Animators Teaching Animation: WALK CYCLES | Daniel Gonzales | Skillshare

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Animators Teaching Animation: WALK CYCLES

teacher avatar Daniel Gonzales, Animator

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (1h 8m)
    • 1. CLASS INTRO

    • 2. What is a Walk Cycle

    • 3. Animating a Walk Cycle

    • 4. Doing it On Your Own

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About This Class

Hi My name is Daniel Gonzales and I animated for over 13 years at the Walt Disney Animation Studio, Pixar Studios and other studios all around the world


What is this Class About?

I want to teach you how to animate a walk cycle. You could be 8 years old or just a curious person looking for a new hobby called animation! This class breaks down the art of walk cycles for all types of backgrounds and is catered to anyone who is looking to make that first step in animation. 

Grab some paper, pencil or any drawing app and learn from me as I share my unique approach to animating by giving insights on my processes and techniques. By the end of this self-paced class you will have the necessary tools and skills that make up a solid foundation to begin your journey with your new art form. 

Who Am I?


I have worked with the best animators in the world at locations such as The Walt Disney Animation Studios and Pixar Animations for over 13 years now! I was born in San Diego California, lived in San Francisco for 6 years and Los Angeles for 5 years, now I find myself traveling the world! Over the last 4 years, animation has taken me to Johannesburg, Finland, Ukraine, New York, Beirut and more. I'm pretty much the definition of a nomad! I'm goofy, passionate and you'll soon find out that my chill Californian vibes transfer over to how I teach this class.


Some of the films I've worked on over the years are Toy Story 3,
Cars 2, Frozen, Zootopia, Moana, Big Hero 6, Lego, Wreck it Ralph, and more. I'm currently am working on a feature film here in London where I drink tons of coffee and write silly screenplays on the side. I'm super lucky and grateful to get to do what I love for a living and I'm super excited to share everything I know with you.


I will not guarantee you will be a master animator by the end of this class but I do hope to introduce how much fun animation can be! I hope to give any future animators a fighting chance to succeed by making my class accessible and easy to understand and as Down to Earth as possible. I've worked along side some of the greatest Disney/Pixar animators and I want to pass on to you the same tips they've given to me over the years. I'm so excited for you all and can't wait for you to take your first steps into animation! 


If you ever want to learn or see more of me:


Thank You,
Daniel Gonzales

Meet Your Teacher

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Daniel Gonzales



           Meet Daniel, he has been animating for 13 years for studios including PIXAR Animation and The Walt Disney Animation Studios. He has helped make films such as "FROZEN", "MOANA" , "ZOOTOPIA," "WRECK IT RALPH" and more! For the last few years Daniel has been traveling the world across 5 continents. 

Daniel moved from his hometown in San Diego, California to attend San Francisco’s California College of the Art. Daniel received attention for his artwork at an early age. His entrée’s in the Museum of Latin American art and The U.S. District court for the southern District of California, that are still on display, would be the start of a promising career of fine art, teaching, public speaking,... See full profile

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1. CLASS INTRO: My name is Danny and I'm talking to you from London. I'm from San Diego, California. And I've been n when for the last 12 years, I've been doing this a long time. In the last 12 years. I have worked at Pixar Animation Studios, Disney Animation Studios, and many more places as I traveled the world. And together we help create films such as frozen, marijuana, Big Hero, six, utopia, record routes, Toy Story three and many more. If you guys are a fan of those, I have no doubt that human via fans this class because I'm gonna walk you through some of the very things we do in the studio. And that is make it film's making cartoons. If you ever wanted to make a cartoon. If you ever wanted to get your ideas out and have them moving and come alive. I really think, I really think you like this class. 2. What is a Walk Cycle: So I'm gonna show the first video to me, Uh, me and say hi. Hi. All right. And, um, Mia, is it true you have no background knowledge in animation? None whatsoever. All right. Okay. All right. So me and I'm gonna try to teach you a thing or two about walk cycles. Okay. Um um, we all try to draw stick figures, and usually we try to draw them walking or just standing still, and they usually look like this. Just follow. Have we do these two? You could kind of say it's walking. Is this how mostly everyone would draw their stick? Two years walking. Uh, let me get this. Okay, so this is this is essentially a walk cycle. Well, this is how most everybody would do it, but, um, let's dive in a little bit deeper. And me. What I'm gonna show you right now is not how to make a walk cycle. I'm just telling you about a box cycle is a huge difference. Okay? A lot of tutorials out there are showing us about walk cycle that I don't think they're really showing us how to make a walk cycle. Right. So Okay. Well, the drawings get a little bit fancier, and we then have the same the same poses these two. And if we could change him back and forth like that again, it looks like it's walking. But it's not really walking. It's a cartoon right back and forth, back and forth, like a gift. Yeah. The information is not their only specific of information we have is which legs in the back . Which leg is in the front? Yeah. Yeah, I said thank you. To make it more realistic. We got to do a few things. You got to give it up and down, which is Wait. Okay, So you're going to notice that the head goes up and down and we're going to do different poses with the feet? Yeah, I see. Okay, A few things were happening here that help with walk that are very technical, but I'm gonna breeze right through it because not teaching you about it. I'm just let given making you aware of it. Um, when he falls down, his arms are wider. That's not a rule. That's just observation. We don't know. I mean, blame science, blame physics, but that it always happens. Your arms are white is when you're at your lowest and you're always highest right here. And the your foot always wants to stay behind, because that gives it the feeling of a wash. Okay, for thes two feet, these two drawings. One thing you have to know. Animators were always talking washes clicks. So many supervisors talked like that. But these these drawings favor each other while these drawings are further apart. Right? And these air favoring each other, the kind of gives it a So for you guys who didn't see that I was making the motion with my hand. Um, all right, but we could get even more specific because this is this this is Wait, This is still not as realist week as we could get. So what you're gonna notice here is noticed the head. I'm gonna make a go. Not only up and down, but a little forward and back. Yeah, Yeah, it's kind of doing a little circle. Exactly. Exactly. And notice the hands to They're a little bit looser, right? Yeah. Yeah. All right. So it looks like a very chill guy. Children, um, that's the I'm showing you more and more things we can manipulate. We're putting circles were making things a little bit more loose. Um, and we're drawing the legs, and I'm kind of realistic way. There's so many things we can manipulate. If you don't know what kind of walk you're gonna do, it's you're gonna make up vanilla walk, a generic walk, which is what we're going after. But as I'm gonna show you later on, it's gonna These choices have to be very specific. Depend which kind of person you want to make. Walk. Okay, So we and notice how I'm also changing the shape of the feet to show drag like it's giving a bit more floppy floppy that their clothes are pointing up and down. Okay, so am I boring. You know, I gotta draw these. I got draws. Okay, So since we were getting floppy, then I was like, Okay, that I'm just gonna push it to show that we're doing realistic drawings. But that doesn't mean Onley realistic drawings could make a walk. We could do any kind of drawings. And to prove that point, I drew this one. It kinda looks a little bit inappropriate, but e wasn't thinking. Yes, your mind um So I did this one so you could do crazy drawings as long as some things air still realistic, which is the up and down. And see how I'm still favoring drawings. See, I'm still favoring at least this area. There's still loop. I'm starting to mess with the body shape. This is more cartoony. Yes, I'm cartoony. We could kind of say, the definitional cartoony is, uh, exaggerated. Well, this one over here is a bit more realistic, A bit stiffer, but it's it's it's not. I don't want to call it realistic. It's just because it's still not realistic. It's just a little bit more recognizable on the more crazy you get, the more you have toe. Remember to put in at least some things that are recognizable. So if we could make things loose and floppy, we could go the other way. We can make things stiff, and it's still gonna make sense like this. Yes way don't win. We don't even have to move the arm so we don't even have to do anything. You still could tell it's a walk. The body doesn't go that much up and down one hands, not even moving another hand is doing a gesture, but the feet are still hitting the realistic things. Yeah, no. Yeah. Now, um, we're not down with the things we could manipulate, because right now it's flat to flat image. We have We could go side to side and mess with angles, so that looks like this. See the head? Oh, yeah. Now here turning head. And I'm doing a lot of crazy things. What's the biggest when you notice something that's not realistic? Well, that his hand, our armies bending like the wrong direction. Exactly. So why I do that is our animation ticking that I need to show that the arms moving that way ? Because if I would draw the hand like this on the next one, it's gonna feel a very stiff. So what we do is that remember how I told you how some drawings they're gonna favor each other when we choose not to move them, See how they stay in the same spot for a few times and then they move few spots. All these air in the same spot. You could do the same with the arms. You could do the same with any body part so I want to keep the hand there. But I have to show that some things still gonna move this way because then I'm all the way over here. I can go from here to There s so I have to move something. So I moved the elbow. It's called just breaking the arm. Somebody discovered it decades ago. And ever since then, a lot of people have been using it because it works is you don't really notice it when it plays it. Kind of If it's done fast enough, it just feels like a bush. Yeah, but you do. You do see it now that Yeah, Now that you mention it, I do see it. I didn't before When I choose to do these things when I choose to break when I choose to tilt the head these air choices these I could have tilted the head the other direction I could have done. I didn't have to make his feet stay up because all these drawings have a place, right? There's you touch the floor, you land, you pass it, get a little bit higher, you touch the floor again. Those are the basic parts of a walk over here. I'm changing it. I'm using one of those drawings to stay up in the air longer. See, I have two of these. Yeah, When you choose to take something away, it's gonna have an effect. So you just have to know what effect that's gonna give. And I knew it was gonna give a stump effect that just comes with experience, because I've done it before. But when people are exploring, like in the next video, they're gonna see when you're exploring, you try something out, you play it. If it doesn't work, you adjust. You try, you adjust, you try. You had just adjust. And I think that's the best way to learn how to animate. When people see tutorials like this, the copy. It's a formula to them. And I don't believe copying formulas takes you the whole way. Copying gets you. You're running. Start. But then you have to know how they got there. But that's that's all I want to tell you about a walk. It is not possible to do the the hand movements without the breaking there. Um, yes. Look, over here. There was no arm breaking, no arm breaking happening whatsoever. But if you look at the next one, you see how it almost breaks. So they're there and straight See how it got straight. So if I want to cover more distance, I'm gonna have to exaggerate this shape. But it's ah, it's all about drawing. Clear, clear, clear, clear shapes. Because the most recognizable walk shapes were the ones I showed you in the beginning. It was where these? All right. Open, close. Open. Close, open. Close. One thing I want to tell you that when if you were ever becoming an animator, me and the walk cycle is something you're gonna hate. Nobody likes to be long cycles there, so difficult others. But you want to get these clear, because if you get these toward fine, you walk will most likely work. Fine. But okay, then you got the background e walk cycle. So 3. Animating a Walk Cycle: so good to use that. How you guys, um I already did. My name's Daniel consult. And this is Meus. A school Cisco. I just learned something. You guys have known her for four years. Okay, so, um, I got me a suit school right here. Everybody say hi. Hi. Basic, you know. Sorry. Okay, high back. Okay. Um, all right. Thanks for joining. And in the last video, we we got to see him about a lock cycle. Now, I'm gonna tell you how to do a walk cycle and actually seen how to make a lock. So you guys are following me along with me and seeing all my mistakes and seeing all my trial and errors, because, I mean, that's really what animation is about. It's not about copying a formula. It's about exploring and fixing your mistakes. And sadly, if you think animation is all fun all day long, it's not like that. It's ah, 30% fun. 70% fixing on your mistakes. It's like life, guys. It was so deep. No. So we're gonna I'm no speed up this video, and I'm gonna talk over it. And so, Mia, you're gonna see on mistakes you're going to see my train of thought, and you're gonna see just the how much of a pain in the ass it is to make a walk. Site? This one's I'm doing it from scratch. Yes, the last one I did with a plan. You know, I did the most iconic steps, and I knew there gonna be right, and it kind of place him in the right spot, and I don't really think much about it. Hi. But see, right here I'm starting. What very thin lines. Because I don't want to spend too much time doing details like shoe laces and stuff like that. Why am I going to do that if it's gonna be wrong? So you're saying I'm doing those the two. The two steps that you saw, though, The open leg and the leg passing each other, right? And so then, but I'm making it walk across the screen, so I have to make sure the feet are in the right spot. So I'm keeping track of the toes and I'm guessing where this other foot's gonna land. I can already tell you right now, watching the video that this step is a lot wider than that step, which is gonna cause me problems later. And Stevie stress out about that later. But I'm just I'm just pushing through because it's see, I'm fixing the placement of the foot and you just fix as you go a lot of people out there, especially other students that I find on I worked with a. They think we do everything perfectly the first time they think movies likes utopian frozen were just written or delivered by the hands of God. And I'm like, No, it took about seven or 11 tries to get that right If you re writes a few redus, Yeah, lots of seen scenes cut out. Yeah, so, yes, that's holidays. We all are. Yeah, has a similar with music. Oh, definitely, definitely. But I saw a clip of Michael Jackson with the with the baseline of Billie Jean. He said, I just thought about it one day. Well, we can't all be Michael checks. If only we could put All right, So that's my head bumping the microphone. The So if you guys are if you guys clicked on this video out of curiosity, um, animations, A lot of patients and frustration and you spend a small amount of your time actually doing it, and you spend the majority of her time fixing it. And so, as you see, it's you can't fix something if you don't do it. So what I'm doing is I don't care if my leg proportions are not are not right. I just have to do it because then I could fix it later. But I got to see if the motions right. I have to see if the drawings are working and it's starting to come to life. It's starting to work out a bit, and I'll and you'll see me flip through it back and forth just to double check. And I'm not really making sure the drones are exact cause. You would think if he's doing the same motion, I could just copy paste the other drawing, which is not the case in real life. There's sidewalks, there's curbs, There's your turning corners or avoiding people. Not every walk, not every step is the same. Yeah, so this is why when you do when you see the all the other tutorials which are great, by the way, there's nothing wrong with those tutorials and realize how much time it takes to do a walk cycle, but I didn't see anything teach you. Other than a walk cycle cycle is a series of images done over and over and over again. What I'm doing here is every image that I draw is unique, okay? Trying to make it more real exactly. And when it's it's more real than it's gonna be a lot more Messi and you have to stay a messy and then you will find you, refine it and see what I'm doing here. Mary, this is all sped up, so just imagine a lot more time. A lot more frustration. More eso here, you guys, I'm using a program called TV Paint. It's an older version of it. You guys confined much newer versions, but I'm only has lots of buttons as you could see on the screen. But I'm not using them. I'm only using the things that represent paper and pencil. I have a left and right arrow to give me a new piece of paper, and I'm using my pencil on the eraser. That is it. I'm not using anything else, okay? And so each time you see the character start to move. That's actually me switching the pages. So in real life, when I was in university, I would have a sheet of paper in between each finger and I would have to go. I would draw and uncle like that. I would look at each other drawing and draw each other. Drawing in. Yeah, that's called Flipping its again. A lot of paper cuts. I'm old school animation. That's how it was done for since. For ever since computers were made, once computers were made in programs like this were made, it was a bit easier. Okay, uh, let's see what I'm doing now, Okay? I'm doing it. I'm starting to notice some. I'm starting toe. No. Which poses air gonna be right. So I'm being a little bit more confident with my line. And I, um, drying I'm not drawing the leg right behind the other leg because I know that your hips move like this so that your back leg is gonna be a little bit behind. Your hips are going like this. So now I get to put in a little bit more detail that I don't have to worry about earlier. And I'm making sure that the the hell was in the same spot because your foot goes like this . And so I'm starting to get all those little details in making sure that you could tell which leg is which leg. So things don't get complicated. And you think that doesn't really do anything. But you don't wanna draw a bunch of drawings and then figure out you've been putting the same foot behind for the last 12 drawing. So it's it's that happens a lot where you lose track of your feet, your you have to read you some work. Okay? Doing what? I'm doing something I'm gonna cut out. Okay. So, uh, what's probably gonna happen the next few minutes is that I'm just gonna picking up each leg and I'm gonna track all my toes. The reason why I'm not doing the hips right now, because not important. If if I was doing computer animation, the hips would be the first thing I do. Okay. If there's no hands in there because why am I going to keep track of the hands when I'm too busy keeping track of the toes? One thing at a time, right? A lot of people. I said, No, I don't Oh, because look at the spacing. Like the spacing say, that's too much. Okay, so it should be smaller and look at the hips there. There's spacings. Not right because So I'm thinking I'm gonna move the hips a little bit forward because that last drying in this drawing, they were in the same spot, and you always got to keep it moving for consistency. So I erased the last one, and I just And this is something I would never be able to do on the first round. It's always a bunch of rounds going and fixing the making, better fixing and making better. And I don't dry it perfectly because I'm like I'm still not happy with it. They could still be changed. So you still don't drive perfectly, making sure the foot. That's fine. I'm looking at the knee. Everything needs to keep on moving in an appropriate amount of space. You can. So what I caught it was it was moving space space, space, and then there was no space. And then there was a lot of space. I was like, I have to even that out. I have to take away from a lot of space so I could give this the frames. I had no space. It's attention. Okay, so So now it's moving a bit smoother. Yeah. See what I did next? One there. Its feet are starting to feel concrete like OK, there in one spot. They're not sliding around, sliding around. It's when they're not in the same spot. And it gives the illusion of the foot going. Okay, Not really sure what you meant when So when? When? When your people are walking, their feet don't slight. Unless there are nice, right? They have to stay still. If if the foot is If you're walking on the foot, kind of goes like that like a moonwalk. It takes away from how realistic in my look. I'm not a scene that something's wrong here. There was the to the foot before the foot after we're this far apart. And before this foot was too close to the last image. So I have to even it out. I have to put it in the middle of the two. Okay, I'm always keeping track of two things. The Post. Making sure it's clear, making sure that you could only see where the knee is, See where the foot is. And I'm always keeping track of the spacing, the spacing between each drawing. The spacing is where all the magic happens where ah, if the spacings right, it's gonna move right. And you're gonna believe that it's really you can have the best drawings, but if the space is not right, it's not gonna work. All right, So, drawing, drawing, drawing I'm going to put that little curve in the foot because I know it's gonna come later . Somebody as well do it now. I didn't like it. Okay, Now it feels like he's walking, you know, looking at. But you're still that See, that's me barely realizing that this step is bigger messages from Danny past. And so this is gonna be a prone, because when it plays, it's gonna look like like a stutter. It's gonna look like one step, a big step. If it If I wanted to make it realistic, I could draw other people walking the other way, and they're in his way. I could make him avoid a hole or crack or something like that, but I don't have that so I'm gonna do my best to try to fix it without redoing everything. Right? So I kind of at this point, ignore it. I'm like, I'm gonna do the rest of these drawings, and then I'll go back because it always gotta push, push, push, push ahead. There's And so I'm starting in years, you're gonna start to notice that on these poses where all the both knees are bent, I'm gonna start drawing his hips a little bit lower because I know that's where it goes down. And I'm drawing these hips higher because I know that's where it goes up, and that's gonna feel that's gonna give the illusion of weight. Yeah, I'm gonna notice that sometimes that pushes hips too low and his feet shrink, so I'm gonna have to make his knee bend more. And that's gonna give me a problem. Because I remember when I told you how things have tohave it's amount of space. Elta has to have its direction. So when the knee travels forward, it can't go backwards. Forward, forward, forward, backward, backwards, forward. It has to have a progression. If you're gonna go forward, you go forward. If you're going to start to go backwards, then you have to slow down, going forward and then start to go backwards. So that's why you're gonna see some drawings, the knees in a similar place. If I have it going four than all of sending going backwards, that's gonna be it. It's gonna look like a pop. It's gonna look wrong, right? Every drawing hints at the next drawing that's gonna come, and every drawing is a little bit off the last drive, right? What am I doing? Spacing? I just told you about that. Then details Danny from the plan from the past. Slow down that damn slow down on some key me. I'm still keeping track of the toes, even though I'm starting to think of the up and down. I cannot forget the original details, and so there's so many things to keep track of. This is just my way. This is not the way to animate a walk cycle, but this is my way of how I keep track of things. It's a little bit. It comes from enemy like on a computer, because on a computer you have to do things one at a time. I mean, you can. And that's how I was taught when I started at Pixar. I used to do things I used to draw the whole image on draw the whole image and the computer for you guys who have that background. I used to pose the whole image. I used to oppose the whole image. So frame after frame, I would do the hope, hope holes and try to animate, um, in stepped, and I'm not gonna explain what that is, but that's for the people with the computer background. When I would animate like that, it would look great in stepped with just means images. But when I would play it and I would try to do all the in between all the drawings in between, it would come out wrong. And so I was learned I was taught to do things one at a time, which is called layering. So when I go back to drawing, I take the best of both worlds. I break things up. I still think about the whole drawing, but I also I I categorize things. I always make sure things are going fine, so it's looking good. I don't like this because look, it Okay, So what I did here is that I think the foot gets straight to too soon, and it looks a bit stiff. So I put a tiny little bend on it. Yeah. Makes it a little bit more natural. Yeah, I think I'm gonna do the same here. Just the tiniest of the bend because I kind of want to save the straight for when he's about to land. And then pretty soon, I'm gonna realize it's the That's not straight enough. This this foot over here is way out in front in this other foot its way. It's too close to the body too fast. There it goes. Yep. I'm saying to realize I'm gonna need a lot more drawings. But before I do more drawings, I want to make sure this is right before I go ahead. If I get this is the planning stage because all the drawings that come next are just gonna be in between these drawings on. I don't have to do so much planning. If I make sure that these air done right, everything's gonna come really easy so that this is the foot I told you about the one that I want to make straighter. See, there's so much space between these and I'm not liking it. And I'm checking on the spacing of the hips, making sure the right and it speeds up right here. Watch goes slow here. Speeds up here. Yeah, but I'm seeing them scratching my head. How? Making fixes. How am I gonna fix this? See, this poses just so smart. I'm getting frustrated. Are you guys said the reason why I'm doing a vote voiceovers? Because the things I say when I'm actually animating yes, it's gets very so when I animate people, I usually ask, Do you listen to music? If there is, if I'm not animating any dialogue. So if I'm at when I usedto work at Disney, if I was animating people talking no music, you have to listen to the words. But if I'm animating something like this, you better believe that's gonna be something loud and fast. More rock. But everybody to their own. It's done that will stop it when it finishes. No. So the fun part for Mamiya is the beginning. The stick figure part. This is not fun because it started become very repetitive. All right, you're making sure it's like you're an engineer and you're just making sure each bolt it's screwed on tightly. That's what it's very much about the details. This is what makes a lot of people quit this part, this part in a lot of people. When they do tutorials and stuff, they always speed past this part because it's boring, which gives the false impression of animation that it's always gonna be fun. Yes, it's not. It's fun when you're starting fun when you finish, but it's not fun while it's while you're problem solving that parts frustrating. Yeah, so I have to put in the work and we're not, and we're barely halfway right here. Let's see what I'm looking for. And now I'm gonna start putting. I'm finding So right now, I'm gonna start to put more images in and finding the best spot to start. So I'm setting up my computer to show the before and after images. Remember, these middle images are going to be just the in between, and I got to make sure the spacing is right, so I don't want to draw the knee on top of the green and too far from the purple. And so I know the foot that's gonna go. So I'm drawing the toes in the right posed to give that effect. I'm making sure seen where the the height of the so wait. The purple and green are like they're ghost images. The green is before and the purple is the image after all right, so you can draw between them. Exactly. It's not cheating because in real life I would have both pieces of paper in between. My fingers would have my thumb holding the one before and my other fingers holding the one after him ago. This just seemed a little bit easier a little bit, but But look at what I'm noticing all this Spacey and I'm like, Don't worry, I'm gonna draw more joins, and I have to just focus on this drawing right now and see that needs to far I'm favoring. It's closer to the green, right? More spacing means the faster it moves. So I wanted to move fast when it's passing, So that means I'm gonna draw the drawing closer to the green so it's slowly gets faster. Okay, I don't know if that makes sense. It does. So I'm driving this leg. They can share. Draw. There's there's key points. The knees, toes, hips go a bit too close to the purple for my liking because they like the next Ryen. See, the next drying went too far. And so then I push this one back. That was really said running low factory. So then I adjust this one, which was one of my original drawings. But I'm changing it because it just makes more sense. Why cram right here? I pause to get my charger. It's cool, cause it gives me a time to explain. I could either stay with the plan and just draw the image in between. But that means a lot of drawings on top of each other in the same spot, and I know that's not gonna look right. So I'm going to change one of my original drawings and push it forward. So this is a new one there, just making sure the needs air going. I'm kind of happy with its own. I'm planning the foot. Look at the angle, said ankle angle, making sure the knees air in between each other, drawing that, which gives me a weird shape of my foot. Well, or probably fixed later. But I do want to drag behind because I want to give it more space. So here. Slower. There. Faster on the move. Are you guys? I'm talking me up. Uh huh. You don't really put extra drawings between Unless you really know, your first drawings are on point. Like they will you solve all the problems in your first rinds. So because in the when you draw the drawings in between your original drawings, you find new problems, right? Yeah. You don't say, Really. Tell me more. I'm listening on listening where? All right, so in here, I'm getting really, really, really in the middle of these drawings, and it does make a difference this space to the average person. You won't see the difference, but you'll feel it. And in animation, we have to hide a lot of those things. Let's see what I keep on going through drying, drying, kicking the foot forward. Think it's gonna be there. The toe is lifting up. Uh huh. Uh oh. I like it. I think it looks pretty good. Well, well, well. Wait a minute. Oh, doing a dry and see how far apart those feet are, you know, and see the hips are far apart. So know just putting more and more in between. And at this point, it's it's gonna look like a lot of repetition. You guys, I'm just going in between all these frames and putting new frames in their solving tiny, tiny, tiny little problems as I do it. But the more detailed your animation is, the more you have to do this over and over again. Um, I cannot stress enough that you have to be so patient to do this. And it's a wonder why animation is intuitive to me if it needs a lot of patients. Uh huh. But how do you know where to draw them? Um, good. Sometimes it feels like you're drawing in the middle of the two drawings, and sometimes it feels like you're drying it almost right next to the more are good point C . I might do that one over to the knee. Yep. So I need to I need to I need to know whether something was speeding up or slowing down. And I need to know what drawing. I want a favor. The only reason why you see me doing it so fast. It's because I have experience under my belt. I know that the leg that is moving, I kind of want to make those spaces as fast. That does not work on times two. There we go. That's better. Go. Go. Oh, no, I wouldn't do him between. So here. So I I'm checking. I'm only I'm always favoring either one forward and one back, depending on where the motion it's going. If something's coming to arrest, I'm going to draw those drawings closer. If something is speeding up, I'm gonna try to draw those drawings more away from each other. Why? Because when there is space in between a drawing, it's gonna make it go faster. Why? That happens. Um, we could get into that. Remember, there are 24 frames a second, right? Mm. You see all these box right here? Each one is a drawing. And when you press play, each time one flashes. That's a frame. So it flashes 24 times in one second. Now, if I have a ball right here, and I only want to make it move here, and I put all those 24 drawings really close to each other. It goes one. But if I take those same 24 drawings and I put the ball further apart in one second, it's gonna go, Yeah, it's gonna go faster, and it's gonna cover more distance. And so that's you gotta manipulate, manipulating that is the superpower of an animator. Because we can make something go like that where we could make something be aggressive or there is no motion she can make those hand justice when no one can see you do them well, kind of hand gestures talking. I was mimicking, poking, invested. That doesn't make some better. I was mimicking grabbing a wrist like I could do that gesture slowly. I could do it with texture. I could do it aggressively. That's, um, that is facing I'm supposed to be the inappropriate one. Over. Okay, so, um, I'm still I'm still doing my thing right here. Let's see. More, more, more. Lots of drawing. Lots of erasing. Andi bending the knees. See how this one is really bent. This one is medium bent. That one is straight. It always has toe lead into the next one that can just all of a sudden draw a bunch of bent ones. It always. Oh, every drying has to be just a little bit different. So I'm favoring this one. Could about to land. It's about to go, but to get there. Okay. So that's why you're drawing close? Yes. And those to us. Oh. Oh, I discovered something was poor. Uh huh. What did I discover are the height. So see, he goes up, down and then starts going up. I noticed that in all my other steps I have it slowly go down. So right now I'm testing to see how that looks. And when you see me flip through it, you're gonna see that this step feels like because the spacing is different than these other steps. These other steps are smooth. This other one since I made it go down really fast, it's and they Then they go smooth. Okay. So a Then there's a limp or something. I'm discovering that one step is larger than the other, the distant. So I I don't know if I went back to fix it. I think I did. Let's find out. So there's that step. See that? And now that these air more smoother, he's up and down. There's more smoother going way too fast by doing what I do. I played slower, I think, uh, what am I doing? Uh, I kind of say I'm gonna live with my mistakes, and I my doing and I'm probably gonna start drawing it in ink. That's it. And so you would think what Mom was done. I did the walk. It's looking pretty smooth. So can I just gotta do darker lines? And that's how we make it look done. It's not Well, I'm still going to do a few more steps right here, but oh, it's a reprieve, Smith. But what I'm what I'm trying to explain before I get there in the video is that this is already took me an hour on hour and 1/2 an hour and 45 minutes. And as just a walk, there's no shirt. Additional hands, Actually, no, I'm about 40. I'm almost an hour into it. And so now I'm barely gonna do the hands and I have to do the hands with the same kind of processes I did. The feet do. Just general placements. I don't know if this is gonna be the right drawing for this moment is the hand like This is the hand like this. I don't know which way it's going, but I'm putting it in there because I have to see, um, have to draw this drawing and draw the drawing near it and see if it works and then adjust . Yeah, and right now, when he goes through it, I'll let you know how I know if it works. But each body part, I have to keep that kind of track. Have to track if it looks right, if it's moving right, if it's moving at the right speed, can I just say that this guy reminds me of the guy in the 101 Dalmatians I skinny just give me in the walk? It's very laid back and just chill. It is a chill look. I mean, the vanilla walk. That's what we call something when it's not too much personality in it. Um, but let's see. Oh, so right now I remember how in the first video, I said, when that step gets all the weight, when the knee bends as if the weights going on it, that's where the arms are the whitest eso I'm taking things I know and helping me figure out where the arms are gonna be right. And I know the arms are closest to the body because they're passing the body on this pose. So I'm starting to put those bookmarks in there and I'm just trying to Right now, I'm just trying to make it look good and needs to be clear. I need to see some elbows. I need to know where the wrist are. So let's see, goes there on and Master is going back and I dry where I think it should be and see how there's tons of lines going. I'm trying to pick which one he's gonna look the best that you notice that the body is gonna bend different ways, depending on the step. That's just because the lines should flow into each other and should never be just up and down. How they'll start to change, how they lean. Yeah, I'm trying, and and so I know this hand at this point is going forward. I'm already drying the wrist, being a little bit fluffy and how flopping how much I bend. It is my choice. It doesn't mean it's right. Remember, in the first video high showed all those different walks. It's up to me how flew p and how stiff it might be so that since this is just a walk, not the walk to define all walks, I'm just taking what my preference is. Yeah, you You're going to see that this step is the same as this step over here, the arms or just a little bit different. So why don't I just go back and copy the same arm shape? I don't like going back and copy in the same pose because you hardly get the same pose in real life. And if you start using the same pose over and over again, it feels like a robot that cycling over and over and over again. So I always think it's Ah, I think it's best if you draw each thing from scratch. And what if you copy some things, but not not everything? Doesn't it still keep the keep it old natural or it does it does I. I'm I am copying the idea that it's gonna be close to the body like I for me, it's faster to draw it than to go back making church the same at will Bend. Same angle. I don't see what I'm doing on no, what We can't see if that's good, cause it's too fast. But let's see if I flip through it, see that I'm bending the body that way. Let's see what I do with hands just trying them. I don't think that's right. No now. So this is the arm closest to us because I know the leg closest to us is stepping that way . So as this leg goes backward, this arm goes forward. Draw it forward, making sure the spacing is kind of the same. A mentally keeping track of the spacing and check it out. I think I draw the hands in the wrong in a weird spot. The spacing is not, and that's and I'm trying to figure it out like that. Something's not right with space, and it's not. There's no progression. It's not like little spacing to medium space in the big spacing, instinctively finding out it's not. It's not right. So did you see there to spacings were close together, and then I got big, some fixing all that right Now make sure that they're nope, and see how big a pop that is. I'm like, Nope, Something's wrong. So now I'm going and fixing it because I know that spacing because I'm discovering this spacey. That's a bit better. Just making sure the spacing now, because it's pooping backwards. The hand has to be closer to each other as if it's taken up the same space. But in real life it's moving backwards because when the hand swings is going and so when it moves back, it looks like it takes up the same space. It's an illusion, but it's an illusion I fought for many years with, so I'm very I could recognize it. Yeah, many animators, when we first start out, would go like this and then make the arm GOPAC words. But that looks that looks too crazy. He looks better if you keep the space in tight. So I just went through and I mainly did one. Yeah, that looks pretty smooth. Go there. I forget where I put it. I'm almost done if you're falling asleep. No, no, I'm talking to the viewers. But I'm glad you're not either. It's so I'm fixing hands fixing hands, fixing hands, fixin uh Yeah. I thought that looked wrong earlier. Glad that passed me is fixing it. Memos. And so now I only did the sideways distance. Have to make sure things are the right height. Now see, I'm during that. Higher that. Higher that higher. And But this has to be lower. Yep. Lower high, huh? Get lower. Yes, Yes, yes. Yes. Higher, huh? Well, they got low C. I drew it higher. Barely. But now the hand looks like a swing. Yeah, works working a lot better, but see how the other has just one hand. That's just one hand. That probably took me about 15 minutes. Imagine doing this for a 90 minute movie. And this is this is on Lee. Well, that worked out well. He's working, even walking. Yeah, pretty. The first step is to see how it goes down. I guess we won't see it. It's not the but it's ah, it just takes a long time. And this is only about thirties. Six drawings. It's only 1.5 seconds. Whoa. And it's taking me 50 minutes, and I'm not even ready to draw the final line. So you know those hands I was drawing for that for the for the Hallelujah video. See why it takes? Because that's a start. That's for four minutes. I've taken two hours for just this crummy thing but doesn't seem to be very easy. Noon. It's way. There's not a lot of us that do it. That's why, um, actually, no, that's a lie. There's a lot of people trying to become animators, but it's very hard to be great. It's very It's easier to be good because we all could get it. But it's the learning how to do it right quickly and learning how to, Um, um, fix your problems fast because when I animated Oh, it's not good the first time. As you could see, I'm always fixing fixing. But because I could fix it fast. That's the only thing that separates me from someone who's starting up. So anybody who thinks that you that when I was at Disney or Pixar that we animate perfectly the first time, every single time, it's not the case. So I'm doing the same thing. Fixing the spacing, fixing the hands and picture the heights there. Now it's not going backwards for Yep, we'll see how the body popped forward. I'm catching that. Not the redraw the body, which I thought I already fixed like a long time ago. You're always catching your mistakes. And sometimes you work so long on something that you stop seeing the mistakes. So that's why it's really good to have someone else look at it like a supervisor and they'll look at it and they'll be able to see things cause it's fresh to them. Yeah, I could always see clothes and me. That's part of the same with music. You couldn't can't hear it after a while. No definite. Still doing okay? Further? Yes, like I don't know where I drew a question mark there. That's the hand. Too high. I mean, it was, too. No one's to dry. My little squiggles. Oh, no, Too fast to know. Go back slower. We'll keep going Right now. I'm trying to see if there's any mistakes that I've been trying to fix since I'm at the end near the end body body. The body has to keep going at the at a solid, consistent space on fixing that, making sure see how that popped. So I'm just leaning him forward, leaning forward ever so slightly. It's It's It's half. Not even half a centimeter. But it makes a difference even when it place math. Even when it plays fast, it's starting to get smoother and smoother each time. Yeah, that's what we want. I did this slow motion on purpose because I knew it was gonna play fast, right? I didn't know how fast it was going to be, so I did it get he would slow. No, too slow. Danny, like the hand metal slower still in the hand, is flopping forward. Ford goes backwards. This one's bending. It's like it's being dragged. Oh, that's wrong. Please tell me I went back and fix that. Did not. 4. Doing it On Your Own: you.