Character Animation: how to design and animate a character | Siobhan Twomey | Skillshare

Character Animation: how to design and animate a character

Siobhan Twomey, Artist, Illustrator, Instructor

Character Animation: how to design and animate a character

Siobhan Twomey, Artist, Illustrator, Instructor

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26 Lessons (2h 46m)
    • 1. Promo

    • 2. Introduction

    • 3. Drawing Your Sketch Part 1

    • 4. Drawing Your Sketch Part 2

    • 5. Preparing Your Drawing for Animate

    • 6. Setting Up Your Workspace in Animate

    • 7. Overview of the Drawing Tools

    • 8. Introduction to Symbols

    • 9. Pirate Build: Head and Face; working with gradients

    • 10. Pirate Build: Hat

    • 11. Pirate Build: Body; working with stripes

    • 12. Pirate Build: Legs and Boots; duplicating

    • 13. Turning Parts into Symbols

    • 14. Checking the Rig

    • 15. Animation Project 1: Jump Part 1

    • 16. Animation Project 1: Jump Part 2

    • 17. Anatomy of a Walk Cycle

    • 18. Animation Project 2: Animating a Walk

    • 19. Animation Project 3: Animating a Looped Cycle

    • 20. Adding Animation to a Scene

    • 21. Something is Missing!

    • 22. Adding a Mask to Your Animation

    • 23. Combining the Jump and the Walk

    • 24. Adding Music to Your Animation

    • 25. Animating the Doors Opening

    • 26. Exporting Your Animation

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About This Class

If you are ready to take your animation to the next level and start working on CHARACTER ANIMATION, this course is for you.

This workflow is based around character animation in Adobe Animate.

Here’s what’s you’ll achieve in this course:

  • how to come up with a concepts for characters, and how to draw rough drawings, and test poses

  • how to finalise your drawing to import into animation software

  • how to use Adobe Animate to design and build a fully working and animation ready character rig - this includes working with drawing tools, layers and symbols

  • how to animate a character frame by frame and with Aniamte's tween function

  • how to animate a jump; and how to animate a walk cycle

  • finally how to add your animation to a scene with a background, how to add music, camera moves and overlays.

This course covers a complete Animation Workflow - from concept all the way through to final movie clip - using Adobe Animate

The course is made up of 3 parts.

The first part is about how to draw your character from scratch and then how to import your sketch into Animate. From there, i’ll show you step by step how to make a build that is ready for animation. You can use your own drawing, or use one of my sketches to work on.

Likewise, in the second part of the course, you’ll have a choice of working with either my rig that I made as a demo, or using your own. The 2 projects in this section are the Jump and the walk. The walk cycle is one of the most important projects for any beginner animator. This is a crucial project to complete successfully and I will show you exactly how to do that. I’m going to show you a couple of ways to animate a walk, including animating a looped walk using tweens.

In the third and final section you will learn how to build an entire scene around this seemingly simple walk cycle. I am going to give you a background that you can use if you want, but if you have your own artwork you’ll learn exactly how to work with it so that your animation looks like it’s seamlessly part of the world you’ve created.

I’ll also show you how adding a short piece of music to your scene can suddenly elevate it and make it look like it’s part of a larger sequence or movie.

Meet Your Teacher

Teacher Profile Image

Siobhan Twomey

Artist, Illustrator, Instructor


Hello, I'm Siobhan

My background spans the disciplines of drawing, painting, filmmaking and animation. I studied Film in Dublin, and at the Tisch School of the Arts, at NYU in New York. I later studied drawing and animation. Since 2002, I have worked in studios in Vancouver and Dublin as a professional background artist and environment designer. I've also worked as a storyboard artist, concept artist, and I have directed a number of short animated films.

All in all, I've worked for over 15 years as an Artist, Illustrator and Animation Professional. I've provided artwork for studios whose clients include Disney UK, Sony Pictures Animation, HMH Publishing, to name a few.

I also have an ongoing painting and drawing practice, and I paint portraits on commission, and exh... See full profile

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1. Promo: Hi there, I'm sure born I'm an artist and an aberration professional, and this is a course on character design and character animation. This is the second in my series on learning how to animate from scratch. In this course, you will go way beyond the basics are learning how to work with keep rings, how to move objects around the screen. Here, you're gonna learn two of the most important processes in professional animation production . How to create a character for animations on how to animate that character within the scene . So I'm gonna take you step by step through every phase off coming up of the character, right the way through to bringing that character to life. If you love animation and cartoons and you want to know how to make your own characters, if you really wanted her in the skills that could open doors to an actual career path in animation or if you just want to learn how to make your own short films, this course will teach you exactly those skills. Here's what you achieve. By the end of the course, you'll know how to come up with a character design. How to make rough drawings and test poses. How to bring that drawing into a software like adobe animate on. Then start brooding on an immeasurable rig you'll know had to animate a character frame reframe as well as with queens. And finally, you know how to add your animation to a seed with a background. How to add music, camera moves and overlays, character design and character animation or two distinct skill sets that are both highly marketable and really in demand in the animation industry. Right now on this course is going to teach you both because every animator needs to know how to make an appealing an interesting character on. Every designer needs to know how to build a rig that can be handed over to somebody else on animation. So with that in mind, I've designed the course so that the main outcome is to have a whole set off professional looking pieces for your portfolio. You'll be able to walk away from this course with some amazing work that you can show to any studio when you're applying for jobs. But not only that, no walk away from this course with skills that you can apply to any animation that you want to do, whether it's three d, Judy or even stop motion. Because even though this course is project, face what you'll be learning through these projects our core animation principles that your use from here on out if you do go on to working in the industry. So after you enroll, you got lifetime access to the material. In this course, it also have access to the downloads and file that I've left for each of the projects, and you'll be able to contact me directly if you've got any questions or if you want feedback on your work. I made this course. It's finished, and now I'm here to monitor your progress on to support you in any way that I can so you can teach yourself animation. There's no doubt about Dash, and you can start to build a really amazing looking an emotion portfolio today. So thanks for checking out. Of course, I hope you roll, and if you do, I'll afford to working with you 2. Introduction: in this introduction, I want to give you an overview of the core structure so that you know what to expect on also so that you know how to get the best out of this course. Then I want to tell you about the software that I'm using on lastly, some pointers about how to contact me or have to share your work with the other students in the course. So the course is made up of three parts. The first part is all about design on. I'll show you how to draw your rough sketch and then how to bring that sketch into something like Adobe animate. And from there, I'll show you step by step, how to build your rig to get it ready for animation. So for this part, you can use your own drawing, or you can use one of my sketches if you want to work on that on. Likewise, when we go to the second partial, which is all about animation, you are welcome to use the rig that I built in the demo or use your own character rig. So the two projects in this course are the jump animation on the walk cycles, So the walk cycle is probably one of the most important projects for any beginner animator to learn. It's a crucial project to complete successfully, and I'm going to show you exactly how to do that. I'm going to show you a couple of ways off an amazing a walk cycle, including how to do a looped walk. Plus, I'll show you how to animate using Tweens. Then in the third and final section, you're going to take all of the animation and designs that you've done on. I'll show you how to build up a scene using a background that I have. But if you want to use your own artwork and dropped that in, that's totally fine. I'm going to show you how you can make sure that your character looks like it's seamlessly part of the world that you're creating. You're also learn how to add music Aunt, how to add camera moves at this stage. By the end of the course, you should have a project that looks a little bit something like this. So the software that I'm using for this course is adobe animate. Now you can use any other software that you like, because the principles that I cover here will apply to any animation software on there. Quite a few free options out there. If you want to work alongside me in another program, that's totally fine. But I wanted to let you know why I favor animation as as my software of choice. In recent years, an image has been used by major commercial studios to make TV shows with huge budgets on complicated production pipelines. So if you present work that you've made an animation to any studio, they're going to immediately recognize that you've got experience working with professional grade software. On Second, the animation is actually a really straightforward program to learn animation in. Once you get your head around symbols, everything else is very straightforward. You create a key frame on your timeline, and you create a pose on the stage. Andi. That's it. There's no confusion around how you see your key frames, how you make a blank stage for the next pose. The way you do in other programs on. You don't have to work with complications, graphs or graph Editors. You can download a free trial if you want to just test it out, even for the duration of this course on DSI. How you get on or, as I say, you are welcome to work in a different program if you like, just message me if you've got any questions for the drawing part of the course, I will use Adobe Photoshopped, but again, you can use any other drawing software. You could even make your sketch on paper and just scan it in as long as you've got a J pig or a PNG as the final sketch to work with. So, lastly, as I said before, if you have any questions in the course, just let me know. Um, don't hesitate to contact me. You can leave a question in the Q and A section or in the assignment section. Also, if you do have any feedback on the course, I'd love to hear it. This course is really important to me. Andi. I wanted to be the best course for you, even if you just pop in a racing at the start, that would be hugely helpful on you can change that leisure or even add a review if you like, but it does go a long way to helping me make this your best course. Plus, it helps other students to find the content. Okay, that's all of the housekeeping done. Let's get to work on our animation projects. Up next, you'll learn about design principles on how to create awesome cool designs every time you sit down to draw. 3. Drawing Your Sketch Part 1: So in this video I'm going to start drawing my rough ideas or concepts for character design , which I'm then going to take through to final character rig and animation on. In this stage of the process, it's really important to keep loose and rough on, not really get bogged down into details on. The other thing is that it's very important to actually give this part of the process a decent amount of time. Don't rush it. You want to be able to just draw as many ideas as you have and then choose the best one out of the lot. Don't just draw one kind of idea and then stop there. What I'll do is in photo shop. I've created a new document. Now it doesn't really matter what the size of this document is, since it's not going to be my final artwork. However, just for good practice, I have made it at 1920 by 10 80 pixels because I know that that's what my adobe anaemic document size is going to be when I do get to animation. So over in my layers stack, I am going to creation you layer, I'm gonna take the color down to almost black and for the brush. I just really need a kind of standard, hard edged brush. So one of my duties just adjust capacity slightly. Okay, so starting off, I'm working with very basic shapes. That's how I always start a rough drawing. Um, so big circle like this. I had the idea to do a big, like, a kind of around character. And then I thought about a pirate character that I have drawn before, which I think I might try and recreate here. So really keeping it very loose. Very messy, even. And just making basic shapes for the arms and legs. I'm trying to keep in mind that idea off contrast in design, where I'll counterbalance straight line with groove line. And also, if this pirate character, let's say if the main motif is this big round shape, I'm going to counterbalance that with small little eggs and you no small feat. So when I'm drawing like this quite fast and just trying to get my ideas hours, I don't necessarily want to start erasing things out yet on adding things in. So if there's any time where you want to change your drawing or your line work. A good thing is too good. Technique is to hit L on your keyboard and use the last so tool just to manipulate your lines so you can shift them down by using the arrow keys. Or you can use command or control T if you wanted to rotate anything, So, for example, this arm could be holding a sword on. I think what I'm going to do instead of redrawing it because I wanted to be up like that, I'll go up to transform flip and clippers vertically. So saves me having to we do anything, keep the workflow going. Rice. So that's actually my first attempt. Looks okay, um, to be Anyway, it reads, uh, pretty much what I had in mind on what I'm going to do now is redraw this character in different poses. So it's very important special character design to test your carriage of drawing on to test your concept of war animation in this rough stage, because I want to know if the design actually works like will this guy, I'd be able to move around convincingly, so you just draw in as many dynamic poses as you can think of on really try to push the design if you can, and see if the drawing actually still reads as the same courage that you dream the first catch. If it does, then you know you've got a good design and that it will likely work for animation. Now, since this is a very explore it of days off the process, I'm not going to stop there. Think I'm gonna do another couple of characters, and that way I can have a bit of a choice and choose the one that I want. So I think I'll just make a new layer, hide this 1st 1 and start over again. This time, go for something completely different. Maybe I'll just make an elongated shape like this for the body on a small kind of squashed head. And actually, immediately. I'm starting to see this character as an animal like carrot juice, and I'm not going to give him a human face. Maybe it's a cash so little cat ears and animal like limbs. That's actually a very nice silhouette. I could add a shirt and maybe a tale. And now, once again, I'll do supposes, see if I could draw this character in a dynamic action pose. When you are drawing action poses like this, try to think about the silhouette that should be. You should be able to read the pose. It was totally blacked out. Um, and to do that, keep an eye on the arms. It's good to keep the arms outside of the main body shape as much as possible. If you want a really strong silhouette that will read. Okay, that I lived up there. No, my last rough sketch. I think I'm gonna just discover something completely different again on Just draw a regular , ordinary character, maybe a kid, a young boy or something like Josh. Very generic Normal. So just start on Goose skin started with blocky shapes. Once again, Simple Run circle for the head. These kinds of characters, like the generic, normal sort of kids character, is great for animation because off the very simple and stylized design on. Also because a little kid like this is just so relatable and appealing. You can really start to build a lot of stories around a character like this, already thinking maybe he's a stowaway on board ship. On the other two characters are part of the pirate crew. So already there's a whole story coming together there. Right? I'm now finally going. Teoh, grab all of my three drawings, my three main rough drawings and put them on one layer. So just copying and pasting and merging the layers together. Right? Click on merge layers, grab this guy, paste him in and merge my neighbors. So these so these? No. In my final Three rough drawings, I'm going to decide which one of these I think is going to be good to bring through to the animation phase on. Then in the next video, I'm gonna just ties a tidy my drawing up a little bit and get it ready for design. Not gonna spend too much time in photo shop, you know, really cleaning up the line work or anything like that. I just want to refine it a little bit more and get the drawing to a bit more of a defined stage. Okay, so I'll see you in the next video 4. Drawing Your Sketch Part 2: in this video, I'm going to start the process for my final character design. So in order to clean up these drawings or least take them to the next stage, I'm going to bring the A pass ity of this layer down. I'll create a new layer above it, and then I can start to draw the design outs. So I'm still using the same brush settings as before, because I really I don't need to get detailed yet. Andi. I still want to work quite rough and loose. But now that I know I've got a fair idea about the character in about what the whole design is gonna look like, I can start to bring in summer, farm some refinement and start to work on some details. So, for example, of, you know, defined a beard in the face a little bit better. This part of the process is the exact same as before, but I'm just trying to draw with less lines. If that makes sense, as you can see when I turn off the rough layer, the drawing is starting to emerge a little bit better on definitely the characters coming through. There are probably a lot of things that aren't quite right or they don't really fit. But remember, we're going to be building this finally in adobe animation, and that's when we can really refining clean things up. Of course, you don't want to have a completely unresolved drawing when you are trying to build us in enemies. So you need to make sure that everything is clear enough for you at this sort of secondary rough stage. Okay, so this guy definitely needs a pirate hat on. I want that to be part of the overall design shape from the outset. So really needs division with the older proportions. So that's really Moranis finished drawing for me. I know he looks more like a character from the Lord of the Rings, one of the dwarves. Especially if you flip like that. So, I mean, I could make some fixes here. I'm gonna fix his shoulder. You do see a lot of people flipping their drawings to write a drawing process from one side to the other. When you do that, if you what What happens is you see the mirror image off the drawing, and that can really help to for your eye to pick up things that might be off in your design or you're drawing that you might not have noticed. So that can really help you to spot mistakes or kind of misaligned proportions or things like that. One thing I will say, though, is if you're continually flipping your drawing back and forth throughout your drawing process, you know that it might not be as beneficial because you will start to get used to seeing it in the mirror mirror image way as well. So what I tend to do is just kind of use that as a once or twice check throughout my process. Okay, so I've decided that I'm gonna use the step. I'm definitely gonna use this character for my animation. I like the design. Think the character himself has enough personality for my animation project, especially when we get to the walk cycle. I think this character might give a nice sort of jaunty walk, so that could be fun to work on. I was a bit concerned that the Cats character that his limbs warrants straightforward enough to demonstrate the walk cycle, so I decided to leave him aside. However, I am going to leave these drawings for you. If you wanted to take anyone of these three drawings for yourself and practice building the rig, you're more than welcome to. Or you can choose this pirate character and work alongside me step by step. Or if you've got your own original character that you'd like to design on, get it all ready for animation. That would be amazing. So it's totally up to you. Meet me in the next video on. I'm going to show you how to prepare your joined to import it into animation on. Then I'll run through how to set up your workspace and animate or specifically, character design and character bills. 5. Preparing Your Drawing for Animate: way. Go any further. You need to give your character in a It helps you choose just to flesh out the character. To give your character and identity on a personality on will really help you, then to develop the back story. So whether you're using one of my sketches or you're using your own character, I want you to take some time now and come up with the name and rise it down. So I've decided that I'm going to call this character Captain Bones on his first mate over here is Tom the Pirate Cash. Andi, This stowaway on board the ship is called Billy. So now all three of these characters have a name and they just start to feel a bit more riel. And, you know, I can start to develop their stories. You could also at the stage right down on a piece of paper or on your document on your photo shop documents. You could write down some attributes off their character or their personality. So this doesn't have to be You don't have dried a big, long paragraph or anything like that, but it really helps you to develop who your character is. if you write down certain attributes or or traits. Another thing is that if you do end up developing your character to the final stage and you're really happy with it and you want to put put it in your portfolio, if you have a piece of text that goes along with that to describe who this character is, it will make the whole presentation a lot stronger. Okay, so I am ready to save out my drawings for animates. What I'm going to do is hit, see for crop and then simply click and drag around the drawing like this. They don't go to file savers, and you can save the South as a J pig or a PNG. Then I'm gonna undo the crop so that the document goes back to the original with all my artwork still intact. And that's it. I'm now ready to dive into Adobe, animates on what I want to do in the next couple of videos is introduced you to the workspace. If you don't know it already on, help you to get set up for the design phase. So when you're ready, meet me in the next video 6. Setting Up Your Workspace in Animate: So when you first open up adobe animate, you usually get this welcome screen on, and you can leave it on the character animation tab. You can leave it at full HD. You really don't need to worry about those things at the moment, and you don't necessarily need to worry about the frame right either, because we're just using this document for design. I suppose it's good practice to make sure that your documents set to 24 frames so you can go ahead and change that if you want. And by the way, if you're confused about the frame rights or you're not sure why we're work, we will be working in 24 frames. I covered that in depth in the first animation course. Andi, if you wanted to, you could pause this video and go check that out and get caught up on the difference between the difference brain rates for animation or if you want to just send me a message. If you've got any questions or any clarification about that, if you're happy enough, um, then weaken. Continue on. I'm going to click create, and now I've got a brand new documents to work in and what I usually do first often set my stage area to fit into this window. So I'm going to explain the layup briefly on. I'll show you how I set things up for designing or drawing. If you come up here to this drop down menu, there are a number of different layouts that you can choose from. Maybe your one looks like this, but set to essentials. Maybe it's set to designer or set to animator. This one looks very overwhelming. Um, I think this is for usually very complex animations, and we're not going to work in as busy of worse places this, that's for sure. I think if you just choose essentials for now, that way we can start off on the same page, and what I'm going to do is show you how I customize things. So I'm going to drag this timeline up because basically I don't need a timeline for designing and drawing. But what I do need is layers. So I do need to have a lot of space for all of my layers, so I'll drag that up there, and then I could move the tools over here in a little bit. And now I've got a really nice big space for creating my artwork. Okay? There are a couple of other windows, though. That I do need one is the color window, so I'll just drag it out. And if you don't have that over here, you can go to window on, find it right there, And when you drag it out, it just means that it will stay open. Doesn't collapse back into the side. There, on the second window we need is properties. Okay, so I'm holding on the space bar when I move my stage around like that, and now I'm gonna go to file and I'll Jews import, and then I'm going to import to stage. And there it is. It's over. If you look over in the layer stack, you can see that the drawing is in that layer. That key frame is blacked out. So that means that the artwork is there on if you want to do, you could change the layer name, which I'm going to do. I'm going to double click, and I'll call it rough. And I can, Marcus. So now if you want to, you can always save this layout under your workspace by clicking up on the workspace tab, you can name it whatever you want on, then you're good to go. And if anything changes, you can always come back up there and revert back to your safe layups. So that's really all you need for creating artwork in animates. You need your layers, you need your color window and you need your properties tab up. Next. In the next video, I'm gonna go through in detail all of the drawing and painting tools that you need to know in order to start designing. 7. Overview of the Drawing Tools: familiar with your shop or any other digital during application, then the tools in adobe animation will be very sort of simple and straightforward. But I'll walk you through each one of them in this video, especially the ones that were going to use for building our character on just for clarity. I have turned on the radar on my cursor, so hopefully it's not too annoying with the Red circle thing going on. But I did want you to see when I'm clicking on something, because I think that's useful to see. So first of all, I'll just move these over to the side and I'll drag thes two candles here. So there's two rows now. As you can see, each section is divided up by these little lines on that Tandy to note, because it just means that similar tools are bunched together or group together. So the first batch is all of the selection tools and the move tools. This is the regular selection tool. Uh, this one here is the sub selection tool, and that will allow you to see and manipulate individual vector points. I've never used a three D one, and we're certainly not going to use it in this course, so you don't have to worry about that for now. The free transform tool I use a lot, and that's the shortcut for that is cute on your keyboard on the lasso tool. I also use quite a lot, but I only ever use the regular lasso or the polygon. The next batch down are your drawing and painting tools, so B is for the brush tool on. With that selected, you can change the dynamics it over in the properties tab. So here you can change the shape of the brush or the size on. Also, make sure that you have this thing checked off. Zoom stage doom size with stage, because that's really useful when you zoom in and out of your stage. You want your breast size to remain consistent as you do so. Next up is the pencil tool, and you can see how the pencil works only on the stroke color. Where's the brush is aligned with the full color, and similarly, with as the brush, you can affect the change or shape off the pencil tool over and properties in the Properties tab. You can increase the stroke size or you can change the shape. And then this one is the line tour, which is also classified as a stroke. So it'll always be aligned with the stroke color. Now the main differences between all of these three options really comes down to the vectors that make them up. So on a brush mark, you couldn't. If I use the sub selection tool and click on it, you can see that the vector points actually make up the exterior boundaries off that mark, and you can manipulate them, select them, and by doing so, you can really change the shape of that mark. Where's on a stroke element? The vector points just defined the interior off that mark, so you can't really change the width of it. Um, you can see that the pencil lines have many different vector points, but the line tool will only have to vector points. And then, lastly, for your drawing and painting tools, you've got this thing called the paint brush tool on. That's actually totally different from the brush tool. This tool can be used as a stroke or a Phil, so you can see here that it's a stroke But if I go over to the Properties tab, I can change it to draw as Phil. And now it's going to draw like a film. All right, then you got your shape. Tools on there is a very standard and straightforward. They each draw with a stroke on a hill, and you can manipulate either element if you want, so that useful for a number of editing techniques. He wanted to select a line around Bill Element. Make sure that you double click that line so that that selects the entire line. Otherwise, if you just clicked at once, it'll only select the area between two vector points. So all of those tools are great. But there's one tool that I probably work with more than any of them. It's the one I will be working within discourse a large, and that's the pen tool. So the pen creates lines, so it's ah, it's aligned with the stroke. But it does allow you to control your vector points as you draw, and that's what makes it such a powerful drawing tool. You just click on the stage to create your first specter point on. Then on the next one click and drag out to extend these handles on these handles, Will Curt will determine the size of the curve. Okay, so that's really nice. And then, if you wanted to have a curve just on one side of the vector point, all you do is when you click and drag out, then click back onto that vector point that collapses the one side, and you can then create a very nice point and curve and then to close the shape off. You just click back on to that for a specter point that you made. And now, if you wanted to, you could fill that shape with any color that you like. Just a quick note about filling inside of lines if your lines are not closed. So, for example, you got lines like this and you try to fill ish. They won't. It won't feel unless all of the points are completely closed to ensure that, make sure that this Magnus icon over here switched on, and then things will snap into place, and that will be a lot easier to work with. And then you can just feel it like that. That's a brief overview on as we work through the character build. I'll definitely be explaining each of these tools in depth as I go and you'll be able to see the application of each one and have a much clearer and much more complete understanding off the drawing tools. If you have any questions at this point to make sure to send me a message on, I'll be happy to clear things up. Where there's anything that I've you think that I've left out. Please let me know one last thing that we need to cover before we get into designing and building on That's adobe animates symbols. And so in the next video, I wanted to show you what symbols are, how to create symbols so that your aware of that from the outset 8. Introduction to Symbols: in this video, I'm going to give you an introduction to symbols in Adobe Animate. I'm going to explain what they are, how to create them and how they work. So it'll be a bit of an overview, but with some very important pointers that I want you to keep in vying for later on when we get to an amazing our character. Whatever suggests is maybe book marking this lecture on Come back to it later on if you need to. If you need to sort of go over again. All of the steps that I'm talking about in this video on Don't worry. If things do seem a little bit abstract at the stage, when you do start working with symbols and animating them, it'll make much more sense. In the first animation course of published turned to animation, I told you how to animate frame by frame on. This is essentially a traditional way of animation. It's also known as hand drawn animation, and it's the absolute best way to learn how to animate. But once you know and understand animation principles, you'll want to be able to ramp up your work and start producing complex fluid and smooth animation, so that's where symbols come in. You can use symbols for complex animation for a couple of reasons. Firstly, symbols mean that you don't have to redraw everything, so that saves you tons of time. And secondly, symbols come between, so you don't have to key frame everything again. That saves you tons of time. So, for the question washes a symbol. Just think of a similar something that you don't have to redraw on something that you can animate with Tweens. OK, now let's look at how gracious symbol. If I make a drawing on the stage, the easiest way to convert this to a symbol is to select the whole thing, and then you can either right click and choose convert to symbol or his F eight on your keyboard. By the way that you do it, you'll get this dialog box in this box you condone. Name your symbol, and I want to point out here. Do not skip this step. Symbols live in what's called a library, and it's essential that you name your symbols at the very beginning. In order to keep your library organized. Well, it will keep your lively organized But more importantly, it will keep other Adam measures that you work with very happy. So really, one of the most important things when you're working with other people is to keep all of your files and your assets named correctly. Once you've done that, this next option that you need to look at is the one which allows you to choose the type of symbol. So where animators, we will only really ever need to use graphic. The other options are for HT Mile and Web stuff. Then the next thing is this box over here. This allows you to set the registration point of your symbol for rotation. Essentially, it's the anchor point that the symbols rotate around. So I will be talking about this a little bit later on in this video. For now, just note. This is where you set that anchor point and then you don't really need to worry about the rest. For now, you can hit. Okay, What would happen is you'd see this blue box that shows you your asset on the stage just now. A symbol I can't direct the editors. I can't access the vector points like this or change the color. If I open up the library, here it is. So this is where the symbol lives. And this thing here on the stage is actually really just an instance off this symbol over here in the library. It's just referencing that library asset. That means I can drag it out onto the stage as many times as I want. And it's still just one version sitting in the library, and I can scale and rotate these other instances individually. So if you wanted to edit or change assemble. All you have to do is double click on the item on the stage that effectively opens up the symbol. It reveals the original drawing. You can see up here the very top you. There's sort of almost like a breadcrumb trail. You're inside the symbol right now, So if I change the color of this, for example, there you can see all the other instances that are back out on my main stage have also changed color. As you can see, you also have a time night inside the symbol, just exactly like the timeline on and the layers on your main scene. So if you're familiar with the after effects, you can think of a symbol as a camp. It means that I can animate Ah, whole timeline within this symbol. So let me just add in a few key frames here very quickly just to demonstrate, okay? And then when I go back out onto my main timeline, or like the overall scene, I've got animation that I could now move around and scale. When you have a bunch of symbols on a stage like this, you can select them all you can right click on. You can distribute them to layers. And that is a really handy technique, especially if you've got a character with multiple parts on one layer on those. All of those parts are symbols. You can easily distribute them two layers. Just buy one right click of the button. Now, what I want to show you is, all of these things are an amazing at the same right. If I click on one symbol and go over to properties, just gonna drag this out. You've got a load of other options, like position and size, color effect. But really, just take a look, a looping for the moment. If I twirl this down, you'll see that the options under here or to Luke play once or single frame. And that means when you have a symbol that has animation, you can determine the number where you want the animation to start. So let's say on this one. I wanted to just be on one frame on this one. I wanted to play once on on the other two. I'll set them to Luke. I'll just add a bunch more frames to extend the timeline. So now you can see the top left. Flower doesn't move the top right. One moves once, and then the other two are on a loop. So that's a really handy way to vary out your animations as well. You can also change the frame at which the an emotion starts by clicking in this button here. The next thing that I want to tell you about in this video is how to rotate symbols because there are a couple of quirks within Adobe animate that I want to be aware about, especially Um, when down the line, we our animation our characters on, we're using Tweens on moving the our characters arms around. There's something I want you to really sort of be aware of at the moment. What I want to do is show you how to rotate symbols, using this character as an example. I'm just going to rotate his arm. The rest of the character of just leave as is I'm just going to move the arm. So I'm going to select the arm, then right click on all come down to distribute two layers on that already has put each of those items onto a separate layer. So, Tom, left arm upper Tom Tom left on lower. Okay, So if I come out to in my timeline on extended a fish and then say about here, I want to make a couple of key frames for the upper and lower arm. I don't want to rotate them up like he's, you know, putting his arm up in the air. If I grabbed the symbol, Andi moved the anchor point to the top in order to rotation like you would naturally or normally that's actually not gonna work. And I'll show you why in a minute. Let me go back down The timeline. Right. Click on choose, create classic Tween. You can see what happens there. Essentially, the program, when it creates the Tweens, isn't able to read the different registration points. The fact that we I moved to the registration point away from its native position. So that is a bit annoying because you instinctively want to be able to move the anchor point in order to rotate it. But if I undo all of dash and go back to the beginning again, let me create two key frames here. On this time. I'm gonna move each arm individually without moving that anchor point, making sure that that anchor point stays in the middle there on the lower on rotation and then move it up. Now, if I create a classic Tween, so there won't be the same issue at all. Adobe Animated is able to rotation because there hasn't been any movement in either one of those ankle points. However, I am gonna point out one thing in the first course I introduced you to the principle of arcs in animation. If I just left it to the software to Tween, you can see that the adobe animate doesn't actually handmade in arcs. So I have to do is basically create a breakdown drawing because you always want everything to move in arcs. It's a natural, realistic movement. So to do that, I'll come back to. But the in between point, Andi create two key friends there and just making an adjustment myself manually. Ah, now that's gonna be a much better, much more realistic and natural looking movement. So just to recap, when you are moving symbols individually and you rotate them by moving the anchor point between weren't exactly work the way you want it to, so make sure to just leave the ankle point where it is. However, there is an exception to that, and that is, if you should select two or more symbols and then rotate them. So I show you what I mean by this. Now, if I grab these two Cymbals together que on my keyboard, then move the ankle point and then I move it down, then come down to the timeline right click and created classic Tween. Between those two, you'll see it's the same. It hasn't married that awful sort of jumpy, jumpy transition on. All I need to do is adjust the breakdown drawing, so that's how to rotate symbols when you're using Tweens inside animation. As I said, when we get to animation character for your free to bookmark this lecture and hot back here just to go over that again, if it's not clear or if you've got any questions, just send me a message up. Next, we're going to dive into creating our character inside, animate and start building the rigs so that it's ready for animation. I'll see you in the next video. 9. Pirate Build: Head and Face; working with gradients: okay on a new layer. I'm going to start tracing at the shape off my character's face first. So I'm using the pentacle on. I'm gonna just click and draw the points, and I'm gonna create the shape as a go around. So I'm doing this because I want to have the base color of the face first. And then on top of that, I'm going to add the nose, the eyes, all the features like that. And I also like to do this on separate layers. For me, it's better. It's easier to draw things in adobe animate when I've got things on separate layers, but for the face and actually then going to collapse them all into one layer afterwards. In some cases, you'll need to keep everything on separate layers, especially for eyes and mouth. Okay, so that's the base layer. I'm going to go up and double click on this layer and rename this Captain Bones face. And then on the next layer up, I'm going to start drawing the moustache. As you can see, I'm not really sticking very close to the drawing. I'm simply using that as a guide so I don't have to worry about being super exact, and then I want a really strong orange color for this guy's beard, So I think something like that will be good. So now, in order to draw above the face layer, but yet still see my rough drawing underneath, I can change the lay entire layer to be Justin outlined by clicking this tiny icon here, and that allows me to see through that layer to the rough drawing underneath. Okay, now I'm going to move on to the beard. And remember, when you want to create points, you can just click back onto the last specter point that you made and then curve it out again. Make your curve click back onto it and curb the other side that way. And if you make a mistake when you're using the pencil or you do is hit command or control Z on your keyboard, that will undo the last factor point and you can start again. You can go again. Okay, so now, as he conceived, the mustache and beard are actually the same color. But so what I'm going to do is I want to try and offset the moustache a little bit So I'm going to turn the layer into an outline first. And then, using the lasso tool, I'm gonna carve out some of the shadows on the beard layer. You'll see what I mean. Now, in a moment I'm just basically drawing a shadow shape off the moustache like this. And then if I turn the outline off, you can see that the whole area is selected under this moustache on. Now, what I can do is change the color. We'll go up to the corner window and jealous make it ever so slightly darker. So it upsets very nice. Okay, then I could do the same within the beer. Just car backed some shadow areas like that. It'll give it a bit of depths and texture onto the next layer. Now I'm going to do the mouth. I'm going to keep that very simple, just a really basic shape. We're not doing any lip sync animation in this course. That's material for the next course, so I don't need to worry about making complex mouth shapes. Could just keep it very simple. All right, that's done the next up with the eyes for the eyes. I'm going to use the circle, shape, tool and just click and drag out If you wanted to, you could set the stroke to none by do it by clicking on this little icon here with the red line going through it that will ensure that you only draw shape with Phil the field color that will do the same for the pupil and change the field to black and then drag it over to the I. Now I'm energy the eyebrow on, but this I'm actually gonna paint the eyebrow on with the paintbrush so I'll just sample the color of the beard on to make a paintbrush marked like that's And there you go. That's a great eyebrow for a pirate. And now for the nose. So going back to the pen tool, I'm going to trace the shape around. I'm actually gonna close it off because I wanted to be a different color to his face. Okay, Now the I can be duplicated. That's very easy enough, But just make sure that when you adjusted into place, you kind of adjust it slightly since it come would look weird if it was the exact same thing copied over on the same with the eyebrow. I'm actually going to flip it to make it look like it's on the other side, and I'll change it ever so slightly. So it's not the exact same. You're amusing the eraser to tidy it up, and I think actually might do that on the other one. Okay, we're almost finished with the face. The one thing that I want to show you is how to add Grady in color. So, for example, on the nose, I would like if the nose was sort of redder towards the tip. So that's a good opportunity to show you how to make a grading color. Now, just a word of warning. You know, use Grady INTs sparingly. If you have a radiant dried, your whole character designed look very weird, but I'm really going to just do one or two little sections of radiance on this design. I'm going to select the whole color to start off with. Then I'll come up here and choose linear radiant from this drop down menu, then double click into this tiny little tab to change the color that's the stars in color and then double click over here to change the ending color. And for that I will sample the skin tone because I want the Grady into sort of fade into the regular skin tone. And then when you got that done, come up to the transform tool. But click and hold down on this and that will show you another option, which is called the rotate or the radiant transform tool. And with that selected, you can rotate your radiant or move it around, so that's looking very good, except that it's getting a little bit lost in the overall skin tone. So to make the nose a bit more defined, I'm going to put the outline or the stroke back around the field color. Now. Don't worry. You don't have to read drawers or anything. There's a really handy tool if you want to add an outline onto anything, and that is the ink but ink bottle, too. So Khan dash and then come over to your fill and just click on the side with the edge of the field. Then you consume elected. You can change the color, you can increase the size, and then I'm gonna delete dash line, so that looks great on, In fact, I think I might actually do a little tiny Grady int for his cheeks because I want him to have sort of too rosy cheeks. And rather than edit the basic the base color off the face, I'm gonna add too little cheeks on top. What will do is make this shape selectors manipulation into place and just note that that's on a layer above the the base, the face layer and it's above the eyes. But it's underneath the moustache, so that's the face done. All that. All that I need to do next is just do the hat. I'm pretty much this is my workflow for the whole rest of the design. There's nothing more complex or complications than that. There are a couple more techniques, though, that I do want to show you as we progress through the build 10. Pirate Build: Hat: So before I go any further now that I'm totally happy with the features of the face, I don't think I'm going to make any more changes. What I'll do is I'll collapse all of these layers into one layer just to make it a bit easier going forwards. If I was going to go ahead and animate different mouth shapes or have blinks for his eyes, then I would need to keep these items on separate layers. But since for this course we're just doing the overall character animation, not the specific details. We can consolidate things a little bit, just make life a lot easier to do that. What you do is click and drag through all of the key frames in your timeline. Don't select the layers themselves. Make sure that you select the key frames by just clicking and dragging all the way through , and then use command or control plus X to cut all of those of those contents you don't want to delete or copy. You just simply cut on, then go to an empty key frame and go command or control on. That pastes everything back into one there. With that done, I can delete those layers and keep things tidy. And now onto the hash again with the trustee pen tool. I'm sure you're getting the idea by now off my workflow, so I'm not really gonna labor the point. You basically create smooth lines around the outs, the outside tracing your rough drawing, and then you feel each of those with color. That's the the basic workflow. Really, the lines help you to trace accurately and perfectly so that your shape is exactly how you want us on. Then all you need to do is use the bucket tool to toe add the color. There's no more editing really required beyond this, and in this instance, I'm gonna use the Grady in Phil. So I always choose linear Grady INTs for these kinds of things because it's a lot more straightforward than trying to work with the radio. Radiant. Um, it's easier to move around, so I wanted to be darker on the bottom on Just have a subtle color change going toward the top. Nothing drastic, Joe. Something like that, or the trim on the hats you can tricked out as lines, so I'll just use the pen tool to create two lines. You could also paint it on with a paintbrush. So there we go very easily done. We're moving along very quickly, actually. So we've actually only got about two or three more sections to go, the main body off the pirates and then the legs and feet. So moving on in the next video, I'll tackle the main body, the jacket, the shirt on the arms, and I also show you a couple of techniques that are very useful for creating stripes or any kinds of patterns on top of Phil colors. 11. Pirate Build: Body; working with stripes: in this video, I'm going to show you really easy technique that's very straightforward for adding stripes or, indeed, any kind of passion. Teoh an area off Phil. It's super simple and straightforward, and it'll save you hours of time. In this instance, I've moved on to creating the main body off off Captain Bones and as my previous, as in my previous demo, I'm just using the pen tool to trace the outline, and I'm using the bucket tool to fill those outlines of color. Then I delete the outside line, and I've just got the flat color. But on this shirt, I actually want to have stripes. So there are a few ways off adding stripes, and some of them are way more messy and complicated than others. But here's the way that I do it. Create a new layer above that Phil layer and switch to the line tool to draw some totally straight lines like this. Remember, the line tool only has two vector points. That means you can grab anywhere in the middle of this line, and the curve will be nice and smooth and even. And once you got your curved line, select ash it's option, or also on your keyboard or with that press down, I should say, Just drag the line down so you've duplication it essentially. Then you can select both of the lines and do the exact same thing. Old a drag. Now you might want to just the curve on the second set of lines just because the idea is that his belly's getting rounder and rounder. Um, so I would drag him out a bit more and then rinse and repeat for the last two stripes. Because they're on a separate layer, you can adjust them freely without disturbing the fill color or making any kind of a mess on. Once you're happy with exactly how you want them to be, select them all by clicking on the key frame in the layer stack. Cut them on, go down to the layer below and paste them. If you want to paste anything in the exact same place that it waas where you created us or where you cut it from, let's say you have to hit or you have to hold command or control plus shift plus B and that will pace it into place. So now they're embedded on the Phil. What you can do now is just select different color and add that different color to those sections. Once you're done simply, DoubleClick all of the lines and hit backspace to delete very easy and very fast, and you didn't have to to make a mess with your back in your shapes. So the next thing that I want to show you is how to make arms for animation. This is like one of the most essential parts of building a character, the idea that you are thinking ahead towards the animation phase and thinking how to design your character. Four animation in other words, how you can break up shapes like the arm and make them rotate smoothly without looking like they're disjointed. So to do that, just draw the upper arm foreseeable, separate from the rest. But make sure that the end of it is a bit rounded. If you do that, that's going to ensure that the lower arm, when it rotates from the elbow, won't sort of be sticking out or won't have corners that stick out. It'll be a nice, smooth irritation, but that'll make sure that the joint is hidden so likewise. When you draw the lower arm, just round off that edge so that it matches so that it matches up with the upper arm. The wrist doesn't have to be rounded because the hand or in this case, the hook is going to be on a layer underneath the cup of the jackets. So that's gonna be nicely hidden anyway. And that's how you do arms, its exact saying for the other side. Just remember, on the other side, you goto order your layers so that the right arm will his left arm. But I'm gonna call it the right arm because I'm looking at it so you could have to ensure that the right arm is below the hole up the body were. In this case, the jacket can't be on top because it'll look very strange. You would do the same for legs if you had normal regular legs with a knee joint and an ankle joint. That and then the whole leg attach is of the hip. Our design is a little bit more stylized on. I'm gonna talk about that in the next video when we make the legs and the boots. But for the last thing on this section, I'm going to make the hand so hands can be very tricky. All I'm going to do really is just make a basic shape for the so the weight of the hand. And then I'll switch to a drawing tool to draw the inside lines to indicate fingers and things like that. And in fact, for these lines, I'm going to sample the same color that I used for the nose I find using a darker color like this is much nicer than using black, but it's that's my personal preference. If you want to use black lines, that's totally fine. That's the whole upper body done. All that's left or the legs will, the pelvis and the legs and the boots on. Not so I'm gonna tackle in the next video 12. Pirate Build: Legs and Boots; duplicating: so much like the idea of having a rounded edges to the ends of the upper on on likewise the lower arm for the pelvis, especially with this kind of a design. I want to have a nice, rounded shape so that the legs can really move around and kind of we can hide the fact that they're very stylized, if that makes sense. So very simply for the pelvis, I'm just gonna make, like, a squashed around over like this. Andi fill it with a sort of a dark brown color for his lower for his legs. And lastly, I just want to make sure that that player is completely underneath everything else. And now, normally, he would have an upper leg on lower leg and foot much the same where you go to upper arm, lower arm and in the hand with this guy, though I'm only going to make the upper leg on the bush. I'm gonna make the boot his kind of lower leg and foot all at the same time. It means that the movement of the legs is going to be a bit restricted. But I think that that really fits this kind of stylized character, and it's going to make it look very cartoony on fun. So hopefully it'll be okay. So I'm gonna make the upper leg just sort of a shape like this. That's one leg. And then on another layer, I'll do the other leg and the boots are easy enough. There's no details on them, just a shape on. In fact, all I really need to do for the other boot is simply copied over and make sure that they're pointing in the same direction. Now, believe it or not, that's the entire rig completed. I've got everything drawn that I need and, more important, ape. Everything's on separate layers and the layers are in order. So in effect, this guy is almost ready to an image. There's only one very last step that we need to take in order to get him ready for animation, and that's to turn all of these parts into symbols. I'm gonna hop over to the next video. I'm gonna attorneys into symbols. Andi. Then I think we'll be ready to move on to the two animation projects if you've gotten this far in the course. Congratulations Well done and a character build is a really, really important part of animation, and it's an important part of your portfolio so well done for getting this far, I'd love to see your work. So, please, you know, if you can send me in a J peg or posted into the discussion area, that would be awesome on dykan give you some feedback. And also, if you've got any questions, make sure to send me a message. I'd really love to monitor your progress on helping out in any way that I can. Plus, if you've done a design that actually totally different to this character or even the too rough joins that I did, everyone else in this course would love to see your work because we can only learn more from each other. And that will be really inspiring to other students in this course. If you've taken all of these steps but created a brand new character, so do consider sending it in 13. Turning Parts into Symbols: So in this video, I'm going to show you how to change everything that you created a threat, your design into symbols so that it's ready to animate. But before I do that, I have noticed something that I forgot to do, and that's I forgot to do the belt on the character on. So I'm gonna quickly create that belt and then move on to the symbols so are created on a layer above his shirt. But then afterwards, I'll add it directly onto that shirt layer. And as per usual, I'm using the pen tool to draw the shape and then the bucket tool to fill that with color for the buckle itself. I'll just use a shape tool and keep it really simple. I think I wanted to be a kind of a gold color, maybe like the trim on his jacket there. So the character stroke I can make it. I'll make it a little bit lighter is, so is to give the impression off, you know, high life or something like that. Now select the whole belt, cause it from that layer and pace it directly onto the shirt there. Okay, so previously I made the Captain space into a symbol that includes his beard and his head and everything on you can see that if I click on it, it's got that blue box around the edges that indicates that it's a symbol, so I can't select. When I click on it. I can't directly select the actual Phil or the vector points. If I needed to change anything on this, I'd have to double click on the symbol, and that will open it up for me to actually, you know, go inside and change it that way. For example, I'm going to actually add on a bit of hair at the back there, like a ponytail or something like that, just using the brush tool again. And then when I'm done, I just double click anywhere on the stage outside of the artwork and that'll bring me that will close up the symbol and I'll be outside of it again. So the way that I'm going to proceed for every single one of these parts is that I'm going Teoh. Since I went to the trouble of actually naming every layer, I'm gonna use that name for the symbol itself. You just have to double click on the layer name and that high that already highlights it. Then command or control plus C to copy the name. And since the asset is already selected on the stage by that same action, you can hover over it with your mouse on right click. Come down to the end or the second last option there and choose convert to symbol. You could also hit F H on your keyboard that will also bring up this dialog box, then hit command or control V to paste that name into this field. So make sure now that you're type set, a graphic on you can leave the registration points here in the center. But later on, we might move it around for different parts of the body. So again, for the jacket, I'll double click on the name to copiers, hover over that ison convert to symbol and then paste the name Click OK on the arms. Now, when I do this process, I I'm going to make sure that I set the registration point to the top because that's where I want the rotation point to be. Since you'll be swinging his arms from the top and it just makes it easier when you're an amazing when you got a lot of key frames to enemies. If you don't have to go proving the registration point around, then when it comes to the feet, I'll set the registration point at the toe. But you could also said it at the hell either one is fine. I could contract over this whole area. You can actually see that everything is selected. Everything has a blue square or blue bounding box. If you're following along with me, step by step and you come to this point well done, you're actually finished your design. You're finished, your character build and you're ready to go on to animation. So that's a huge achievement. That's a massive project to have completed on. Building a character isn't easy. Character builds, especially for animation, are really important to know about. You need to know where and how to break up the character designed for animation, and you also need to know the hierarchy off your layers so that when you hand off your design to an animator, the entire rig is already set up and ready to go, and they don't and the animator doesn't have to move layers around on reorganize things 14. Checking the Rig: So in this video, I want to double check that your rig is ready for animation before we go any further. So I'm going to go through the layer orders on you can check that your IQ has the exact say layer ordering is me, and then I'll do the final check forward the registration points of each symbol, and that's a really important step to do before we get into animating with Tweens, which is what we'll be doing later on with the walk cycle. So I've turned on my radar again just so that I want you to be really clear about where, when I'm clicking on things like that. All right, let's start the check. You want to make sure that you're ordering your layers like this at the very top. Is the head on under? That's the hat. Then it's the left arm, upper left arm lower and hook underneath, urges the body. Then you got the right arm upper right arm lower on the hand, then under all of that's the pelvis and then the left foot under. That's the ref leg and then you've got the right foot and 100. Ash is the right leg. So hopefully yours matches the same as mine. And if you're just using my rig, then hopefully you'll understand the layer orders. And when you do go to make your own character rig down the line, you will be able to know which order to put them in. Now, I'm going to go through the whole thing on fix the registration points for any of the symbols that I'm gonna be rotation leisure on specifically, the arms and the legs. I think those are really the only parts that I'm going to be rotating. Ah, the others, the body and the head and the hash don't need to move as much. So if you click on a symbol like this like the head, for example, make sure that the selection tool is active so you can see what I'm talking about. So just hit be on your keyboard. What you see is this circle with a cross in it. Okay, so this is the registration point that you made when you created your symbol. Initially, if you hit Q, that's effectively. You're switching from selection to transform tool. Then what you see is this white dot and this is what you can drag around. It's different from the registration point of the symbol. This is the transform point or the pivot point so you can choose where you want it to be, depending on how you want to rotate the symbol. So this is really important, because when you're working with Tweens later on, you actually need to keep the rotation point or the pivot point. You need to keep it snapped back to the nation registration point of the symbol. And to do that, all you have to do is double click on us. Now it's back in its native point, which is what we want for the arms you wanna have the upper arm rotation from the shoulder , the lower arm rotating from the elbow on the hand, or the hook rotating from the wrist. So what I want to do is just go through these now and move each of the symbols and into the correct position in relation to the registration point because you can see here, Um, this one is slightly off, even though when I created the symbol, I put the registration point at the top when I made the shape. It's not exactly where the top of the shoulder is. So all you have to do to fix this is double click and open up the symbol switch to be on my keyboard. But my drawing is actually already selected on. Then I'm going to move the upper arm up to the registration point. So now that's exactly on the shoulder. That's where I want it. Perfect. Then I'm going to double click, go back out to the main stage. It it'll swing exactly from the shoulder, which is where I wanted to swing from. Okay, Now I'm going to do the exact same with the lower arm double click inside switch to V on my keyboard. They're Aiken, See the Ridge Point, and I'll just move the Now sit back up. Now it's going to swing from effectively the elbow, and I can double click on my transform or pivot point to snap that back into place. Okay, Gonna do the same for the hook. Just to be consistent. Grab the drawing, moved at down to where the registration point is. That's perfect. Moved out into place, and then we'll do the other arm so you can see there. There's the registration point Double click to go back out. And I could double click on that transformed point and snap it into place. No, your arm switch to be on my keyboard. Move the drawing up que onda DoubleClick the transformed point back into its original place . So it's just a matter of working through systematically through just a couple of these. Couple more want to do the hand and then the legs and feet, So that's perfect on. Then. Put these back in. Okay, so the upper leg I can select it. Hit for you on my keyboard. Nagy it up. I wanted to rotate from about there on then double click to go back out, hit key on my keyboard. Double click on the Transform Point to get it back into place and then move it back. So the feet are pretty okay? Actually, I don't Don't think I need to move the pivot points for the feet too much or the registration point. Here we go. Okay, So that's all finished now. I am completely short that all my entire rig is properly set up for animation. If I select the whole thing, you can see that the registration points of the arms are at the top, and that's exactly what I want. So now I'm good to go. This might seem like a bit of a complicated procedure, but when you do get to animating the walk cycle, you will really appreciate putting your rig in the proper order this way, because it will just make life a lot easier. Your animation will be smooth and seamless, and you won't have those awful Tweens Tween animations where the thing breaks and jumps from one key frame to the neck. So, congratulations, that's a really, really important project to have completed. Its a highly valuable skill set toe have to be able to not only design characters but build them with a with animation in mind on DA. I'm very proud of you for getting this far well done. And now it's time to prove into the next part of the course, which is going to be our animation projects. The first thing that I want to do is I want you to get used to this rig on. I want you to practice moving this guy around with something that you might already be familiar with so if you remember in the first course, we did a little stick figure doing a jump. That was one of our main projects in the first animation course. So now we're going to test out this rig with that same animation. You'll get confident animation with multiple layers, but you'll see that it's not really that any more difficult or complicated than the stick trigger jumping from one point to the other, I'll see you in the next video. 15. Animation Project 1: Jump Part 1: So, as I said, since we've worked through this whole build from complete rough concept, right the way through to animation will rig. It's going to be really nice to test this out and see how it works for animation before we move into the final project off the walk cycles. So that sounds interesting to you. Then watch the next couple of videos and refresh yourself with animation principles. But if you want to move ahead to the walk cycle, then you can skip ahead and go and do that if you wish. But I think since you've spent the whole course up until now, drawing and designing this character, it is a nice opportunity to review principles of animation and things like timing and spacing, squash and stretch your timing charts and key friends and in betweens. Let's dive in to making this character to a jump. Now, the first thing that you need to do really it should be part of your process. When you go to animate anything, you want to be able to draw thumbnails out first just to flush out your animation than to just or really rough sketchy poses off where you want your animation to go first of all, up all of my layers into one folder on our lockets. I'll create a new layer on top and I'm literally going to trace this guy, so that's going to be his starting pose, and he's gonna be standing on a box for the jump. The next thing is, I'm gonna make a sketch for the end pose for where he lands, and then the next pose that I'm going to draw is going to be his action post. So that's gonna be when he jumps up into the air. Okay, so now I know where he's going from landing into the air, two landing on the ground so I could draw my anticipation pose So the anticipation poses where he anticipates down before he jumps up into the air. The third pose that he's going to do is stretch pose. That's when he's in mid air, leaping up into the action pose, just to note these are thumbnails. I don't There's no way I'm going to be able to get the rig to do exactly these dynamic shapes, but I'm not really worried about Dash just flushing things out for myself. The next pose is the stretch on the older side, where he drops out of the jump and he's falling towards the earth. And then finally, that overshoot pose where he kind of crash lands and he's in a squashed pose like this on. Then he's going to settle. He's going to stand up and into that final pose. So those are all my poses. I've gone ahead as well, and don't my timing chart. So I know that I've got, say, two drawings that I needs going into the anticipation or to pose is I've got a slow into the jump in a slow out of the jump and then two more poses going into that final standing pose. Okay, so for the first pose that I need to move them into is the anticipation. So to do this, I'm going toe place my play head at frame number five, which, according to my thumbnails, is where the first poses. And by the way, I just realized that actually means that I only have one in between from standing to the anticipation. Okay, anyway, so click and drag all the way through the layers. So you make sure that you've got everything on your rig selected right click great key frame or click that little key frame button there or hit F six on your keyboard. Now, by dragging through all of those layers, you've made sure that everything gets key framed for that frame. Andi, you've essentially got a brand new pose that you can now manipulate. Change around on. Move him exactly how you want. So what I'm gonna do is click and drag around just the top half, making sure that I only select the top half on a nudge, that whole section off parts into place. So I moved the top half into position using Q on my keyboard. I might also move the head and the hash a little bit further out. Then I'm going to select the arms and move them individually outwards like this. And so now you can see the difference between the two poses okay, so simple enough moving ahead. I'll do the jump pose and the same way. Click and drag through all of the layers to set your key frames for that for that frame, then moved a whole rate into place where you want us and now start to move the legs or the arms. When you're an amazing something like this with multiple layers, just try to keep all of the moving parts to a minimum. I'm really just trying to stick to moving the arms and legs and maybe the head and trying to keep the main body as one unit. So it's just that's just a handy kind of piece of advice to It'll help you to not lose track of all of the moving parts. Okay, Now, for the overshoot pose, I can actually copy the anticipation pose. So to do that, just select all of the key frames where that is. Hold on, hold on your keyboard and then dragged him through the time line all the way over to for him. 16 Summary for the last pose. I can copy all the frames over from the first pose on. Then I'll go up to the stage and place the character correctly. Now for that, you need to make absolutely sure that defeat match up with the contact position that was in the previous pose. And then you're done. Those are all of the key poses. You could tweak things here. This at this point, I might change the position of the arms. Dispose doesn't look right. I think I want in tow, have its arms thrown back on. What I'm gonna do is actually flipped. Um, that makes the arms oclock and not better. Just moved them into place without fussing over things too much. I think I'll leave that there. And in the next video, I'll just do the in betweens and finalize this this piece of animation. 16. Animation Project 1: Jump Part 2: All right. So all I need to do now is make appear in between on and this animation is complete for the 1st 1 That's gonna be the pose that's in between the starting pose and the anticipation. Now, I don't need to move the fees, your legs, just the upper body. And what I'm gonna do is I'm going to favor that anticipation pose. That's fine. Now I'll move on to the stretch pose, but frame seven. I'll drag through all the layers, hit that key frame button, and I'm also gonna turn on the onion skin. I moved my entire rig up to about halfway the halfway point there. I'm gonna rotation around and then I'll just start to nudge the legs into position. So the thing to know about something like this is that in this position, things like the arms and the legs, things that are extending out from the main bulk off the character, the main bulk of the body, these elements are usually have what's called secondary action or they represent secondary action. Deccan reaction is action that's dragging behind the main action off the animation or the post, for example. They're going to drive behind his body, which is going forwards, and the same goes for the arms. His head, though, will be definitely looking up to where he's headed. I hope that makes sense. It's a bit of an advanced principle. Say, if you've got characters with flowing hair or flowing garments, things like that, all of those things that are external or added on will be classed a secondary action. Okay, so my second in between is gonna be a lot closer, and now the arms will be catching up to the main pose. That second reaction will be filtering often all of the parts and start to catch up to each other. So they're going to swing forwards a bit. All right, that's starting to look good. And now, for my slow out of the action pose, I'm gonna set my keep rooms here at Brain 13. This is just this is going to be just a slight bit ahead and again the arms are gonna drag or lag behind the main movement and the head and the hash is gonna dean back a little bit. But this time his feet can start to point where he's going. So that effectively is my stretch pose right there, actually. And now the next stretch poses going towards the contact position. And what I'm gonna do here is dragged the whole pose down. So that one forces actually already making contact with the ground. What that does is that it's going to reinforce the contact when he hits the ground, and he makes that impact of him hitting the ground. It will be all the more noticeable to our eye on. It'll be forceful. So it'll give the impression that he is heavy, which is what we wanted to look like. All right, so he's still in the stretch position, all right? But his arms were going to start moving downwards. However, I'm keeping them flipped like this for now. They're gonna flip over when he actually is. Hits that landing pose, all right. And that's his landing pose. And now just the slow in for the settle. I'm gonna go back to frame one. Actually, I'll switch the ground layer on again. That's a fairly decent jump. Nothing's totally off. What you could do now, if you wanted to, is go back in and tweak certain poses. If you felt like the arms needed to change or needed to lag behind a little bit more. But overall, I think those are all of deposes that's needed for the specific animation. So hopefully that's been a really good refresher for you on how to quick key frames in betweens, how to do your timing and spacing. Andi, I hope you got in a bit of practice working with a rig like this that has lots of layers. I'm gonna need this animation filed for you. So if you want to open it up and sort of, you know, dig into it, go back into it and pick it apart, you welcome to do so. But I'd love for you to have a good an amazing your own jump with a character. Either this pirate character or the character that you've been working on yourself. 17. Anatomy of a Walk Cycle: So this video is the introduction to our main project. With this course, which is the walk cycle, I'll explain the basic and nationally of a walk cycle and teach you the four main poses. I can't stress enough the importance of learning how to animate walk cycle really well. A walk is deceptively simple. It seems like a very kind of ordinary, mundane action. But there are a couple of reasons why this project is really important to get right when you're learning how to animate. On, also why it's so important to have this as one of your core projects in your portfolio when you're applying for jobs. And the reason why it's so important is even though it's just a simple action, and it only takes about 12 frames, really. For one step, it actually comprises a lot of complex processes. Things move at different rates. You have to apply a lot of animation principles. All in all, it's not as straightforward as you might think. The second reason, as well, is that there's probably as many different types of walk cycles as there are types of personality on when someone's looking at your portfolio and they look at the walk cycle. They're looking to see how you have infused character and personality into that action. By understanding the fundamentals of walk of a walk cycle, you can then adapt them on. Take that temporary, really, and tell the audience a lot about body language. Essentially, a walk reflects body language extremely well. In this video, I'm going to show you the anatomy off the walk cycle using this very simple stick figure. And then we'll take this template. Andi, I'll show you how to animate the pirate walk in the exact same way. And then after that, I'm gonna show you how you can loop a walk so that your character is walking on the spot. Then I'm gonna show you the application off all of that or how to make a scene look cool. So OK, I've got this stick figure, and I've made the legs and the arms different colors because I want to show you how the arms move in opposition to the legs. So the red legged arm represent the characters right side on the blue leg and arm represents the left side. Okay, let's dive into it. This is my starting pose. Now a generic walk usually takes about 12 frames for one step, and then you'll add another 12 frames for the second step. So I'll go ahead in the timeline and make keep rain Mikey pro at Frame 12. And then what I'm gonna do is select everything. Turn on onion skin and just drag my drawing forward to where the next that step ends. Now note that the foot needs to match up exactly with the previous drawing. If you don't do that, the animation will look like the character sliding on digital. It'll really jump out and look weird. So lining that up and now, obviously, I've got to swap the legs and arms because the blue leg is now forward on the right leg will be behind on the same with the arms would just do that quickly. Now the very next pose that you'll do is the middle posts or in between these two extreme poses. You've got the Middle post, which is called the passing position, so that's when the characters halfway through taking one step and it's called passing position because the back leg is now passing that standing leg in order to swing forward and land in front. Okay, there we go. The two things to note about this pose in the passing position. That's what always stays flat on the ground. And this is the pose where the arms are actually closest to the body. No, the next pose that you'll do is the down position, which is when the character is ash, its lowest within the whole cycle. On what's happening here is that the front foot slaps down onto the ground like that, and when that does so, the knee bends on the back knee bends, and that's the action that makes the whole body come down slightly. So you could think of it like it's an anticipation pose before he goes up and propels himself forward. I know I'm making this sound really extreme on Do you probably think you don't go down in a walk cycle when we walking, but you actually do. If you didn't have this down position, your walk would look very odd and look like you're just gliding, right? So two things to note in the in this position, both knees are bent on the head is lower than the rest of the posed within the cycle, and then also it will three things. Then, in this pose, the arms are at their widest. So that's very Contra Jude of you would think that the arms were on a normal swing from here through, but actually, they go out in this post. This is the post where they're at their widest, all right? And then the final pose in the walk cycle is called the up position that comes between the palace in position on that final pose. And this is where the character is being propelled forward and actually goes up onto the toes like this. And so the things to note in this pose is that this guy is on his toes, the arms no switch over. So they're crossing like that, and this is the highest point for the character within the cycle. So just to recap, you've got the contact. You got the down position, you've got the palace ing and the up. Those are the four million poses. And then your contact position is simply, um, on exact copy off your first contact position, but with the arms and legs switched over, and I'm going to show you now what the arcs looked like because it's very important in a walk cycle to keep everything smooth on on the same on uneven trajectory. This is the ark that the head moves, the hips move in this kind of a narc, as do the knees, but the feet just moving small arcs like this. Those are the four main poses on def. You wanted your if you wanted to finish out the animation for the step. There's really just two poses to in between schedule. So this one and I'm gonna draw this one. And that's our step completed on what I'm going to do now. Its focus on looking at the legs, You need to make sure that things were really evenly spaced. So I'm just gonna look at the red leg first from frame to frame as I go through. And I'm looking at the blue leg from frame to frame and right there, I can see that this poses not evenly spaced as an in between. So I'm going to select the leg rotation back and limits. You really have to ensure that everything is even and smooth. Um, otherwise it will not look great. All right, Fine. Okay, so next I'm going to do the second step. Now, since I've got all the poses made, they're the exact same poses, but with the with the other legs and arms. So I'm going to copy them over my timeline, and then I'm going to drag each drawing across one at a time. And if I hit enter? No, I hit. Enter. Now, this is what a normal walk cycle looks like, taking one step and taking two steps. So if you want to practice this, that will be great. I'll leave this, uh, stick figure for you, and you can download the file and have a go it just practicing regular stick. Figure on one layer with no kind of complexity, really on and see if you can get comfortable and familiar and confident with animation, your character walking. But if you think you've got it and you're ready to move on, that's awesome. In the next video, we're going to start an amazing, the like pirate character on. I'll show you how that works when you've got multiple layers and you need Teoh animation walk cycle. We're going to do a regular to step animation and then I'm going to teach you how to loop your animation so that he's walking on the spot on. Then finally, I'm gonna add that route to scene with a background on even add in some music, so let's get ready for the final section of the course. 18. Animation Project 2: Animating a Walk: Okay, now that you know or you have a fair idea at least off the basic template for a walk cycle , I'm going to show you in this video of my process for applying that template to a character like this one. So the very first thing that I always do is I want to make guides for the ground plane so that his beat will be consistently on the ground. I don't want them sliding around or have him floating or anything like that. Andi, I'll also make a guide for the top of his head like this. Okay? And then I can come down to the layers. I'll drag the guide layer to the bottom. Now I'm going to move the whole rig over here because he's going to actually moving forward in this animation. And once I'm have in place now, I'm just going to put this character rig basically into opposed where he's taking a step. So I want to make my first contact position. Remember, in the contact pose. Both feet are on the ground on his arms are in opposition to the legs. So the left arm here is going to be going forwards because that left leg is going back. I just want him to look like he's basically taking a step. He's sort of in mid step, if you like. Now, at this point, I'm just realizing that I should have actually moved the whole of the right arm below all of the other layers. Even the pal listen and the leg. So I'm gonna fix that really quick. Then it's done, and I don't have to worry about it. Okay, That's why I'm going to continue. So that arm is actually swung back like that. So that way we don't actually see it because it's behind his body. Okay, great. That looks good. Next, I want to make my second contact position. I'm going to come forward in the timeline and at frame 13 I'm gonna literally I'm going to click and drag my cursor all the way through the entire stack of layers. Then I'm going to come up and hit that key frame button. And now everything on this rig is key. Framed four frame 13. I just need to simply drag everything over on the stage so that he's actually gone forwards . But I want to make sure obviously that his feet still matchup. So I want that they're put there to match up with the 1st 1 You could see that when I move anything I'm selecting by just either clicking and dragging around the whole eyes. Um, and I either use V or two on my keyboard on. Then I can change the position I usually USVI, which is the selection tool to, uh, to select the idol. And then I'll hit cue to rotate er's. Okay, so that all goes back and this hidden norm goes ward here. I do need to actually select the key framed on the timeline in order to move it, because I can't grab it on the stage. That looks pretty good, though definitely moving forwards. Okay, so next is the passing pose at frame seven. I'm going to click and drag through all of the layers and then hit the key frame button so that everything gets key framed at that point and then altered onion skin on on. I'm going to change the position into a passing pose. Remember, that's where the standing Legace Straits the body is gonna be slightly higher than the first contact position on his back leg is now going to be swinging forwards. The arms are now down by his side so I can change the shape of this and rotate that lower arm sightly. Then I'll move that hid Norm just slightly. Forwards interview. They're not wide at this point. I'm going to keep them still quite close in. Okay, The next pose that I'm going to do is the second position. That's the down on this pose after the contact pose is where the front foot slaps down on the ground, his knee, you're supposed to be bending on his back leg is also bending. You can see with this very stylized character. I'm really doing the best I can to make it look like the legs or bending at the knees. Um, it's a bit of a cheat, but that's OK. It's going to read perfectly fine when the final animations finished and in this posed the arms with the widest and again because of the limitations of the design. All I'm gonna do is rotate the lower arm up ever so slightly like this. Nothing drastic, but it gives the impression that that arm is swinging forwards. Okay, that's all some. The next poses the up position that comes after this middle passing post. So it frame nine. Click and drag through all of the my layers to make key frames for that frame for frame nine and there. Go up to the stage and create the pose. Remember in the opposition, he needs to be almost on his toes on that standing leg so I can even rotate it like this on , then moved that back leg forwards. So that's coming forwards. It's the one that's coming into land in front of him. Then I'm gonna grab the whole of his upper body and just nudge it slightly upwards to make sure that he's a little bit higher than the previous post. And his arms are starting to swing outwards like this. Perfect. Okay, those are all the poses for the well, the main key poses. All I need to do is to create juliam in betweens. I need an in between a from five on one at frame 11. And by in between I mean, I'm not changing this trajectory or the timing of anything here. This is a straightforward pose that needs to be exactly halfway between the two poses on the other side. You'll see that in a walk because the arms and the legs are all moving at different timings you do actually need or four main poses to be your key poses. And then after that, you really just need to sort of in between poses like this. Okay, the last one is that frame 11 as he comes back into land for contact. So in this one, his foot hasn't quite reached the ground yet. His upper body is still halfway between the passing pose and the contact on. I'm just nudging the arm ever so slightly. Hopefully, you can see with the onion skin turned on that. You can see the before and after pose that's ghosted out there. That's very useful to find your halfway point, and now I've got one step and it looks great. There's nothing jumping out. Nothing is hugely wrong or anything, so I'm very happy with that. I will move on and animate the second step. Now. The second step is no more complicated at all than the first, so hopefully he'll have at least a clear understanding off again. All those four main poses and also how to great key frames. Onda just the rig for each of those four positions. To start my second step, I'm going to copy the exact pose of the very first contact position and just drag the key frames out to 22. Frame 25. Now that gives me the end pose off the second step, and I can drag the character into position on my stage. But I'm not going to copy any of the other poses. I'm going to animate each one since for the second step, each of the legs and arms are switched around. So if I were to do 1/3 and fourth step, then I could easily just copy each set of key frames and move the rig over on the stage. If that makes sense. As I said, my work flows the exact same. I'm going to do the passing pose first, since that's the middle position off the walk, so that's gonna be it frame 19. Then I'm gonna follow that with the Don pose at Frame number 15 creating key frames in the exact same way on adjusting the rig into position for that pose. Then it framed 21. It's the opposition. Then it framed 17. I could make the in between pose between the down position and the passing position on the final poses a frame 23 The in between that goes between the up and the last contact. So great everything's done. The very last thing that I will do is select all of the frames at brain Number 25 on. Just drag him back one frame in the timeline because I had too many frames there. I only actually needed to go as far as Frame 24. So let's see how this looks. I'll go back to frame one his enter on theirs. Great little pirate walk. It's a very jolly, jaunty walk. I think it works. Grace perfect. So why don't you pause this video and practice this method of making a walk to really good way to run the poses and the timing. In the next video, you'll learn how to animate a walk so that it loops and you learn how to animate that with Tweens. 19. Animation Project 3: Animating a Looped Cycle: to start off this animation, Justus before I'm gonna great guides on where this one. I need a guide, actually in the center of the character as well, because he's going to be walking on the spot. So I want to make sure that he doesn't drift Ford's then at frame 13 just before create a set of key frames. This time, though, I'm not going to move the character on the stage. Four words. I'm simply going to stop the legs on the arms, but keep him in this exact same spot again. To select things. I'm using the selection tool, which is be on your keyboard and then to adjust. Um, I switched to the free transform to which is cute. All right, that's my second contact position. Now I'll go back to frame one, click down through all of these key frames and then hold on Ault on my keyboard and dragged him over through the time line all the way to frame 25. So now you can see that I've got all my contact poses on. What I'm gonna do now is go ahead and create a classic between in between them. So I'll do one of this side on one on that side on here. We've got a very smooth, if somewhat weird and floaty walk cycle, but it's working. So the thing about this is that at any point in this Tween, you could make a set of key frames here that will lock that section of between into place. That that makes sense. And then because it's key framed, then you can actually go back into the rig on the stage and just the the Post. So this part here, for example, this is where the passing pose should be as normal and as you can see, because it's got a Tween, it's kind of a passing pose. It's not quite, but it's more or less. He's halfway, Let's say between the two contact positions. So I'm gonna make a said a key frames and then I'm going to just oppose, so it's exactly like a passing pose. In other words, I am going to shift the rig up a little bit. I'm going to make sure that you know the feet are on the ground properly, and you might be wondering of the state. Well, if you have to oppose is What's the point of making the Tweens? Well, the Tweens do a great job at making very smooth motion on Do they really help you to not worry about how to find your halfway points? Everything is very smooth. And then the other thing is that when you do create key frames on top of between, like this, Actually, most of the work is done. You're really only just sort of tweaking things into place. Essentially, you're relying on the software to create that nice smooth in between between two poses. But then you are manually determining the timing. So I'm going to go on to frame 19 make another sash of key frames. I knew the same thing here. I know of a playback. It's already starting to have a little bit more of that bounce in the walk that you want on . It's looking a lot better, So create key frames and no jump down over here. Suddenly, now it is definitely looking a lot better. The only thing that you do need to be aware of is that when I talk about things having different timing, I'm specifically thinking about the fish in the legs because they definitely need to stay on the ground for the 1st 2 poses. So what I'm gonna do is I can be tricky to kind of see what you're doing. When you got your Tween in place here, I'm going to select all of the area around the 1st 2 poses, right click, and then I'm going to remove between. Then I will lock all of the other layers so that I can see exactly what I'm doing with the onion skin turned on. That way I can adjust them so that the knees bend correctly. The fish are not floating up in the air, but they're still on the ground because I don't want this put to move just yet. And then once that's done, I'll just put between back in again. So the next posed to key frame is the opposition. I'm gonna go along to frame nine, create key frames there on just simply notes the rig up, modify the position of the feet, and that's fine. Then going along to the second step, I'm going to do the same process for the feet on the legs that I did before. So first of all, remove removed the classic Tween, and then I'll dial into the details and make the one foot stay grounded on the ground and make sure that the knees bend a little bit on. Then I'll add between back in. Okay. The last pose is the opposition on this step, which is again a matter of just adjusting the feet and nudging him up a bit like that. Okay, so now if I play it back, it is indeed a really smooth walk cycle. It works just fine. The very last thing that I'm going to do is I need to delete the very last post because that's essentially that last contact position is the exact same is the 1st 1 on when you're looping and animation, you don't want to have the two poses be the exact same because it will look like the animation is being held slightly. So what I'll do is just create a set of key frames just before the very end lies here, and then click through the entire last set of key frames, right? Click and choose removed frames. Now, if I go back to the start, Andi, click on this button to loop the playback. It's looking great. That's very cool. Very simple walk cycle. It's very piratey. I think it works great. Now let's hop over to the next video because what I want to do now is show you how to turn this 24 frame loop into assemble itself and then added to a much larger scene with a background. 20. Adding Animation to a Scene: this'll next section is going to show you how to take your animation and added to a scene on So far, all that we have is just a character walking on that might seem a little underwhelming to you. You know, you might recognize that it took a lot of work just to get this very small result. But really, I want to show you the potential of what you've got here. If you add this simple walk cycle to a scene, if you add a little piece of music, for example, suddenly this is gonna have so much life. Andi, So much interest. The first thing I want to do is just show you how to take the simple two step loop and make it look like he's walking across the stage. And then I'll show you how to complete the whole thing by dropping in the background behind him. Okay, the first thing that you will need is to basically turn this entire animation into a symbol itself. That way you can animate that symbol. What you do is just click and drag all the way through your key frames. Then right click Choose cut frames go up to insert on Jews. New symbol and here you could call this whole thing. That's a Captain Bones walk soup. Andi Click OK, and now you can see that you are inside off your symbol, so paste the frames into your timeline. And there's all your animation exactly as it was. Everything is named so perfect you can delete all of these layers. Then when you go back out, rename your layer, Captain walk or animation. Now go over to your library, which is over here. If you open it up, there's your walk soccer right there. So just drag it out onto the stage on this is frame one. So let's extend our timeline, and now you can see that he's walking. So just all you have to do is make a second key frayed. And between this animation itself, uh, now he's walking across the stage, and you can obviously play around with your timing. If you want him to go faster or slower, see what happens. There's usually a sweet spot where he's not like looking like he's, like, tweezing across weirdly or he's not walking on the spot either. So play around with that now, when you get to the final key frame, click on that, come over to properties, Onda said. This little thing here to single frame in the properties and that will stop the animation at that key frame. Okay, now I'm going to clear this away because what I want to do is let's go over to photo shop. I want to show you a background that I made a while ago. I've reworked it somewhat, so it's a bit different now, but as you can see, it's a very layered document. But for our purposes, all we need really is just a J pic you can now. At this point, if you wanted to sort of dive into a program or software like after effects, and if you wanted to do that, then you would also have to export your animation from Adobe Animate. You'd have to export it out as a PNG sequence, so that's not something that we're going to get into in this course. It's a bit fussy and complicated, really. We just want a nice quick results for our animation, so we'll stick with working inside of adobe animation. Okay, so now I've saved us out as a J pig and I'm going to import it. I'm gonna go back into adobe animation and I'm going to import that image onto the stage, but obviously on a new layer. And now that's there. I'm going to scale down my character. That's another thing that you can do when you have transformed something into it into a symbol. You can change the size of your animation, which is great. Okay, Gonna make a key frayed over here and scaling up to give the impression that is walking towards us. I'm going to create a Tween, and there you go. And that looks awesome, doesn't it? But I think that looks really, really good. OK, but now I want to have a finished scene, so I don't really want him just to walk into the middle. What I would like for him to do is actually walk off the scene. If he just walked off screen completely, that would give us a very nice start and end. So the only problem with that, as you can see, is that the barrels on the boxes in the foreground will cause a problem. There's actually really quick fix, and if you're interested, then we'll just quickly do that. I'm going to grab these barrels Basically from the Photoshopped document saved him out as a PNG on and bring them in here on a separate layer. So back and photo shop, you can see that these barrels are actually ready in a layer called overlay. Overlay is an animation term for anything that will be on top of the animation. So any background elements that's gonna be on top of your character animation, So that's exactly what we need. Someone emerge then, and you could either right click on Jews, Exporters P and G, or copy the whole layer into a new document and save that out as a PNG. But you definitely want to save it as a PNG because that will ensure that the Alfa Channel is included. And no, you don't don't say that as a J pic. Now back in animation, create a new layer above the animation on import the overlay. It should be the exact same size, so you can just place it on top. But you might have to nudge it into place just a little bit. And I think, yeah, I think I scaled the background slightly, so that means I do have to adjust it. But that's easy. So there was a lot of steps on and a little bit fussy, But I think it was worth it because we know have an awesome looking scene. That background just really adds to the animation. There's really only 24 frames of animation in that, plus the between. But yet we've created almost a five second clip and it looks great, so you could leave it there if you want to do. If you think that's perfect. Andi, um, you're happy enough to stop there. But I wanted to show you two more things that I think are really useful to know, especially if you're enjoying this whole process of creating a character and building a scene around him. One thing is that I want to show you how to add a mask to your animation. It's a powerful thing to be able to incorporate into our animation because it'll help you to make it look as if the characters moving behind or in front of something, and what I thought was it would be amazing if we could have this guy coming out of the bar or tavern back there in the background. That way it looks like he's really interacting with the background instead of just having him standing, starting in the middle on walking off. So it's so easy to do that. I thought it would really be worth it to take a few minutes. Um, it's really just a one step process. Then I want to show you secondly, how you could add your jump animation to the same scene. Since we animated this pirate character jumping, why not bring him in and combine the two animations for a really awesome final clip? Actually, there's 1/3 thing. I also want to show you before the end of this course, and that's how to add music. So all of the houses in the next couple of videos Andi, very straightforward, easy things to to achieve on you will have accomplished something great by the end of it. 21. Something is Missing!: there's something missing. I don't know if you can spot it, but it looks very obvious to me. And that's that. The character doesn't have a shadow because of the lighting that set up in the background. It's very obvious to me that he doesn't have a shadow, and what that will do is just make the whole thing look like he's not part of the scene. It's a really small fix. It can be very easily added. So I'm gonna jump over to photo shop and on a new layer, will create a circle or are just going to click and drag out an oval shape. Then, all right, click on rust, arise that shape asteroids layer and then come up to filter on, come down to where it says blur and choose something like Gaussian Blur. And then you can affect the blur by dragging the slider up and down. That looks fine on. Then I'll drive capacity down again, save it out as a PNG, and then hop back over it, too. Adobe animation and go file import to library. This time shadow open. Andi, this p and G down here is the shadow that I made in Photoshopped, so I'll drag that out onto the stage, and I scaled it up a little bit. Put those windows back so we can see clearly. So now you can just tweak the shape Onda. I'm actually thinking that it should really move a little bit with him because he's got this bouncy, jaunty walk. So I'm going to create a key frame to just, uh, make kind of follow or mimic or copy that walk on. Then I can use my classic Tweens between the whole between those key frames on. Let's see on there we go. So now if I go back out to the stage, come back to frame one hit enter. I think that's a much better now that he has a shadow. It's really integrated the whole thing a lot better, and he looks like he's part of us. 22. Adding a Mask to Your Animation: so a mouse. If you don't really know what that is, it's just a shape that blocks I part off your animation or part of your image on you can set your mask to exactly what you want it to block out on. Also, if you've got layers, you can choose which layers that mask will effect. I'm going to show you how to, Adam asked to the scene. Andi, it's only gonna affect the animation, not the background. First of all, what I've done is I just I was back in photo shop. I just erased the doors out off the tavern. It's just easier to demonstrate this mask now, so I've important that edited background on. I'm going to drag it out onto the stage. Then I'm gonna create a new layer above the animation there, grab the pen tool and draw a shape like this. Now buy out of feel color. You can see that the shape takes up all the right hand side of the screen, but it lines up exactly with the edge of the off the door off the tavern, and then I'll right click on the layer and on the juice mask, animated automatically locks those layers once you've made it a mask. So the mask and the thing that you want to be masked to have to be locked in order for the effect to take place or to be or a least for the for the effect to be visible. So if you wanted to edit this, um, but you unlock it, obviously, you see the whole big shape. All you have to do is set that layer modes to outline on. That way you can edit away and see exactly what you're doing. Okay, so I've moved the animation over and I'm gonna lock the layer on The effect of the mask has enabled. And there we go. That's way better. That really, really looks like he's actually walking out of the tavern. I just have to make a final adjustment, the matter of tweaking the mask layer so that you get it exactly right, and I'm also going to scale them down. I might even add a key from here. Teoh a slow the walk down as he comes out on. That's looking much, much better. OK, so the last thing is that if you wanted to, you could adjust between itself in terms of making a slow in Oran. Ease in and out, and what you do is you click on between in the timeline, then go over to properties. And this is actually the properties for that between. And here is where you can affect the the easing. So this little pencil here, if you click on that, it brings up this graph on effect. Essentially, you just drag these curses. I would affect either the slow in or the slow eyes because I want him to really try. I want to slip, try and slow him out of that tavern a bit. Okay, so one thing I should mention that I want to do now, which you don't have to do if you don't want to. But just for myself, I really want to separate the shadow layer out from under The pirates on just added on your new layer so that if I do rotate the character like it did just there, I don't have to worry about the shadow being also bit rotation. So because it that just looks weird. It's a bit of an orchid fix, but in the end it will look good as I say. You don't have to do this. Um, but all I'm going to do is essentially take it out off that pirates symbol or that animation symbol. Andi, Make it. It's a new layer completely on its own. They just need to Tween us all right, As I say, you don't have to do that, but I think it looks much better now. So is where is before? We just had the pirate walking from the middle off the background on, then off the scene and then off screen. Now he actually comes out of the tavern, and that just makes the whole thing up way more engaging. 23. Combining the Jump and the Walk: remember the jump animation that we did earlier. Well, in this video, I'm going to see if we can incorporate this into are seen as well that way. Hopefully you'll start to see all the dots connect up from the initial jump that we did in the very first animation. Of course, of the stick figure right the way through to the jump in this course and now to the end, that's final final animation piece. Here's my jump. There are no Tweens added. It's just straightforward on I'm Percival going to export an image of the character from animation. That way I'll be able to bring this image or a copy of this pose into photo shop because I want to make something for him to stand on. And I want to do that in Photoshopped. So go to file export image and then make sure that you choose P and G antics save. Then in photo shop, you can open up that file that you've exported. I'm gonna use the last so Jewell, just to grab him like that and then go over to the background and I'm gonna just paste in there. So now I'm gonna choose the pen tool and what I want to do is create a box or a crazy or something for him to stand on. It can't be too tall because he doesn't really jump very far. So this is how Jewish. Okay, I'm gonna use the pen to just to draw the basic silhouette first. Something like that. It can be rough, since the background is kind of rough. Anyway, it has that feel to it. And now I'll change the color by going up to my layers stack and double picking on that thumbnail icon that allows me to change the color so I'll sample this war. Ground item next, right click on the layer and Jews rest arise, layer. So what that does is it now allows me to make actual changes to the box or the crate. So a very quick way to change up the colors off something like this once it's rest arised on. What I usually do is I use the lasso tool to select an area off color. This time I'm using the political polygonal lasso. I want to establish a lighter tone on a mid toad. So all I do is hit command n on my keyboard, and that brings up this Energia here, which is called the Curves editor. If I pushed the curve up like that, it'll brighten it up the it'll brighten up the selected area. I'll do the same on this side, but this time I'll drag the curve down. Very, very simple. I know. Maybe just the same. So now I'm gonna carve edge still with the lasso to carve out some shapes just to indicate the sides of the great I'm gonna do the same on the top. Never want to really set that off completely. I can just add tiny touch of a highlight on the edge of the shadows. They're getting a bit detail now, but it's just so easy to do it. It's very, very quick, and it has a really good effect that looks really good. So as I say, you don't have to get so super detailed. I do tend to dial into the details a bit too much, but, um, I guess it does add up in the end. Or maybe no one will notice this. But it's thes air good techniques to know about anyway. Another little technique that I like to do is just to give it small nicks on the side there where the panels of the great are now it looks a bit more effective. Okay, I'm going to export it the same way that I did with the early. So just exporting P and G, copy it into new documents, delete the background layer and then saved out as a June. Save that out as a PNG and then back to animate. First of all, let's get this jump animation into a symbol. So selecting all the frames, cut them, insert new symbol, Captain jump. Okay, paste the frames. And there we go. Go back out to the timeline, go to the library on, find the animation there and just drag it onto the stage. Now, I'm going to go over to this file, which is my walk cycle. I'm gonna go into the library of this while copy the walk, come back to my new document on paste it into the library. What happens when you do that? Well, it might not happen for you, but this dialogue box popped up because I earlier changed. I think the jacket, I think, emerged the jacket and the shirt together in an earlier version, or at least an aversion After I did the jump, I can't remember Exactly. So what I'm gonna do is actually just choose this option. Thankfully, day give you this. Put duplicate items in a separate folder, so know what measure? Cool. So now drag the first animation. If you haven't important, the great you can just go file import to stage or import to library and drag it out onto the stage. And there we go. So now make a new layer, create a blank chief ring here on this last frame off the jump, created blankie frame and then dragged the walk cycle and put that into place. So on the lower layer where the jump was, all I need to do is create a blankie from where that animation ends. Okay, so that's looking good. I'll go into the jump animation and just put that shadow in certain matches up. All I need to do is drag it out from the library onto the lot of the last frame on this time, I'm going to use Tweens to move it as he jumps, because maybe it gets smaller as he jumps in the air and then bigger as he comes back down to land classic Tween. There we go. OK, so last step is to bring in the background, so create a new layer. Name it background and important to the stage. That's perfect. Now you could have also put the background in first and then added your animation on top. Obviously, Totally fine. Um, all the that all of that, it means now is that I've got to really just my animation. So I wanted to show you how you can edit multiple frames that are already animated. What you do is, if you select this button here, that will allow you to do that. If you drag across the time line and make sure that you've got everything selected on your timeline that you want to edit, sh. And by edit, I mean scale or move hit Q on your keyboard and scale, um, into place. All right, there you go. So the very last final thing, actually is to just import that overlay just like we did in the last video. And once that's in place, this is going to look awesome. So import the overlay and There's a very cool looking scene. If you've followed along with me, if you've gotten this far, or if you just enjoy watching all the steps in this process, I hope that you found this useful and enjoyable. I'm really pleased with how this animation worked out, and I really, really hope that you have the state the same animation, too. What I'm going to do for the final final video in this course is show you how you can add music. Um, audio is just like almost 50% of your animation, really, I know that's a harsh to think about after you've done all this work to animate and to build a scene. But really, when you put in music or any kind of sound effects or anything like that, it gives your animation so much more. And it's really worth going through the steps so you can actually do that inside of Adobe Enemy. It's completely part off the whole process. It's very easy, and I'll show you how to do that. In the next video 24. Adding Music to Your Animation: The very final thing that we're going to do in this course is add some music to our animation on. It's actually very straightforward to do that in adobe animation on It's something that I want you to be kind of a wear off and familiar with. So when you do get to actually lip sinking animation or animating a character talking, you'll be fairly okay with audio with inside of animation. What I did is I just I really Google's. I went onto Google, Andi. I Googled pirate music on. I ended up going over in the end to this website, which is called Audio Jungle, where I get a lot of music from, especially for making my courses on. I just put that search term in there, and I was able to find a piece off piratey music that I thought would suit this piece very well. Unfortunately, I can't hand this music track out. It's really the license around. This music track was a bit restricted, so what I would suggest you do is have a look for yourself online. If you confined a piece of music, you want something just very short on a short music clip with your music track saved to your desktop Inside of animate, you just need to import it like you would any other file talk up to file import to stage no imported to the library just to show you the whole thing. There's my track. I'm importing it as an MP three because sometimes, well, way file doesn't Snus doesn't show up inside of animation over my library. There you go. You can see that that is my audio clip, so just make sure that it's a dot MP three files that you want to import. Drag it and put it out on the stage, and then it's going to show up in your layer stack of the timeline. And if I scrub through there, you can actually hear Rush playing. If you scrub through and you cannot here playing back, what you need to do is check the properties, so just click on anywhere on that timeline. Just click on the work on the sound file on Open up your properties tab so done here you'll see a thing called Sink. Just look at that drop down menu and make sure it's check to stream, and then you should be able to hear when you scrub through. So because this track is actually a bit longer than my animation, I'm going to drag it out. I think it's about maybe 12 or 13 seconds. So, yeah, I can see there that it's tapering off to the end. Now I'm gonna go back to the beginning, and I want the animation to start where the music comes in. So at that point there she's around from 105. So unlock these layers, dragged through my entire animation and then go to the first frame on just click and drag. The whole thing is one Eunice over to there. I love it starts on a place through there. Now I'm going to drag my background back to frame number one. So I'm just clicking those key friends and dragging them back. Let me lock that again. I'll play it through one more time. That's pretty good. So I just need to make sure that the animation that the background stays on screen to the end of the music now what I want to do is just put a really subtle, really small camera move at the very beginning. of the scene because it's very static on. And, you know, the music is adding so much atmosphere and drama and tension. Well, so it'll be nice if we can also bring some of that into the actual scene itself by just giving a tiny little camera move. So to do that, all you have to do is create a set of key frames where you want. I want to have a little tiny kind of zoom in on to make that affect. What you're gonna do is just increase the size of the background ever so slightly. I'm going to create key frames here, which is this is exactly how I want the background to be when the animation starts so great to key friends there. Then I'll go back to my first key frame and I'll scale it down a little bit. So now it looks like the background is zooming up or scaling up as we go in. And the what that effect does is it feels like the cameras moving closer into the scene. And now, of course, because I've made the background and the over Larry somewhat bigger in relation to the rest of the scene. I have to go back and change my mask, but that's very easily done. You can see there now. He's just sort of walking in the middle of a yellow thing. So I'm just going to unlock that layer and grab us, grab the corners and move it so that it's covering the door. Exactly. And finally, that is the finished end product. Okay, lets splash. I think that's, I think, very, very good. I'm happy enough to leave it there, and I hope that you've learned a lot from that process. The only final thing that I want to do is add my doors back in because I did say earlier that I was going to take out the doors of the tavern and then add the backend. So that's the last step. You certainly don't have to have that in your animation. If you've even got this far and you created a scene just like this, then that's brilliant. If you want to see the final final step, meet me in the next video, I'll just show you how to Adam Mayes, Those tavern doors swinging open 25. Animating the Doors Opening: Theo Doors. I'm literally I'm just going to draw them in Adobe Adam ish. I could go over to photo shop and do it, but it's just simpler to do them here. I'm gonna use the pen to redraw them. I kind of remember how they looked. They were just those, uh, kind of western style saloon doors. Then I'll fill them with the color and just zoom in on kind of modify the shape, get them exactly how I want And using the lasso tool. I can just give them a little bit off definition for the look of the door. Now I can select the whole thing, right. Click and convert it to a symbol. I shall call it just door one because I'm going to duplicate it for the second door. Uh, so copy. I'm gonna go inside. Copy, dash drawing. If you want to call it, make a new layer, paste it on top of that new layer. There we go. Then. I just need to modify us and flip it horizontally. Okay, So to do that, go up to modify transformed flip horizontal that will give me the second half of the door and then I can right click convert to symbol, call this door to and nudge it into place. Okay, so this one, I can make a slightly different from the 2nd 1 If I used the Q or transform to, I'll just sort of scale us and tweak it that way, transform it and skew ish into place and coming back out into my scene. Now, I've got my two doors I wanna wanted. The first thing I need to do is make sure that they scale up in the correct proportion with the background. Because remember, we added the camera move in the last video. So a great key frames exactly where the background has scaled up and then dragged, um, and scale them on, put them into place like that on it might take a little bit of tweeting, but hopefully my playback yet slides a little bit. So I just need to make it so that the Tweens match each other and that that looks a lot better. Okay, so now this is the point where captain walks out off the tavern. So as soon as he as soon as he appears, I want to have those doors that have burst open. And to do that, all I'm going to do is flip thm the other way. Flip them horizontally. So they opened. Nice. They opened very suddenly. So select each one. Good. Modify, transform, flip horizontal and then drag Drag it over to the left, place it there and do the same with the other one. Flip that horizontal, but then drag it over. Now it looks like it's opened. OK, but you can't just have it flip open. I've got to just add a few more key frames where it kind of anticipates a little bit and then opens. So maybe I'll make two key frames before and have it just slightly, um, opening and it flips open on. Then, after he walks out, I'm going to have them swing back close behind him. So at this point in the timeline, I'll just make a set of key frames and really just tweet them back. I think about I think I've got about six frames there, and that should really do it and then I'll just do the same for the other side. Okay, and now the moment of truth. Let's see what we have in terms of animation hit Enter. That looks pretty awesome. All right, well, that's the final final version. That's the final product on do the final scene. So I'm going to leave it there on. I think we've really gotten through a lot by creating all of that. That was a huge run to work. I hope you enjoyed it. I think it's great. I think the animation looks awesome. It's really quirky on fun on. And, um, that's ish in the next video, I'll just give you a couple of pointers for export in your artwork and your animation on. Then it will just be left for me to say Thank you so much for sticking with me through this entire course, so just meet me in the next, prettier for the final round up. 26. Exporting Your Animation: I think this video I want to show you a couple of ways to export your work. I will preface it by saying, if you wanted to make this part of a larger piece, like if you actually want to make a short film out of your animation, really the best way to make that would be in Adobe after effects, so I don't have to scope in this course to cover that. I'm definitely going to include aftereffects in my next course Level three animation. But if you if you just got an animation scene that you want to show people you want toe put into your portfolio on it, whether that's online or whatever, then there are a couple of ways that you can export your animation from Adobe Adobe animation. Before you do that, I just want to point out an important thing to check and important stashing is under published sessions, so goto file on come down to publish settings, and this is just really a pre export check that you should do. All of these things are fine, but what you want Teoh make sure is that this check box is switched on, which says include hidden layers. What that does if you have a checked off. Sorry, I should say you want to make sure it's checked off. If you have a checked on, then obviously it's going to export all the layers that you've hidden. So say, for example, you've drawn your thumbnails on a different layer, or you've made guides for the feet Or, you know, like the way we did in the walk cycle. All of those things will export in your final movie on. That will look terrible. And you might wonder, How do we get rid of them without deleting them? Um, well, that's what you do. You just make sure that check box is switched or the other thing to do is just to make sure that you were layers or switched to guide. And I did show you that previously, when you're right, click on the layer and converted to a guide. If it's a guide layer, it's not going to export out anyway, So just be aware of those two things. Okay, once that's fine. That's checked off. You can hit okay and then go to export. And then when you, when you get to your export options. You'll see there's a couple of different options. You've got export movie and export video. So export movie really is gonna export your movie out as something called us swf dot swf or a swift file, as people often call it on. What that is is basically another adobe animate file. So whoever you want to send that to needs to be able to open adobe animation. It's a way off exporting your animation at a very, very low file size, so as long as the person you're sending it to has Adobe animate, they'll be able to view it. Also, in this option, you can also export things out as a J pig sequence gift sequence, or PNG sequence on. What that will do is just basically export every image to say your animation is 110 brains long. You will be able to export out 110 frames on the J. Peg or PNG sequence is actually the way that you'll be able to bring your animation into after effects. If you did want to go that route. But if you wanted to export your animation, the whole scene as a regular video file. Then come go down to file export as video so it will export a video file. But it's going to have to encode it within adobe media encoder. So if you click exports, another program's gonna open up. You can see it there. Adobe media encoder that just like automatically pops up and it'll cue it up like a regular render queue. So then click on the name. If it's ready, that'll be Stuttle say, ready there. And then you just click this play button here, the screenplay button to processes, though clicking on that and here you can see that the whole thing is processing out and you're done. So now you've got a very cool video file that you can share with other people. First of all, I want to say congratulations for getting to the end of the course. That, in itself, is a huge achievement. I know exactly how hard it is to learn anything online, completely different to being in a class with other students on, you know, sort of being with the teacher one on one. The fact that you've gotten through this whole course right to the very end in and of itself is a huge achievement. Well done. I tried to make the course as engaging as possible, and I'm sure there were times where did like a little bit. And I apologize. But I'm delighted that you've got here and you got all the way through to the end. I'm also really proud of you. Follow the steps that I took so right the course, even if you just make, you know, designed a character. But if you learn some animation techniques, that is really something to be proud of on it is actually a very big achievement. I really hope that this has given you an insight into number one. How easy it could be to animate a character. I really wanted to demystify the process for you. So you're confident about creation, your own animations and creating scenes. If you've gotten this far, if you've been able to animate a character using a mosque out of music, adding a background everything, that is something that you can show to a studio and they'll be ready and willing to listen to you or to take on board all of the skill set that you have simply by doing that you demonstrated that you can create a character from scratch. So that's character design. You can build a character rig for animation. Plus, you can competently Andi effectively animation character within a scene. Don't underestimate how marketable skill set that is. If you've gotten this far so again, I'm really proud of you. Thank you so much for sticking with me in this course. Please send me a message at the end of the course and let me know how you enjoyed it. I know hearing feedback from my students. As I've been saying all along. If there's anything that wasn't clear that you think are kind of rushed over or anything like that, please let me know and I'll be sure to go back. Andi included into the videos. Thank you so much for being here for being part of this course. I look forward to seeing you in the next one