

42

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

How to create a hierarchy in the Network view‣

Without Pegs: From the parent part, drag a new cable connection out of the module's output
port (bottom) and connect it to the child part module's input port (top).

‣

With Pegs: From the parent part's peg, drag a new cable connection out of the module's
output port (bottom) and connect it to the child part's peg input port (top).

Here is a basic rig with pegs example:

43

Chapter 8: How to Build a Cut-out Character

Master Peg

44

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

When you animate your character, you will probably need to resize and reposition it to fit your scene.
When you need to scale down or move your character, it is a good idea to hook (attach) the whole
puppet to a trajectory.
Attaching your puppet to a peg1 will allow you to scale it and reposition it without having to do this tothe different parts and pieces. Only one layer will contain the position information, which makes youranimation easier to modify and control.

How to add a master peg
1. In the Timeline view, select the top layer to parent a peg to it. You need to select a layer to be able
to add a peg to your scene. Unless you use the Display All mode from the Display toolbar, you will
get an error message if you try to add a peg without any selection.
2. In the Timeline view, click on the Add Peg

button.

A new peg is added to the timeline as a parent of the selected layer.
3. Name the new peg Master plus the character's name.
4. In the Timeline view, select all the layers you want to attach to your new peg. Remember that one
item is already parented to that peg.
5. Drag your selection ON to the peg layer to parent all your character's pieces to the peg. If yourlayers are added above the already parented layers, move that parented layer back on top of thelayer stack.

1In traditional animation, a tool used to ensure accurate registration of action as cel layers move. In digital

animation, in which you are doing a more advanced puppet rigging, you can use peg layers. Peg layers aretrajectory layers that do not contain drawings. They are motion paths that you can use to add path articulations.
For the latter, you can also use the Inverse Kinematics tool.

45

Toon Boom Harmony 11.1 Getting Started Guide

46

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 9: How to Use Bone Deform
Harmony provides you with the deformation technology to deform bitmap and vector drawings over a
period of time. These deformers can be linked to create a hierarchy of deformation. You can deform acharacter made out of one, or many, drawing or image layers and make it move as if it were a cut-out
puppet. It also allows you to take an area in a single bitmap image and create animation by distortion.

Rigging
Using the Rigging tool, you can quickly create a basic Bone and Articulation or Curve rig. Before you
can create a Basic Deformation rig, you must set up the performance preferences which are necessary
to allow the system to process the deformation effect efficiently.

How to create a basic deformation rig
1. In the Preferences dialog box, under the Deformation tab, deselect the AutomaticallyCreate New Deformer Structure for each Pose/Drawing option. This will result in a simpler
Network rigging structure. But remember that this option must be re-enabled before rigging a
multipose (front, quarter, side and back) character.
2. From the Deformation toolbar, select the Rigging
3. In the Rigging Tool Properties, enable the Automatic

tool.
Mode.

4. In the Network, Camera or Timeline view, select the element on which you want to add adeformation.

5. In the Camera view, create a Bone or Curve rig.

How to create a Bone rig
1. Place the cursor at the far end of your element, click once and release. For example, on theshoulder.

2. Click again at the location where you want your first bone to finish and your second bone to start.
An articulation will automatically be inserted between each bone you create.

47

Chapter 9: How to Use Bone Deform

3. Repeat this until you are finished creating the Bone chain.

How to create a Curve rig
1. Click at the far end of your element, for example, the shoulder and drag the cursor to extend thecontrol handle and release just as you would do when using the Polyline tool.

2. Click again at the location where you want the curve to end and drag the cursor to extend thesecond control handle.

3. Repeat this process until you have finished building the Curve chain.
This will automatically create a Deformation group connected to the top node of the selected
element. This group includes all the necessary deformation modules as well as the Bones, Curves andArticulations you created. Note that this Network structure is the result of a simple rigging which
was created without the Automatically Create New Deformer Structure for each Pose/Drawing
preference.

48

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Adjusting the Deformation Chain
Once you have a deformation chain created, you can optimize its positioning to fit the element it will
deform. This task is done in the Setup
mode.

How to set up a bone and articulation deformation chain
1. In the Network view, select the Deformation group you want to set up.

2. In the Deformation toolbar, click the Show Selected Deformers and Hide All Others
button todisplay the deformer controls in the Camera view. This also hides all the deformer controls thatwere displayed.
3. In the Deformation toolbar, click the Setup Modebutton.

The chain turns from green to red. A green chain indicates the Setup mode is disabled. If so, click
the button again to enable it.

49

Chapter 9: How to Use Bone Deform

4. In the Tools toolbar, select the Transform

tool.

5. In the Camera view, set up the deformation chain.
‣

Use the Pivot rotation handle to change the angle of the chain.

‣

Use the Pivot centre control point to reposition the entire chain.

50

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)‣

Use the Articulation control point, the square at the bottom, to reposition the articulation.
This will elongate, shorten or change the direction of the first bone.

‣

Use the Articulation, top diamond-shaped, control point to change the size of thearticulation. For quality purposes, it is recommended to have an articulation which fits thediameter of the part it controls.

‣(Optional) In the Deformation toolbar, deselect the Show Simplified Manipulators
button to display all the manipulators. You can choose to work with the simplified
deformers, but if you need more control, you can also access the full deformers. You will
notice two extra square control points appearing in the middle of the articulation circle.
Drag these up and down to modify the steepness (bias) of the articulation.

51

Chapter 9: How to Use Bone Deform

6. Repeat until all the articulations and bones of the chain are correctly aligned to the element it islinked to.
7. With the Deformation group still selected, click the Copy Resting Position to Current
This will make sure to set the current resting position as the current frame one.

button.

8. In the Deformation toolbar, click the Setup Modebutton to turn off the mode. Then test yourmodifications using the Transformtool. For optimal results, make sure the size of thearticulation is about the same size as the drawing.

Display the Deformer Controls
Before you can manipulate the deformer outside of the Setup mode, you must enable the Deformation
Controls.
If you have just created the bone rig, the controls will still be showing. However, when you close yourproject, the deformers are turned off. By enabling the Deformation Controls, the controls will display
when you reopen a project so can you see the ones you need while you are animating.
You can also select all the modules from Network view and select View > Show > Controls from the
top menu.

How to display the selected deformation controls
1. In the Network view, select the Deformation Group containing the deformation chain you want todisplay.
2. Do one of the following:‣

In the Camera View toolbar, click the Show Control‣

From the top menu, select View > Show > Control.

‣

Press Shift + F11.

button.

How to display the selected deformation controls and hide all the others
1. In the Network view, select the Deformation Group containing the deformation chain you want todisplay.
2. In the Deformation toolbar, click the Show Selected Deformers and Hide All Others

button.

The selected deformation controls appear in the Camera view and all the others are hidden.

52

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

How to display all the deformer controls at the same time
1. In the Top level of the Network view, select Edit > Select All from the top menu to select all themodules or press Ctrl + A (Windows/Linux) or ⌘ + A (Mac OS X).
2. In the Camera View toolbar, click the Show Control

button or press Shift + F11.

All deformation controls in your scene are displayed.

How to hide the deformer controls
1. Do one of the following:‣

In the Camera View toolbar, click the Hide All Controls‣

From the top menu, select View > Hide All Controls.

‣

Press Shift + C.

button.

Animation
The Bone deformer operates in the same way as a human limb and is composed of a pivot as thestarting point, and bones and articulations.

How to animate a Bone and Articulation deformer
1. In the Timeline view, go the frame on which you want to create your first animation pose.
Mode . If you leave Setup Mode on, you will
2. In the Deformation toolbar, deselect the Setup
modify the resting position of the deformer chain instead of animating it. When Setup Mode isdisabled, the default colour of the deformation control is light green. If you made changes to yourrig in Setup mode, you can select the deform group and click Copy Resting Position to Current
button, located in the Deformation toolbar. This resets the rig outside the Setup mode to match
what the rig looks like in Setup mode.
3. If you want to create animation keyframes, enable the Animate
4. In the Tools toolbar, select the Transformmode in the Tools toolbar.

tool.

5. From the Camera view, select the piece to animate.
6. In the Deformation toolbar, click the Show Selected Deformers and Hide All Others
display the deformer of the selected piece.

button to

7. In the Camera view, do the following:‣

Click on the centre of the Deformation-Root pivot and drag it around to reposition theentire limb.

‣

Use the first bone or the square pivot handle to rotate the entire limb.

53

Chapter 9: How to Use Bone Deform‣

Use the square control point located at the extremity of a bone to stretch or shorten its
length.

‣Use a bone next to an articulation to rotate it. You can also hold down the Alt key to lock all
the controls and movement, and only allow the rotation of the articulation.

‣

Click and drag the articulation’s diamond-shaped control point to modify its radius.

8. In the Timeline view, go the frame on which you want to set your next key pose.
9. Repeat the previous steps to animate your character.
You can also manipulate the deformer by typing values directly in the Layer Properties of thedeformation effect modules.

54

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)55

Toon Boom Harmony 11.1 Getting Started Guide

56

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 10: How to Animate a Cut-out Character

Harmony provides you with some great tools to animate your puppets. You can create simple
animation using the Transform tool and you can create advanced animation using both forward andinverse kinematics. Harmony has advanced onion skinning and image swapping features to help you
animate efficiently and quickly. For animation freedom, you have the ability to mix several different
techniques of animation, such as simple rigging, hierarchy and symbol animation.

How to create a simple cut-out animation
1. In the Tools toolbar, select the Transform

tool or press Shift + T.

2. In the Tools toolbar, enable the Animate
automatically.

mode so that everything you move will be keyframed

3. From the top menu, select Animation > Stop-Motion Keyframe so that the interpolation is notcreated automatically between keyframes.
4. In the Timeline view, collapse your character.

5. In the Timeline view, go to the frame where you want to set the first pose.

57

Chapter 10: How to Animate a Cut-out Character

6. In the Camera view, select the parts to animate.

7. Use the Transform
tool to rotate, skew, scale or translate the selection to its new position. To
rotate the piece, place your cursor slightly outside of a corner until you see the rotation cursor.

A new keyframe appears in the Timeline view.
8. To ensure that nothing will move on your new pose, in the Timeline view, select the frame
corresponding to the pose, right-click and select Add Keyframe or press F6.
feature.

9. In the Tools toolbar, enable the Onion Skin

10.In the Timeline view, go to the frame where you want to set your second keyframe.

11. If you want to make sure that nothing will move on your new pose, in the Timeline view, select theframe corresponding to the pose, right-click and select Add Keyframe or press F6.
12. In the Camera view, animate your character.

58

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

13. Repeat this process until all the poses are done.
If you created a layer hierarchy when you built your puppet, you can use the keyboard shortcuts totravel up and down the parent-child chain. You can also navigate between the children of the same
parent.

How to select the parent or child layer
1. In the Tools toolbar, select the Transform

tool.

2. In the Transform Tool Properties view, make sure the Peg Selection

mode is deselected.

3. In the Camera or Timeline view, select a layer attached to a hierarchy.

4. From the top menu, select Animation > Select Parent or press B to select the parent layer. Now
select Animation > Select Child or press Shift + B to select the child layer.

These keyboard shortcuts ignore any effect module encountered in the Network or Timeline view. Only
drawing and peg modules are considered. If you want to navigate the hierarchy including the effectmodules, you can create a custom keyboard shortcut in the Preferences dialog box for the Select Parent
Skipping Effects and Select Child Skipping Effects commands on the General tab.

59

Chapter 10: How to Animate a Cut-out Character

How to navigate among the brothers of the same parent
1. In the Network view, select a child of a parent and do the following:‣

To select the previous brother in the family, press /.

‣To select the next brother in the family, press ?.

How to set ease on multiple parameters
1. In the Timeline view, select a keyframe from one or more layers.

Only the first keyframe selected on a given layer will be considered when using the Set Ease for Multiple
Parameter function. If many keyframes are selected on the same layer, the ease values will be applied only
to the first one and the rest will be ignored.

2. In the Timeline view, right-click and select Set Ease For Multiple Parameters. In the Timeline View
toolbar, you can click the Set Ease For Multiple Parameters
button. If the button is not in theTimeline View menu, you can add it through the Toolbar Manager. Right-click on the toolbar andselect Customize.

60

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

The Set Ease For Multiple Parameters dialog box opens.

3. In the graph interface, pull on the Bézier handle to adjust the velocity for all the selected functions.

4. If you want to apply these easing parameters to a certain type of function only, such as Rotation or
Scale, in the Filters section, deselect the function types you do not want to affect.
‣

Motion: Applies the easing parameters to the selected Position X, Position Y, Position Z
and 3D Path functions‣

Rotation: Applies the easing parameters to the selected Angle functions.

‣

Scale: Applies the easing parameters to the selected Scale functions.

‣

Skew: Applies the easing parameters to the selected Skew functions.

‣

Morphing: Applies the easing parameters to the selected Morphing Velocity functions.
Note that it applied to the Morphing velocity function in the Layer Properties dialog, not tothe basic Morphing ease in the Tool Properties view.

‣

Other: Applies the easing parameters to all the other selected functions, such as allfunctions created to animate effect parameters.

5. You can also adjust the easing by typing values in the Time Ratio and Value Ratio fields. The values
are calculated in percentage.
‣

In the Left Time Ratio and Right Time Ratio fields, type the percentage value corresponding
to the length of time you want the easing to last. The value must be between 0% and 100%.

‣In the Left Value Ratio and Right Value Ratio fields, type the percentage value of how strong
you want the easing out. The value must be between 0% and 100%.

‣

If your Time Ratio and Value Ratio values are equal, you will have a linear motion.

6. Once done, click one of the following buttons:

61

Chapter 10: How to Animate a Cut-out Character‣

Apply: Applies the easing parameters to the selected keyframes.

‣

Apply/Previous: Applies the easing parameters to the selected keyframes and then selects
the previous keyframe in the timeline.

‣

Apply/Next: Applies the easing parameters to the selected keyframes and then selects thenext keyframe in the timeline.

‣

Close: Closes the dialog box. If you did not apply the modifications, they will be cancelled.

62

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 11: How to Create Templates
You can create a template from a layer or from cells. You can store anything available in the Timelineview as a template.
When creating a template from the Timeline view, it will lose the extra connections, effects andgroupings from the Network view.
Creating a template by selecting a layer will incorporate the layer and all the drawings that werecreated in it, even if they're not exposed in the Timeline view. Selecting cells will only save thosespecific drawings in the template.

How to create a template from the Timeline view
1. In the Timeline view, select some cells or layers.
2. In the Library view, select a folder to store the template.
3. If a library folder is locked, right-click and select Right to Modify.
4. Drag the selection to the Stage Library folder or any other library folder.

5. In the Rename dialog box, give the new template a name.
To rename a template once it is created, right-click on the symbol and select Rename.
6. Click OK.

How to import a template into the Timeline or Camera view
1. In the Library view, select the template you want to import.

63

Chapter 11: How to Create Templates

2. Drag the selected template to the Camera view or to the left side of the Timeline view.

3. You can also drag a template to the right side of the Timeline view and into existing layers if thelayer structure is the same as the existing one.

Creating a Template from the Network View
The Timeline and Network views display different information about a scene.
A main character's template, also known as a master template, is created from the Network view. This
template contains all the connections, effects, composites, modules, pegs, advanced groupings,
function columns, scene lengths, drawings, timings, and so on. The template is saved in the Libraryview and must be imported back into the scene for use, either into the Network view or the left side of
the Timeline view.

If you are creating a template from a character rig master template, you should collapse everything inside amaster peg and put a keyframe on the first frame before creating the template.

64

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

How to create a template from the Network view
1. In the Library view, select the folder in which you want to store the template.
2. If the library folder is locked, right-click and select Right to Modify.
3. In the Network view, select the modules for creating the template and group them. It is very
important to group your cut-out character rig before storing it in the Library.
4. From the top menu, select Edit > Group > Group Selected Layers or press Ctrl + G(Windows/Linux) or ⌘ + G (Mac OS X).

5. In the Network view, click on the group module's yellow button to rename it.
The Layer Properties window opens.

6. In the Network view, select the group module and copy and paste it inside the template folder inthe Library view or press Ctrl + C and Ctrl + V (Windows/Linux) or ⌘ + C and ⌘ + V (Mac OS X).

65

Chapter 11: How to Create Templates

7. In the Rename dialog box, rename the new template.

To rename a template, right-click on it and select Rename.
8. Click OK.

66

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 12: How to Set Up a Scene
Setting up your scene can be compared to building a set for a television show. This is the point when
you position each scene element such as the camera frame, the background elements and thecharacters.

Positioning the Camera
How to add a camera layer in the Timeline view
1. Do one of the following:‣

In the Timeline view, click the Add Layer‣

From the top menu, select Insert > Camera.

button and select Camera.

A new camera layer is added to the scene and appears in the Timeline view.

How to add a Camera module in the Network view
1. Display the Network view.
2. In the Module Library view, select a Camera module from the Favorites, Move or All Modules tab.

3. Drag the Camera module into the Network view.

How to reposition the camera frame directly in the Camera view
1. In the Tools toolbar, disable the Animate

mode.

2. Do one of the following:‣

From the top menu, select Animation > Tools > Translate.

‣In the Advanced Animation toolbar, click the Translate‣

Press Alt + 2.

67

tool.

Chapter 12: How to Set Up a Scene

3. In the Camera view, click on the camera frame to select it. You can also select the camera layerfrom the Timeline or Network view.
The selected camera frame is highlighted in purple.

4. Drag the camera frame to a new position.

5. To tilt the camera frame, do one of the following to select the Rotate tool:‣

From the top menu, select Animation > Tools > Rotate.

‣

In the Advanced Animation toolbar, select the Rotate‣

Pres Alt + 3.

tool.

6. In the Camera view, drag to rotate the camera frame until it reaches the desired rotation angle.

68Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Positioning Objects
How to pan a layer using the Transform tool
1. In the Tools toolbar, disable the Animate

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

3. In the Tool Properties view, make sure the Peg Selection Modeis deselected.

4. In the Camera view, select a drawing layer and drag the selection to a new area. You can selectmultiple layers to reposition them at the same time. Press Shift and select the different layers.

How to rotate a layer using the Transform tool
1. In the Tools toolbar, disable the Animate

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

3. In the Tool Properties view, make sure the Peg Selection Modeis deselected.

4. In the Camera view, select a drawing layer.
5. Place the pointer outside of a corner of the bounding box and drag to rotate.

You can display a rotation handle on the bounding box when transforming a layer. In the
Preferences dialog box, select the Camera tab and then select the Use Rotation Lever
with Transformation Tools option. This preference is off by default.

69

Chapter 12: How to Set Up a Scene

How to scale a layer using the Transform tool
1. In the Tools toolbar, disable the Animate

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

3. In the Transform Tool Properties view, make sure the Peg Selection Modeis deselected.

4. In the Camera view, select a drawing layer and pull or push on the size, top, or corner control
point. Hold down Shift to lock the selection's aspect ratio.

How to skew a layer using the Transform tool
1. In the Tools toolbar, disable the Animate

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

3. In the Tool Properties view, make sure the Peg Selection Modeis deselected.

4. In the Camera view, select a drawing layer.
5. Place the cursor between two controls points and drag sideways or up and down.

Repositioning the Pivot
Transformations, such as rotation, scale, skew and flip, are made relative to the pivot point position.
You can reposition this pivot point anywhere using the advanced animation tools.

How to permanently reposition the pivot point
1. In the Advanced Animation toolbar, select the Translate
tool.

, Rotate, Scale, or Skew

2. In the Camera view, Ctrl + click (Windows/Linux) or ⌘ + click (Mac OS X) to select your element.
The pivot point appears in the Camera view.

70Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

3. Drag the pivot point to a new position.

All transformations, including existing ones will be recalculated from this new pivot postion.

71

Toon Boom Harmony 11.1 Getting Started Guide72

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 13: How to Animate Objects and the Camera
When it comes to animating objects, you will do this on layers by creating motion paths. You can also
animate the camera which is just like any other object you can animate.

Animating a Layer
You can create a motion path directly on layers (animated layers).

You can control and define a trajectory using several different parameters, including:•

X, Y and Z positions (3D Path or Separate Positions)•Angle (rotation)

•

Skew

•

X and Y Scales•

Euler Angle or Quaternion Angle (when 3D option is enabled)•

Z Scale (when 3D option is enabled)

Each parameter has its own function curve where you can add keyframes and control the easing.

If you are not familiar with graphs and function curves, Harmony has a series of easy-to-use tools forvisually controlling trajectories in the Camera and Timeline view.

73Chapter 13: How to Animate Objects and the Camera

How to animate a layer
1. In the Tools toolbar, select the Transform

tool or press Shift + T.

2. In the Tool Properties view, make sure that the Peg Selection Mode
3. In the Tools toolbar, enable the Animate
when moving objects.

is deselected.

mode. This will create keyframes at the current frame

4. In the Timeline view, go to the first frame.

5. In the Camera view, select the element to animate and move it to its first position.

A keyframe is created on the first frame of the Timeline view.

6. In the Timeline view, go to the frame on which you want to set the second position.

7. In the Camera view, move the element to its second position.

74

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

A second keyframe is created on the Timeline view.

8. Play backyour animation.

To see your motion animations in the Top, Side or Perspective views while you play back, you mustturn on the Playback option. From the top menu, select Play > Enable Playback > Top View orSide View or Perspective View.

Animating the Camera
The camera is treated the same way as any other element. The same tools and selection modes areused to offset or animate it, but the camera is a static object. To animate the camera, you need toconnect it to a peg layer. A peg is a trajectory layer.

While making camera moves, you can use the Top, Side, and Camera views.

How to open the Top and Side views‣

From the top menu, select Windows > Top or Side.

‣

From any existing window already open in your project, click the Add View
the top-right corner and select Top or Side.

button at

How to add a camera and parent it to a peg
1. If you do not already have a camera layer, do one of the following:‣

From the top menu, select Insert > Camera.

‣

From the Timeline view layers toolbar, click the Add Layers‣

From the Module Library view, select a Camera module and drag it to the Network view.

button and select Camera.

A new camera layer is added to the scene and appears in the Timeline view.
2. In the Timeline view, select the Camera layer.

75

Chapter 13: How to Animate Objects and the Camera

3. From the Timeline View Layer toolbar, click the Add Peg

button.

A Peg layer appears directly above the Camera layer. The Camera layer is automatically attached
to it.
The Peg layer automatically takes the name of the camera and adds the suffix -P to indicate that it
is a Peg layer, for example Camera-P.

If the new Peg layer did not appear directly above the camera, you may have clicked elsewhere in
the scene, which deactivated the layer on which you want to add the Peg layer.
‣

Select the Camera layer and drag and drop it under the new Peg layer. Or delete themisplaced Peg layer, select the Camera layer and click the Add Peg
button again.

‣

From the Module Library view, you can select a Peg module and drag it to the Network
view. Then you can connect the peg’s output port to the camera’s input port.

How to animate the camera
1. In the Tools toolbar, enable the Animate

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

3. On the right side of the Timeline view, on the Camera Peg layer, select the frame at which you want
the camera move to start.
4. Do one of the following:‣

Right-click and select Insert Keyframe.

‣

In the Timeline View toolbar, click the Add Keyframe

76

button.

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

A keyframe appears in that cell. Any frames preceding this keyframe cell will hold the same camera
position as in this keyframe.
5. In the Top, Side or Camera view, select the camera (the large V-shaped cone) and move it to thedesired position. In the Camera view, the camera is represented by a thin frame. You need to click
directly on one of the edges.

6. On the Timeline view, click on another cell a bit further down in time to indicate where the camera
move will end.
7. Select the camera in the Camera, Top or Side view and move it to the desired position.

A second keyframe appears and a line is created between the two frames to indicate that thesubsequent motion between the frames will be calculated and rendered by the program.
8. Play backyour animation.

77

Toon Boom Harmony 11.1 Getting Started Guide78

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 14: How to Create a Multiplane

To construct a multiplane, you must imagine what a real environment is like. Take a look at yourbackground picture and imagine a camera moving through the space. Notice that objects in the
picture move at different speeds depending on where they are in relation to the camera lens.
Building a multiplane requires an understanding of the scene's background, as well as the positioningof the elements on different layers.

For example, in the background illustrated above, the main objects to be separated are:1. Fern
2. Front tower
3. Second tower
4. Moon
5. Stars
6. Sky79

Chapter 14: How to Create a Multiplane

Although the bottom of the tower is hidden behind the plant and the ladder, each of the multiplanelayers should be a complete drawing. This is because hidden portions may show up during a camera
move later on in the scene.
Now is the time to distribute the layers that comprise your multiplane along the Z-axis. You canposition layers on the Z-axis using the Side and Top view.
Positioning your element closer to the camera makes them appear bigger. You can also move element
towards the camera or away from the camera while keeping the same size aspect ratio in the Cameraview.
It is a good idea to keep a Camera view open to see what your scene looks like while positioning
elements in the Top or Side view.

Positioning Elements in the Top and Side Views

Before distributing layers along the Z-axis using the Top and Side views, deselect the No Z Dragging
option by selecting Animation > No Z Dragging. This option is disabled by default.

How to position an element in the Top and Side views
1. To maintain the visual scale in the Camera view as you move your element, in the Advanced
Animation toolbar, select the Maintain Size
tool or press Alt + 6.
2. In the Side view, select one of the layers in the thumbnails section of the Top or Side view. You canalso select a layer from the Timeline view.
The selected layer is highlighted in the Top, Side and Camera views.

80Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

3. Drag the layer to the correct depth position in the camera cone. Your element aspect will remain
the same in the Camera view.

4. For your element to scale up or down in relation to their distance to the camera, do one of thefollowing:‣

tool. Make sure the Peg Selection ModeIn the Tools toolbar, select the Transform
option is disabled in the Tool Properties view.

‣

In the Advanced Animation toolbar, select the Translate
thumbnails section of the Top or Side view.

‣

Select a layer from the Timeline view.

tool and select a layer from the

The selected layer is highlighted in the camera cone.

5. In the Top view, drag the element sideways to position it horizontally . Hold Shift while dragging
the element to make sure it only moves along the X-axis.
6. In the Side view, drag the selected element up or down to position it vertically. Hold Shift whiledragging the element to make sure it only moves along the Y-axis.

81

Toon Boom Harmony 11.1 Getting Started Guide82

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 15: How to Set Up Objects in 3D Space
Once your drawings and symbols are assembled, it is time to position them. This section explains how
this is done using the example of a simple room.
To position your layers, the following elements are required:•

Camera view•

Top view•

Side view•

Perspective view•

Library view•

Timeline view•

3D Transformation tools•

Layer Properties view or dialog box

How to position layers in 3D space
1. In the Timeline view, double-click on the new layer to open the Layer Properties dialog box.
2. In the Transformation tab, select the Enable 3D option.

3. In the Rotation section, select the Euler Angles option.

4. In the (x) Axis field, type 90 to flip the floor so it is flat on the ground.

5. To position the height of the floor, type values in the Position section of the Layer Properties, use
the 3D Translate
tool or 3D Transform
tool.

83

Chapter 15: How to Set Up Objects in 3D Space6. Repeat the process for the other pieces to import.
7. If you have parallel walls, once you have positioned one, select the Wall layer in the Timeline view.
8. From the top menu, select Edit > Duplicate to duplicate the layer.

If the drawing is contained within a symbol, the symbol will not be duplicated, only the layer containing thesymbol. This way, you are still using the same drawing.

9. Once the layer is duplicated, use the Layer Properties window to enter the positioning values or
use the 3D transformation tools.
10.When using the transformation tools, use the Camera, Top, or Side view to position the elements
instead of the Perspective view to position your layers precisely.

11. If your walls are touching each other, you should make them intersect by extending one end of thewall through the other wall. This prevents seeing a small gap between them.

84Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Now have a complete 3D room.

85

Toon Boom Harmony 11.1 Getting Started Guide86

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 16: How to Import Sound and Add Lip-Sync
If you decide to add sound to your movie, you must first prepare the sound outside of Harmony. Once
this is done, you must add a sound element in Harmony to the organize the sound files in youranimation. Sound will play in the movie until it reaches the end of the file or a stop frame that you havecreated in the Sound Element Editor.
You can import WAV, AIFF or MP3 sound files.

How to import a sound file
1. Do one of the following:‣

From the top menu, select File > Import > Sounds.

‣

In the Xsheet view, right-click anywhere in the frame area of the Xsheet view and selectImport > Sounds.

‣

From the Xsheet view menu, select File > Import > Sounds.

‣

From the Timeline view menu, select Import > Sounds.

The Select Sound File dialog box opens.
2. From the Select Sound File dialog box, find and select a sound file.
The sound file appears as a layer in the Timeline and Xsheet views.

Lip-Sync
Adding a lip-sync to a project can really enhance its quality and storytelling. However, it can be difficult toshape a character's mouth to match the sound at a precise frame.

To solve this problem, Harmony provides a lip-sync feature which analyzes the contents of a soundelement and generates a mouth chart (see below) based on the eight animation phonemes (A, B, C, D,
E, F, G, and X, which is used to represent silence).
The mouth shapes used by Harmony are based on the conventional mouth chart used in the animationindustry.

The letters used to represent the shapes do NOT correspond to an actual sound.

87Chapter 16: How to Import Sound and Add Lip-Sync

Here is an approximation of which sound each mouth shape can produce:•

A: m, b, p, h•

B: s, d, j, i, k, t•

C: e, a•

D: A, E

•

E: o

•

F: u, oo•

G: f, ph•X: Silence, undetermined soundYou can lip-sync the traditional way or let the system automatically create the basic detection.
You can refer to the mouth chart positions as you draw the shape of your character's mouth.

Automatic Lip-Sync Detection
How to generate a sound detection for lip-sync using the Layer Properties view
1. In the Tool Properties view, click the plus (+) button and select Layer Properties.

88Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

The layer properties for the selected layer is added to the Tool Properties view.

2. In the Timeline or Xsheet view, select your sound layer and the options for that layer will appear in
the Layer Properties view.
3. In the Layer Properties, click Detect.
A progress bar appears while Harmony analyzes the selected sound clips and assigns a lip-sync
letter to each sound cell.
Harmony can automatically map drawings in an element to the mouth chart you have generated for asound. This can save time when you are lip-synching a voice track.
In the Lip-Sync Mapping dialog box, you can identify each lip drawing of a character. Harmony thenautomatically labels all of the cells in the character's element with the appropriate name.

How to automatically map lip-sync drawings to a mouth layer
1. To open the Lip-Sync Mapping dialog box, do one of the following:‣

In the Timeline view, right-click on any cell in the sound sample layer and select Lip-Sync >Map Lip-Sync.

‣

From the top menu, select Animation > Lip-Sync > Map Lip-Sync.

The Lip-Sync Mapping dialog box opens.

89Chapter 16: How to Import Sound and Add Lip-Sync

2. From the Destination Layer menu, select the layer that contains the mouth positions for thecharacter's voice track.

3. If the selected layer contains symbols, you can map the lip-sync using drawings located directly on
the layer or use the symbol's frames. In the Symbol Layer field select Don't Use Any Symbol if you
want to use the drawings or select the desired symbol from the drop-down menu.
4. In the Mapping section, type the drawing name or Symbol frames in the field to the right of thephoneme it represents. If your drawings are already named with the phoneme letters, you do nothave to do anything.
5. Click OK.
6. Press the Playbutton in the Playback toolbar to see and hear the results in the Camera view.
To play back your scene with sound, enable the Soundbutton in the Playback toolbar.

90

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 17: How to Add Effects to a Scene

Once your animation is completed, you can add effects such as blurs and glows to make your project
look even better! Harmony provides you with a series of essential effects that you can add to yourlayers.

About Effects
An effect always needs a drawing connection and sometimes a matte or shape connection. A matteprovides drawing information that determines the area on which the effect will be applied on thedrawing. The details and colours within the matte drawing do not matter, as the system will only use
the shape and transparencies in it. A matte is also known as mask.
The matte principle can be demonstrated with the Tone effect.

91

Chapter 17: How to Add Effects to a Scene

The drawing layer is connected to the right port of the effect and the matte (mask) on the left. The
Tone effect then applies darker colours where the matte overlaps the image, blurs the tone edge, andfinally clips out the extra tone zone outside the drawing before outputting a final drawing with a tone.
You can adjust the tone's parameters in the Layer Properties view and link any of them to a function
column to be animated over time. This means that all of the effects can be customized.

92

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Adding Effects
If you need to add new effects and other modules to the Network view, you will need to get them from
the Module Library.

93

Chapter 17: How to Add Effects to a Scene

When you create a new project in Harmony, the default network that appears in the Network view
looks similar to the one below.

Module Library View Toolbar
In the Module Library View toolbar, you can change how the effects are displayed.
•

View as Icons•

View as List•

View as Icons with Names

Module Tabs
The Module Library is conveniently broken up into several sections or tabs:

94

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)•

3D: Includes the modules related to working with 3D models within Harmony.

•

Deformation: Includes the modules needed for building a deformation chain, as well as
advanced effects such as Fold and Auto Muscle.

•

Favorites: Includes the most common modules. To add extra modules to the Favorites tab,select any module from any other section and drag it onto the Favorites tab.

•

Filter: Effect modules, such as blurs.

•

Group: Modules for grouping, like Group modules and Multi-Port modules.

•

IO: Includes Display, Drawing, Write and Note modules.

•

Move: Modules for changing elements over time, like Peg modules, as well as certaintransformations.

•

Particle: Includes all the modules necessary to construct complex particle systems.

•

Particle-Examples: Includes a series of examples of particle effects.

•

Plug-ins: Includes plug-in modules.

•

All Modules: Lists all of the modules available.

To bring a module into the Network view, drag it from the Module Library and drop it in the Network
view. Once in the Network view, you can click on the input or output port of a module and drag out acable. You can then connect this cable to the output port or input port of another module.

If you want to connect a module between two connected modules, you can use the Alt key as you dragthe new module over the existing cable connection. Using the same Alt key, you can also disconnect a
module.

95

Chapter 17: How to Add Effects to a Scene

If you want to remove a module, select and press Delete to remove it from the Network view.

Tone Effect

The Tone effect lets you add a dark-coloured region to your drawing and simulate the shaded area
away from a light source. To produce the tone effect, create a drawing to control where the tone willappear. The Tone effect uses a matte to determine the shape and position of the tone on yourdrawing and can be blurred at the edges to create a softer effect.

For information on all effects, refer to the Online Help. The Tone Effect is shown here as an example.

96

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Use the Tone editor to control the type and amount of blur, as well as the colour of the tone.

Tone Effect Properties
Parameter

Description

Truck Factor

Activated by default, this option readjusts the blur when theelements undergo a change of depth or scale. When disabled,
the effect's values will remain unchanged regardless of depth
or scale changes. It is recommended that this option bedisabled when multiple drawings are composited and attachedthis effect.

Blur Type

Radial: The edges of the matte are blurred evenly around97

Chapter 17: How to Add Effects to a Scene

points that make up the edge of the matte.
Directional: The matte is blurred in the direction you select.
RadiusEnter a value for the size of the blur. The larger the value, the greater theblur effect. The blur radius is affected by the drawing scale and camera
position.
If you selected the Directional Blur type, you can set thedirection of the blur by entering a value from 0 to 360 in thisfield.

Directional Angle

0: Blurs the image to the west.
90: Blurs the image to the south.
180: Blurs the image to the east.
270: Blurs the image to the north.
The distance where the blur fades from the edge of the image.
Select a value between 0 and 1.

Directional Falloff Rate

0: Makes the blur fade out slowly, distributing the blur evenly
from the edge of the character to the farthest edge of the blur.
1: Makes the blur fade out quickly. The blur is heaviest closer tothe edge of the image.

Invert Matte

Inverts the matte used to create the tone.

Use Matte Colour

Uses the matte shape colour to create the tone.

Multiplicative

Multiplies the tone colours with the background.

ColourRed

Red values of the image.

Green

Green values of the image.

Blue

Blue values of the image.

Alpha

Alpha values of the image.

Colour Swatch

Opens the Colour Picker where you can specify the colour of the main
flare.

Animating an Effect Over Time
In Harmony, to animate an effect over time, create a function curve by adding keyframes to theparameters you want to animate. To do this, you will use the Layer Properties view and the Timeline
view. You can fine tune your animation using the Function view.

How to animate an effect over time
1. In the Timeline view, add the effect and connect the layers to it.

98Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

2. Select the Effect layer.

3. To create the function curve:‣

In the Layer Properties view, click on the Function
create a function curve.

button you want to animate toOR‣

You can also expand the effect layer's parameters in the Timeline view by clicking on the
ExpandFunction button and add a keyframe using the F6 key to the parameter you
want to animate.

4. In the Timeline view, click on the Show Data View

button.

5. In the Timeline view, go to the frame where you want to start animating the effect.

6. In the Data view, click on the Add Keyframe

button.

7. In the Value field scroll to the keyframe value or type the value in the field.

‣

If your keyframes are stop-motion keyframes, in the Timeline view, select the new
keyframes. Right-click on the selection and select Set Motion Keyframe.

8. Repeat this process for each keyframe to be added.

99

Chapter 17: How to Add Effects to a Scene

When compositing your scene, it will often happen that you want to animate the parameters of aneffect over time. You may want to have an object fading in or out by changing the transparency level
over time or increasing the colour contrast on one of your drawings over a certain frame range.
To animate an effect over time, create a function curve by adding keyframes to the parameters you
want to animate. To do this, you will use these views: Layer Properties, Network and Timeline. You
can fine tune your animation using the Function view.

How to animate an effect over time
1. In the Network view, drag an effect module from the Module Library view and to the Networkview.

2. Plug the effect between the drawing element on which you want to apply the effect and acomposite module. You can do this by manually unplugging and plugging, or by holding down Alt
as you drag it through a connection.

The effect should also appear in the Timeline view.

3. To animate the value of the parameter, you must create a function curve and add keyframes on it.
For example, you can set the Blur-Radial effect to have no blur on the first frame and become very
blurry by the end of the scene by animating its Radius parameter. Do one of the following to create
the function curve:‣

In the Layer Properties view, click the Function
function curve.

100

button you want to animate to create aToon Boom Harmony 11.1 Getting Started Guide (Standalone)‣

Expand the effect layer's parameters in the Timeline view by clicking the Expand Function
button and press F6 to add a keyframe to the parameter you want to animate.

4. In the Timeline view, click the Show Data View

button.

5. In the Timeline view, go to the frame on which you want to start animating the effect.

6. In the Data view, click the Add Keyframe

button.

7. In the Value field, scroll to the keyframe value or type the value in the field.

‣

If your keyframes are stop-motion keyframes, in the Timeline view, select the new
keyframes. Right-click and select Set Motion Keyframe.

8. Repeat this process for each keyframe to be added.

101

Toon Boom Harmony 11.1 Getting Started Guide102

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Chapter 18: How to Export a Movie
How to export a QuickTime Movie
1. From the top menu, select File > Export > Movie.
The Export to QuickTime Movie dialog box opens.

2. Click Browse and select a folder in which to save your movie and give it an appropriate file namefor the export.
3. Click OK.

103

Glossary

Glossaryalpha channel

The image's channel carrying the transparency information. An
image already has three channels: red, green and blue (RGB). The
alpha channel is the fourth channel (RGBA). The matte, or thetransparency information, is stored in this fourth channel. An image
without an alpha channel is always opaque.

animatic

A movie with sound that is developed from the storyboard. The
storyboard panel is exposed for the duration of the scene and attimes, the characters are placed on a trajectory to indicate motion.
The camera moves are also animated. The animatic is used todetermine the rhythm of a project and provides a good overview ofthe project before beginning production.

animation

A simulation of movement created by displaying a series of pictures
or frames.

anime

An animation style known for its sinister and dark feel; popular inJapan.

arc

Action rarely occurs in a straight-forward manner; rather it typicallyunfolds in what storytellers refer to as an arc. The purpose of astory arc is to move a character or a situation from one state or
scenario to the next.

aspect ratio

The relationship between the width and height dimensions for any
scene, frame or film format. Television ratio is 4:3 and widescreen
ratio is 16:9.

auto-feed

An automated method of feeding drawings into a scanner in which
multiple drawings are stacked into a sheet feeder. When thescanner is activated, the drawings are scanned consecutively,
without further user intervention.

automatic lip-sync detection

Automatically mapping drawings in an element to the mouth chart
generated for a sound. This can save time when lip-syncing a voice
track.
An imaginary line around which an object rotates.
For 2D graphics, there are two axes:

axis

•

X: Horizontal•

Y: Vertical

For 3D graphics, there are three axes:•

X: Horizontal•

Y: Vertical•

Z: Depthbackground

The part of a scene that is farthest to the rear. The background is
the artwork, or decor, against which the animation takes place.

Bézier

A method of defining curved lines invented by French104Toon Boom Harmony 11.1 Getting Started Guide (Standalone)mathematician Pierre Bézier. A Bézier curve is a mathematical orparametric curve. Bézier curves use at least three points to define acurve.
In Toon Boom, a function can be hooked to a Bézier curve and varyalong with the curve value information. Bézier curves are also very
useful in vector graphics. They are used to model smooth curves
and can be scaled indefinitely.
bitmapAn image composed of pixels with a single resolution (size). If it isenlarged too much, it will lose definition and pixels will begin toappear. This is known as pixelation.
In cut-out animation, breakdown is the action of breaking acharacter into pieces to create a puppet with articulations. To
break down a character, the artist cuts part, such as hands andarms, from the character's model and pastes them in separate
layers. Next, the joints are fixed and the pivots set.

breakdown

In traditional animation, a breakdown is an animation pose
generally found between two key poses. The key poses are themain poses in an animation and the breakdowns are secondary
poses, ones that help to describe the motion and the rotation
curve.

camera shake

Camera shake occurs in a scene when the camera moves slightly
and quickly in several directions. This gives the impression of an
impact, vibration or, for example, bumps on the road.

captionIn a storyboard, a caption is a text field containing dialogue,
effects, sound, or slugging information.

cel

In traditional animation, a cel, also known as a celluloid, is atransparent sheet on which the animation is inked and painted
before being sent to the camera.The picture's outline is drawn on
the front of the cel and then coloured along the back.
In Toon Boom, a cel is an individual space encountered in an
Xsheet's column, from which you can expose a drawing or afunction`s coordinate.

character design

Each character in an animated film is drawn from multiple angles inposter-style format, called a model sheet, which serves as areference for the animators.

clean up

After rough drawings have been tested and approved, all the noisein the image (excess lines, notes, etc) is removed to create final
drawings which can be inked, painted and shot. The cleanup
process refers to either tracing a clean line over a rough drawing toachieve the final version, or removing dirt and extra lines left by thescanning process.

CMYK

Cyan, Magenta, Yellow, Black. Refers to the process used byprinters to define colour on the printed page.

colour card

A Colour Card is a solid colour card that is the same size as thecamera. The Colour Card can be used to fill the background with asolid colour when there is no background image included.

105

Glossarycolour model

In animation, a colour model is the official colour design that must
be used to paint the animation. A model is the definitive character,
prop, or location design that each artist must follow for the
production.

colour wheel

A display of the colour spectrum in the form of a circle.

compositing

Compositing is the action of incorporating all of a scene's elements
to create the final result prior to rendering. For example, thecompositing artist will import all the animation sequences,background, overlays and underlays in the scene and position themcorrectly. The artist will then set the camera frame and animate it, if
needed. Finally, the animator will create all the computergenerated effects for the project.

cross dissolve

An effect used to fade two scenes, one into the other.

cut

A direct transition between two scenes. When a cut is used, there
are no transition effects inserted to pass from one scene to thenext. The first scene ends and the second one starts immediately.

cut-out animation

The action of animating characters made of several pieces bymoving them around frame by frame. Cut-out animation can either
be computer generated or done traditionally using paper.

cycle

A group of images that together make up an action, such as
walking. A cycle is an action repeated as a loop over a period oftime. It can be a series of animated drawings or keyframes.

dialogue

The text spoken by a character in a movie or animation.

dope sheet

Used by animators, directors and other members of a crew to
track the sequence and timing of images, dialogue, sound effects,
sound tracks and camera moves. Also known as an exposure sheet
or Xsheet.

dopingTo assig a particular drawing to a range of frames.

DPI

Dots Per Inch is the standard measure of resolution forcomputerized printers. It is sometimes applied to screens, in whichcase it should more accurately be referred to as pixels per inch.
Either way, the dot is the smallest discrete element making up theimage.

ease/velocity

In animation, the ease, also known as velocity, is the accelerationand deceleration of a motion. It can be a motion created by afunction curve, or a series of animated drawings. Other common
terms for ease-in and ease-out are slow-in and slow-out.

ease-in

Gradual acceleration in the action. Another common term for easein is slow-in.

ease-out

Gradual deceleration in the action. Another common term for easeout is slow-out.

establishing shot

A scene in which the viewer can see the whole area in which asequence is happening. For example, if a child is playing on the
ground in front of his house, the establishing shot would be a scene106

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)where the viewer can see the house, the ground, a part of thestreet and the buildings around the central point of action. This
helps the viewer understand the story location and sceneorientation.
exposure

In animation, an exposure is the number of cels on which a drawing
appears in the scene. For a drawing to appear longer, theexposure must be extended over a greater number of cels.
The exposure sheet or Xsheet, is a sheet with several verticalcolumns and horizontal frames used to indicate a scene's timing.

exposure sheet (Xsheet)

Each column represents a scene's layer. In each column, thedrawing's numbers are indicated and repeated over the particularamount of frames they need to appear.
The exposure sheet is used by animators, directors and othermembers of a crew to track the sequence and timing of images,
dialogue, sound effects, sound tracks and camera moves. Also
known as a dope sheet.

fade in/fade out

Fade in or fade out is a transition effect used to open or close asequence. A fade in occurs when the first scene appears
progressively, from complete transparency to its complete opacity.
A fade out occurs when the last scene progressively disappears,
going from complete opacity to complete transparency.

fast-inDramatic acceleration at the start of the action.

fast-out

Dramatic acceleration at the end of the action.

field

In animation, a field is a measurement unit used to calculatemotion, registration and camera positioning. A standard animation
scene will vary between 6 to 12 fields.

field chart

A guide containing all the field units that animation and layout artists use todetermine a scene size or camera motion.

film-1.33

Use this resolution setting for the widescreen film format that
conforms to the standard 4:3 pixel aspect ratio.

film-1.66

Use this resolution setting for the widescreen film format that
conforms to the 16:9 pixel aspect ratio. (The pixels are wider thanthey are high).

flipping

In traditional animation, flipping is the action of going through thedrawings of an animation sequence very quickly in order to see theanimation in motion. Flipping can also be the action of creating amirror transformation of an object.

follow-throughThe follow-through is the secondary motion caused by the main
action. For example, a character wearing a cloak is running. The
main action is the body running. This will cause the cloak to follow
the motion, although it will not move at the same time, but react a
few frames later and follow the main motion curve.

forward kinematics

Forward kinematics is a feature used to animate principally 3D
characters and cut-out puppets with hierarchy. It is used to animate

107

Glossarya puppet from one of parent parts, such as a shoulder, and makethe rest of the arm move with it as a single piece.

frame

A frame is a single photographic image in a movie. In traditional
animation, the North American standard generally contains 24
frames per second, while in Europe the standard is 25 frames per
second.
This is the measurement of the frequency (rate) at which an imaging
device produces unique consecutive images, called frames. The
term applies equally to computer graphics, video cameras, film
cameras, and motion capture systems.

frame rate

Frame rate is most often expressed in frames per second (FPS) andin progressive-scan monitors as hertz (Hz).
The frame rate is the speed at which the frames are played. They
are generally calculated by frame per second. For example, a scene
could be played back at 12, 24, 25, 30 or 60 frames per second or
any other number

functions

A function is a computer generated motion, trajectory or path thatelements, other trajectories and effects parameters can be
attached to. The function can be controlled by adding keyframes
and control points on the function curve.

gamut

The range of colours that a particular device can represent.

HDTV

High Definition Television delivers a higher quality image thanstandard television does because it has a greater number of linesof resolution. To take advantage of the superior quality and makefull use of your resolution setting, your output device must becompatible with HDTV technology.

holdThis is a frame in the animation in which the character maintains its
position without moving. A hold can be created between any two
keyframes.

HSV

Hue, Saturation, Value. A method of defining colours in terms ofhue (tint), saturation (shade) and value (tone or luminance).

in-between

The drawings that exist between the key poses. These are drawn
to create fluid transitions between poses.

ink and paint

The ink and paint process is the action of painting the empty zones
and colouring the lines on the final animation drawings, while
following a colour model.

interpolation

In animation, the interpolation is the computer generated motion
created between two keyframes. You have the choice to create
interpolation, or not, between your keyframes.

jump cut

A jump cut is a jerky cut between two scenes. Typically, a jump cut
is not visually pleasing. It is generally caused by one scene ending,and a second one starting, with similar a image. The lack ofdifference causes the eye to see a little jump between the twoscenes.

108

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

key pose

Important positions in the action defining the starting and ending
points of any smooth transition. Keys, or key poses, are the maindrawings in an animation sequence describing the motion. For
example, if an arm is waving, the keys will be of the arm at one
extremity of the wave motion and the other extremity. By flipping
those drawings, the animator can see the skeleton of the motion
without having all of the drawings.
One or more keyboard keys which, when used, cause an operation
to be performed. Keyboard shortcuts are used throughout theToon Boom software and form an integral part of the workflow. It
is, in most cases, possible to customize the shortcuts in the
Preferences dialog of the software.

keyboard shortcuts

The shortcuts are written as follows in the Toon Boom user
documentation: Each key in a sequence is shown inside square
brackets as in: [Ctrl]+[A]. The brackets "[ ]" separate the key fromthe plus sign (+). Neither the brackets, nor the plus sign are part ofthe sequence. To use a shortcut, press the key and the character
simultaneously.

keyframe

Important positions in the action defining the starting and ending
points of any action. A keyframe is a computer generated position
at a specific moment (frame) on a given trajectory.

layer

In animation, a layer is an individual column, level or character. A
scene's layers are superposed to form the final image.

layout

The layout process is the communication step between thestoryboard and the animation. The layout and posing process isthe action of putting the storyboard on model, that is drawing thecharacter following the design in the model pack, so that the
animator can start his work. The layout artist will draw thebackground, create the camera and field guide matching the scene
and the camera motion. Lastly, he will draw on model the main
action poses.

layout and posing

The action of putting on model, that is, at the right scale, thestoryboard for the animator to start his work.

library

A library is a storage area containing templates and assets that canbe reused in any project or scenes.

light table

The Light Table feature allows you to see the other layers intransparency while you are working on a particular one in the
Drawing view.

line of action

Direction that the action will follow. Also known as the Path of
Actionlip-sync

The lip-sync is the character`s mouth synchronization with thedialogue sound track. Frame by frame, the mouth will be adjusted
to fit the sound to give the illusion of the character is speaking.

low resolution

This format is ideal for videos destined for the web, where size andfast download of a video file might take precedence over quality. A
low-resolution image is one that lacks fine detail.

109

Glossarymanual lip-sync detection

The manual swapping of mouth position drawings to match a voice
track. For this process, both sound scrubbing (listening to a soundwave broken up frame-by-frame) and drawing substitutions fromthe Library view are used.

master palette

A master palette is a group of colours attributed to a character ora prop. The palette is used throughout the entire production tomaintain consistency in the look and to ensure that the same
colours are used throughout the production. Also known as
palette.

model/colour model

In animation, a model is the definitive character, prop or location
design that each artist must follow for the production. A colour
model is the official colour design that must be used to paint the
animation.

motion keyframe

In Toon Boom, the motion keyframe is a keyframe with computergenerated interpolation.

mouth chart

Adding a lip-sync to a project can really enhance its quality andstorytelling. However, it can be difficult to shape a character's
mouth so that it matches the sound at the precise frame. To solve
this problem, Toon Boom provides a lip-sync feature whichanalyses the contents of a sound element and generates a mouth
chart based on the eight animation phonemes (A, B, C, D, E, F, G,
and X, which is used to represent silence).

multiplane

The effect of passing through multiple levels of drawings to createa sense of depth in a shot. A multiplane is a scene in which thelayers are placed at different distances from the camera so thatwhen the camera moves, a depth illusion occurs. With a multiplane,
all the perspective and scale is calculated automatically.

NTSC

The standard analogue television broadcasting system used in
North America. NTSC conforms to North American standards on
how rectangular pixels are displayed for computer and televisionscreens.

nudge

A small push (left, right, up, down, forward or backward) donewith the keyboard arrow keys on a selected element. Nudging isused to move a selection very slightly and precisely.

onion skin

A feature that lets you see the previous and next drawings of asequence.

overlay

A part of the scene environment, such as a chair or a bush, that isplaced in front of the main animation.

PAL

A resolution that works best with the European format for
television and computer screens, as the rectangular pixels are
displayed at a different orientation.

palette/master palette

A palette or master palette is a group of colours attributed to acharacter or a prop. The palette is used throughout the entire
project to maintain a consistency in the look and avoid the colourchanging during the animation. Also referred to as a master
palette.

110

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

palette style

A palette style is a second version of an existing palette with aslight change in the tint and value. A palette style can be used tocreate the night version of a palette. It may also be called a clone
palette.

pan

To move the camera across the scene in any direction.

panel

In a storyboard, a panel is a frame in a shot. A shot can becomposed of one or several panels.

paperless animation/tradigital

The paperless animation process is the action of animating
digitally. The main paperless animation process is to draw, frameby frame, the animation directly in the software.

passing position

When drawing a walk sequence for a character, the passing
position is the point at which one leg passes the other.

path of action

Direction that the action will follow. Also known as the Line of
Action.

peg

In traditional animation, a tool used to ensure accurate registrationof action as cel layers move. In digital animation, in which you aredoing a more advanced puppet rigging, you can use peg layers.
Peg layers are trajectory layers that do not contain drawings. They
are motion paths that you can use to add path articulations. For
the latter, you can also use the Inverse Kinematics tool.

phoneme

Unit of sound in a language.

pivot

A pivot is the point around which a peg or a drawing rotates.
Smallest element of an image displayed on a monitor or TV screen.

pixel

Pixel, short for Picture Element, is a single point in a graphic image.
It is a small sample of an image, a dot, a square, or a very small
section made out of smooth filtering. If you zoom in close enoughon a digital image, you will see the pixels, which look like small
squares of different colours and intensity.

pose-to-pose animation

The pose-to-pose animation process is the action of creating all themain action poses, called key poses, and then placing thesecondary poses between the keys. The secondary poses arecalled breakdown. Finally, the animator fills the gaps with the inbetween drawings to achieve a smooth animation.

rendering

The final step when animating by computer. During rendering, thecomputer takes each pixel that appears on screen and processes
all of the components as well as adding motion blur before it
produces a final image. In animation, the rendering process is theaction of calculating the final images after the compositing
process.

resolution

The resolution is the size of a scene, generally calculated in pixel.
For example, the NTSC resolution is 720 x 480. Resolution typeshould match your final output: HDTV, film-1.33, film-1.66, NTSC,
PAL, low.

RGB

Red, Green, Blue: method of defining colour by specifying amounts

111Glossaryof these three colour components.
rigging

The rigging process is the action of attaching the cut-out puppet
parts one to the other.

rotary table

The Rotary Table is equivalent to the animation disk/table andallows one to rotate the workspace to be more comfortable while
drawing.

rotoscoping

Is an animation technique in which animators trace over live-action
film movement, frame by frame, for use in animated films. The actof sketching over live-action footage to create an animatedsequence.

roughs

The roughs are the skeleton sketch of an animation or a design.
Roughs mainly consist of sketch lines and shapes, though they canalso contain design details.

safey area

In animation and movie parlance, the safey area is the zone at thecentre of the scene's frame, one safe from being cropped by the TV
frame. As a TV frame cuts a margin off the original frame size,
maintaining a safey area ensures that the scene's main action willremain clearly visible once the film is screened on television.

scene

A scene is a shot in a movie or show. A sequence is composed ofseveral scenes. A scene changes to another scene by a simple cut,or a transition.

scriptThe script is the original text containing all the movie or show
information. In animation, the script contains all of the location
descriptions, dialogues, time and more. A project starts with ascript.

sequence

In animation, a sequence is a series of scenes or shots forming a
distinct part of the story or movie, usually connected by unity oflocation or time.

shot

A shot is a scene in a movie or show. A sequence is composed ofseveral shots. A shot changes to another shot by a simple cut, or atransition.

slow-in

Gradual acceleration in the action. Another common term for slowin is ease-in.

slow-out

Gradual deceleration in the action. Another common term for slowout is ease-out.

slugging

In Storyboard Pro, slugging refers to indicating the start and stop
times of dialogue and relevant actions.

sound scrubbing

A process that lets you hear sound in real time while you move theplayhead forward or backward. This is very useful for finely-tuned
lip-syncing.

stop-motion keyframe

A stop-motion keyframe is a keyframe with no computer generated
interpolation.

storyboard

A visual plan of all the scenes and shots in an animation. The
storyboard indicates what will happen, when it will happen and112

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

how the objects in a scene are laid out.

straight-ahead

A technique in which an entire sequence is drawn from the first
position to the last, in order. There is very little planning in thismethodology, and where the character ends up and how it getsthere can be a surprise for both the audience and the animator.
While this approach is a lot more spontaneous and creative, it cancreate inaccurate results.

strokes

Strokes are invisible vector lines forming the drawing zones. They
can be adjusted with Bézier handles.

tablet/pen

Device used in conjunction with, or instead of, a mouse to move amouse pointer (sometimes referred to as the cursor) around thecomputer screen.

template

In Toon Boom, a template is an asset stored in the library, one thatcan be reused in any project. A template can be a drawing, a seriesof keyframes, a sound file, a panel, a cut-out character, an effect, a
trajectory, an animation, or anything else used in the software.

thumbnails

A thumbnail is a very small image used as a reference or indicator.

timecode

Timecode is timing information printed on a movie clip to indicate
what scene, hour, minute and second is currently displayed on thescreen.

timeline

The timeline is a horizontal representation of the scene`s elements,
timing and keyframes.

trace and paint

After the rough animations have gone through cleanup and a final
line or pencil test, each drawing is traced and painted for the final
animation. In today's digital world, this may be done in a variety
ways other than via the traditional celluloid or acetate methods.

track breakdown

The soundtrack for animated film is broken down into individual
sounds documenting the precise frame-by-frame position of eachsound.

traditional animation

The traditional animation process is the action of drawing on paper
all of the animation sequences, before either scanning them or
inking them on cels.

trajectory

A computer generated path or trajectory that elements can follow.
The trajectory can be controlled by control points, keyframes andvelocity.

transition

A transition is an effect placed between two scenes as they passfrom one to the other. Common transition effects are crossdissolve and wipe.

underlay

In animation, an underlay is a specific part of the decor placed
behind the main animation.

aspect ratio

The aspect ratio describes the shape of the grid unit. A square grid
unit would have the ratio 1:1, whereas a grid unit of aspect ratio
4:3 is a unit with one side 1.33 times as big as the other side.

113

Glossary

vector

A vector-based image is composed of points and Bézier curves.
The computer reads the points and traces the segments, linking
them to reproduce the image shape. There is no fixed size orresolution in a vector image. The graphic can be enlarged anddistorted as much as desired and the system will simply recalculate
the segments and rebuild the shapes. Vector images are translated
and displayed in pixels once the calculation is done.

velocity/ease

In animation, the velocity, also known as ease, is the acceleration or
deceleration of a motion. This can be achieved by a function curve,
or via a series of animated drawings. Other common terms forease-in and ease-out are slow-in and slow-out.

walk cycle

To avoid making innumerable drawings, animators routinely makea walk cycle for their character. This comprises a series of drawings``on the spot`` that describe the walk for that character. The illusionof movement is created via the use of background pans.

workspace

In Toon Boom, the workspace is made up of the views, toolbars,
and menus.
The Xsheet or exposure sheet, is a sheet with several verticalcolumns and horizontal frames used to indicate a scene's timing.

Xsheet (exposure sheet)

Each column represents a scene's layer. In each column, thedrawing numbers are indicated and spread over the specificamount of frames they need to appear.
The exposure sheet is used by animators, directors and othermembers of a crew to track the sequence and timing of images,
dialogue, sound effects, sound tracks and camera moves. Also
known as a Dope Sheet.

zone

An area which can be painted with colour.

114

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Index
3D
positioning layers 83
setting up objects 83
addingviews 7alpha channel_defined 104
animatic_defined 104
animatingcamera 73, 75-76
effects over time 98
layers 73
objects 73
animation_defined 104
anime_defined 104
arc_defined 104
aspect ratio_defined 104
defined 113
auto-feed_defined 104
axis_defined 104
background_defined 104
Bezier_defined 104
bitmap images_defined 105

115

Indexconverting to vector drawing 37
importing 31
importing as bitmap drawing 35
importing in original format 31
bone deform 47
basic rig 47
Bone rig 47
Curve rig 48
rigging 47
Bone deform
animating bone and articulation deformer 53
Bone rigcreating 47
breakdown_defined 105
character 39
drawing pieces 39
parenting layers 42
cameraadding and parenting to peg 75
animating 73, 75-76
positioning, scene setup 67
camera shake_defined 105
caption_defined 105
cel_defined 105
celluloid
See cel. 105
character building
breaking down 39
cut-out 39
drawing pieces 39

116

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)parenting layers 42
character design_defined 105
clean up_defined 105
tracing 19
cleaning up 19
clockwiserotating 10
Close Gap tool 25
closing
gaps 25
CMYK_defined 105
colour card_defined 105
colour model_defined 110
defined 106
colour wheel
defined 106
compositing
defined 106
counterclockwise
rotating 10
cross dissolve
defined 106
Curve rigcreating 48
customizing
views 7cut
defined 106

117Index

cut-out animation
animating cut-out character 57
character building 39
creating 57
defined 106
drawing pieces 39
navigating among brothers 60
selecting layers 59
cycle
defined 106
deformation
adjusting deformation chain 49
basic rig 47
bone deform 47
Bone rig 47
chain, setting up bone and articulation 49
Curve rig 48
displaying deformer controls 52
rigging 47
dialoguedefined 106
docking
floating window 8
dope sheet
defined 106
dopingdefined 106
DPIdefined 106
drawing
how to 13
pieces, charcter building 39
drawings
morphing 27

118

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

painting 24
ease
defined 106
setting on multiple parameters 60
ease-indefined 106
ease-out
defined 106
effects
about 91
adding 91, 93
animating over time 98
Tone 96elements
positioning in Top and Side views 80
establishing shot
defined 106
exportingmovie 103
QuickTime 103
exposure_defined 107
exposure sheet_defined 107, 114
fade-in_defined 107
fade-out_defined 107
field_defined 107
field chart_defined 107
film-1.33_defined 107

119Indexfilm-1.66_defined 107
flipping_defined 107
follow-through_defined 107
forward kinematics_defined 107
frame_defined 108
frame rate
_defined 108
full screen 10
functions_defined 108
gamut_defined 108
gaps
closing 25
HDTV_defined 108
Hold_defined 108
how toadd lip-sync 87
animate objects and camera 73
create a multiplane 79
create a template 63
draw 13
import bitmap images 31
import sound 87
morph 27
paint 23
use a bone deform 47

120

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)HSV_defined 108
importingbitmap image as bitmap drawing 35
bitmap image in original format 31
bitmap images 31
converting to vector drawing 37
sound file 87
templates 63
in-between_defined 108
ink and paint_defined 108
interface 7
docking a floating window 8
navigating 9
interpolation_defined 108
jump cut_defined 108
key pose_defined 109
keyboard shortcuts_defined 109
keyframes_defined 109
layers_defined 109
animating 73
panning with Transform tool 69
parenting 42
positioning in 3D space 83
rotating with Transform tool 69
selecting parent or child layer 59

121

Indexskewing with Transform tool 70
layout_defined 109
layout and posing_defined 109
library_defined 109
creating templates 63-64
light table_defined 109
line of action_defined 109
lip-sync 87_defined 109
adding 87
auto detection 88
auto detection, defined 104
mouth shapes 88
lip-sync detection
manual, defined 110
Llibrary view
importing templates 63
low resolution_defined 109
manual lip-sync detection_defined 110
master palette_defined 110
master peg 44
adding 45
model_defined 110
model sheet See character design

122

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

Module Library view
toolbar 94
Module Library view toolbar 94
morphing
deleting 29
drawings 27
motion keyframe_defined 110
mouthchart 110shapes 88
multiplane_defined 110
creating 79
positioning elements 80
navigating
centering screen on mouse 10
full screen 10
interface 9panning 9
recentering view 10
resetting pan 10
resetting rotation 10
resetting views 10
resetting zoom 10
rotating clockwise 10
rotating counterclockwise 10
zooming in 9
zooming in or out 9
zooming out 9
Network viewnavigating among brothers 60
NTSC_defined 110

123Indexnudge_defined 110
objects
animating 73
positioning 69
setting up in 3D space 83
onion skinng_defined 110
overlay_defined 110
painting 23
drawings 24
PAL_defined 110
palettes_defined 110
style, defined 111
panel_defined 111
panning 9_defined 111
layer using Transform tool 69
resetting 10
paperless animation_defined 111
parentinglayers 42
passing position_defined 111
path of action_defined 111
pegs_defined 111
adding master 45

124

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)

master 44
pen_defined 113
phoneme_defined 111
pivot_defined 111
repositioning 70
repositioning permanently 70
pixel_defined 111
pixelation See bitmap image
pose-to-pose_defined 111
QuickTime
exporting 103
recenteringview 10rendering_defined 111
resettingpan 10rotation 10
views 10zoom 10resolution_defined 111
RGB_defined 111
rigging 47_defined 112
adding master peg 45
basic deformation rig 47
Bone rig 47

125

Indexchain, setting up bone and articulation 49
Curve rig 48
displaying deformer controls 52
parenting layers 42
rotary table_defined 112
rotating
layer with Transform tool 69
resetting rotation 10
rotating clockwise 10
rotating counterclockwise 10
rotoscoping_defined 112
roughs_defined 112
safe area_defined 112
scalinglayer with Transform tool 70
scene setup 67
panning layer using Transform tool 69
positioning camera 67
positioning objects 69
repositioning pivot 70
repositioning pivot permanently 70
rotating layer with Transform tool 69
scaling layer with Transform tool 70
skewing layer with Transform tool 70
scenes_defined 112
script_defined 112
scrubbing_defined 112

126

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)sequences_defined 112
shot_defined 112
Side view
opening 75
positioning elements 80
skewinglayer with Transform tool 70
slow-in_defined 112
slow_out_defined 112
slugging_defined 112
soundimporting 87
importing sound file 87
lip-sync 87
scrubbing_defined 112
stop-motion keyframe_defined 112
storyboard_defined 112
straight-ahead_defined 113
strokes_defined 113
tablet_defined 113
templates_defined 113
creating 63

127

Indexcreating from Network view 64
importing 63
thumbnails_defined 113
timecode_defined 113
timeline_defined 113
Tone effect 96
Tool Properties view 9
toolbars
Module Library view 94
tools
Close Gap 25
Top view
opening 75
positioning elements 80
trace and paint_defined 113
tracing 19
track breakdown_defined 113
tradigital_defined 111
traditional animation 15_defined 113
painting 23-24
tracing animation 19
trajectory_defined 113
Transform tool
panning layer 69
rotating layer 69
scaling layer 70

128

Toon Boom Harmony 11.1 Getting Started Guide (Standalone)skewing layer 70
transition_defined 113
underlay_defined 113
vector_defined 114
velocity
defined 106, 114
views
adding 7
docking a floating window 8
recentering 10
resetting 10
Tool Properties 9
walk cycle_defined 114
workspace_defined 114
Xsheet view
_defined 114
zone_defined 114
zoomingin 9
in or out 9
out 9
resetting zoom 10

129Toon Boom Harmony 11.1 Getting Started Guide

130