Hand-Drawn Animation Fundamentals: Beginning 2D Animation! | Isaac Ramos | Skillshare

Hand-Drawn Animation Fundamentals: Beginning 2D Animation!

Isaac Ramos, Animator. Artist. Husband. Teacher.

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9 Lessons (37m)
    • 1. Introduction

      1:15
    • 2. Set It Up!

      2:01
    • 3. Prepping to Bounce

      5:47
    • 4. The Fundamental Bounce

      8:23
    • 5. The Screen Bounce Prep

      3:49
    • 6. Rough It In

      4:31
    • 7. Smooth It Out

      6:47
    • 8. Color It Up

      3:45
    • 9. Thank You!

      0:22
13 students are watching this class

About This Class

In this foundational animation class we are going to learn how to animate a simple ball bounce in Photoshop.  This is the exercise every animator first learns when they begin their animation journey.  We will begin by using a simple exercise, the oh-so-amazing bouncing ball, to help us understand keyframes, movement and timing and then we'll move to a simple character walk later on!  This is going to be a ton of fun and anyone can do it!  If you've ever wanted to learn to do hand-drawn animation, this is the place!  Join up and we'll have you animating in no time.

Transcripts

1. Introduction: Hi, My name is Isaac Ramos. I'm a self taught artist animator and graphic designing. If you've ever wanted to learn animation, now is the time to do it. I'm gonna be teaching a class on hand drawn animation techniques using the exercise called The Ball Bounce to teach you foundational animation principles to get you from bouncing a ball toe walking character in a few short Syriza's left. Many people wish they knew how hand drawn animation work, how cartoons move across the screen from one side to the other without changing shape or getting all wiggly and wobbly. They simply wonder. How do you animate with hand drawn animation? That's what this class is in doubt. We'll start off with the ball bounce to learn spacing, timing slow and slow out squash and stretch and art. This teaches so much it is a perfect starting place for anyone who wants to learn animation . We'll be using photo shop for this class, but the principles could be used in any program and over any medium, such as stop motion or flip books. If you want to be an animator, enroll in this class and we'll have you animating in no time. Thanks for watching, and I'll see you in class 2. Set It Up! : Okay, so let's get started with this. We're gonna start with their documents set up, so go ahead and open up, Photoshopped. I'm gonna be using photo Shop CC. If you don't have that, it will go as far back as photo shop. CS three, cigarette click on file New. And let's go ahead and name this vertical ball bounce. This will be the first exercise that we do from your clipboard or document type. Use a pull down menu, click on film and video HDTV, HD TV 7 20 p. Make sure that all these settings air correct. Click. OK, I see these lines. They're just guidelines. If you don't like those, you can go ahead and get rid of those. I'm gonna go ahead and stay with them. They're not bothering me. So go ahead and come over to right here. Your workspace panel. We're gonna make an animation panel, and this is how we're gonna do that. Go ahead and leave. Color and swatches and libraries. Click right. Click closed Tabb Group on channels. Right click. Close paths. Right Click. Close. All really? All right. Now all we need right now is these three panels right here so that will be all we're gonna be using. Gain on. Come over to a window and slide all the way down to your timeline. Click on timeline and click. Create frame animation. You can see it says zero seconds. Right here. Um, go and click that you got a variety of times that you can use for each one. It's that essentially the exposure of that frame, um quick, other. We're gonna be animating on twos, which would mean 12 frames per second. So we're gonna say 0.5 click OK, and our timeline and workspace and everything is set. 3. Prepping to Bounce: Okay, so let's go and get the floor set up. Get ready to animate if you want to see your full screen at least on a PC is what I am familiar with. You can press control zero. I think it's command zero for Semak. But you can press that. It'll show your whole screen. Come over here. Right. Click. We're sorry. Click and rename your layer floor. Use the marquee tool. Select the bottom section of it. These are essentially you're safe areas toe work in so everything that you want to be guaranteed to show on a screen. Need to put inside this main area right here. The center square. Okay, click on your paint bucket. If you don't see your paint bucket, you might see the Grady int Uh, hold click and hold on that button dragged down to your paint bucket tool and you'll see that. Okay, so whenever you come over to your marquee area, Gordon, click that and fill it with black, and that's going to come over here. Make another layer. This is gonna be our path in timing. Well, this will just be our path right here. Grab your brush and depressed be on that. D select this area down here, control D and hold shift and just make a straight line up about that far. Make another layer. We're gonna rename this one double click on that and name it Timing marks. So our first drawing is going to be right up here at the top. Hold shift. You can see that. My cursor says that right below it and draw a straight line across hold control. And Ault, you'll be able to bring another layer down just a hair. Okay, We're gonna gradually move these further and further apart because our ball is gonna be accelerating. That's a little too close, just snapping. So when a nudge it has control and your down arrow you'll be able to nudge a little bit. Okay, See these? They're getting just gradually further apart. Our ball is gonna be increasing in speed as it falls. This makes a new layer every time you do this. So there is a way to avoid that. You can select whatever is on that layer and move that down, and it will just make the same mark on that layer for as long as it's selected. So those air together again. So control Z on. Do those. So I don't want them that close together. Okay, a little bit further. No whips. Move that down. Pulling shift a little bit further. Not quite to the bottom. Be right there. Actually, I think I want this one right here. Move this up a bit. I don't make a duplicate right there. Kind of split these two. Those all seem pretty even. I'm gonna Okay, I'm gonna delete those. I don't like how that worked out, so let's see. We start that you may find yourself doing this a few times and that is OK, Bubbs, I'm a brush selected. Can I get that that down slow, But okay, so we'll go with 1234567 bounces. I'm gonna go ahead and combine all these that way. I don't have just a bunch of random layers. You can highlight all of those layers using click and then shift. Click at the last one that you want or control. Click If you want to skip layer and press control, Ian, it'll merge all your layers together. Um, OK, now let's make the ball. If you don't have a digitizing pad or away calm tablet. Um, Then this will be how you can still fall in this class and animate with us. Um, so reading Click on this middle part. Quick control Ault and shift. And you've got a perfect circle. Um, you want to grab this click and hold on this menu and then come down to elliptical marquee tool and then you'll be able to select that. Come over here to edit and stroke. Go ahead and use two pixels on this. You can play with it. That's what I'm gonna be using right here and click. OK, it'll stroke. Make a line around the ball de select and see that it's just a perfect circle right there. So now we've got a ball on our own separate layer, so that's gonna be how we start to animate 4. The Fundamental Bounce: Okay, so we've got our ball bounce right here. Sorry. Our ball. And we need to make it go from this. Come all the way down to here. I'm gonna try and center it on that Use transform, press Ault smash it down a little bit. That way, it looks like it's still the same size. Bring it up, hold shift so that they're keeping it in that same line. Control T will let you transform this so you can stretch and grab these little handlebars right here. I'm gonna let you manipulate it so you can change its area and volume. Um, press enter on that. So now we've got our starting point in our ending point. So these are essentially the key frames. So we're gonna grab this one, and it's gonna fall and kind of change shape, make it look like it's building momentum and gaining speed where it hits the ground and then bounces back up. So this is really just gonna be a cycle. So this is our bowl not copy. Double click. Rename it ball squash. Okay, so right in between all of these were going to go and select the ball layer and control all to click and move it down. Just a tad of clubs, press control and all, and down on your down arrow and that'll copy it. You can nudge it down a little bit more. Holding control. Okay, so it's still gonna maintain most of its shape cause it's not moving a whole lot just yet. Move it down just a little bit more. Gradually, it's going to start to change a little bit of shape, not much at all. Just enough to make it look a little different. Okay, still looks mostly round, but we know it's moving. Okay, bring it down. Make it look like it's about about centered on that line. Control T transform again. Make it a little bit more stressed a little bit more, a little bit longer and a little bit thinner. What you want to do is maintain the appearance of volume is called solid drawing. One of the hardest things about hand drawn animation is making whatever you're animating look like it's staying the same shape. Kingo and Control Click on that again control t transform, Hold the Salt Cay and stretch it out proportionally on both sides. Okay about right there Press enter and one more time Control T squash it down just a little bit and stretch it out on top Cake groups press enter. Hear that? Okay, let's take off our timing work and our path and let's see how that looks. Okay, I'm gonna go and create a new layer. Go back to your first layer and whatever happens on the first layer happens toe. All of the layers are all of the frames afterwards. So we're gonna take everything off of this first layer, move to our second layer and start with our ball Move that it's gonna copy this layer. Once you click this new frame button, it's gonna copy the later that you went from. So I'm just gonna move to the next ball, take the other ball off so you're essentially animating layers as you're doing this in photo shop, New frame both for frame five, the frame ball squash. Okay. And you, this one and actually, right now what I want to do, I want to make a different ball. So doesn't sound look exactly like just a repeating ball bounce like it's going forward in the rewinding. So what? I'm gonna do. So I'm gonna take this layer ball five and move it up just a little bit, and then I'm gonna activate that one can see right here. You know, deactivate these layers. Is there both squash? 65 Okay. Seeing that up. That off. Okay. There. Okay. Need to skip ball five. Going back up you layer ball too, You layer. Sorry. New frame. And then you don't want to do this so that you have it looping. So go over here to this once pull down menu Quick, Forever. That's gonna tell you that's telling you how many times you want it to, Luke. So I'm gonna take that off, delete that frame, turn this layer off. See, I told you that. And whenever you make a new layer, it's going to do Apply that layer to every single frame that is on here. Okay, so you turn back on turned ball six back on. Okay. So I need to get rid of that one. Had it for a second. Okay, so whenever you play, you're gonna have this sort of look right here. Okay? You can see it's bouncing nicely. Looks like it's got that stretching effect it's okay to exaggerated a little bit. Just make sure it feels like it's bouncing. That ease in and ease out is really helpful in these. So whenever we see just a slight bit of movement that's called slow in start slow out because it's moving down. So it's gonna be getting faster, and then it gets that fastest point. It stretches, hits the ground, has some force bounces back up, and then we get our slow in effect. And so it's slowly moving and it's taking it easy. Gives it a more lifelike appearance. So we're gonna do here. Go to file export save for Web legacy setting and let's see, Go ahead and change this to five. A set Jif or the G I. F. I'm not sure if Jeff for gift jf 1 28 dithered would be fine, um, and then rename it to whatever you would like to name it to you as you save it. I'm gonna name it vertical ball amounts and and we'll see how that looks as a finished product. Good post that in the class project page and we will check it out 5. The Screen Bounce Prep: All right. So now we get to the exciting thing and make our ball bounce across the screen. So what we're going to do first is Justus. You always would go to file new and create yourself a new document. And I went ahead and made myself an animation document so that I can get into this and just go straight to this. Now I have to change any settings. I just go straight to that and then you can rename it whatever you want. My name is gonna be I've already made the document over here, Bob Accounts ball bounce from beginning to end and changes the resolution to 300 pixels per inch. That's gonna give you a finer, um, resolution so that it's it looks smoother going click. OK, if you want to make your own preset, you can click, save preset in the name it whatever you like. So once that's created, you can have your animation workspace over here, and we'll use the color in a little while. So same as always, you're gonna come over here, create your floor using the marquee tool. I've already done that, and then what you're gonna do next is, you're going to make your path. So you're going to draw three arcs from the left side of the screen to the right side of the screen. You can draw more. You can draw just two arcs. What you want to get is just a nice feel for it. I would recommend three gives you a little bit more practice. Um, you were able to see a little bit more result from what you're doing. So once you've got your paths drawn, you can either draw it with your mouse or your pin tablet. Or you can use the lips tool and use the stroke and then make the make the arcs that way, or you can do it another way. And so once you've made your paths, then you want to make your timing marks and your timing marks are gonna look something like this. They might be closer together. They might be further apart. Play with them, play with spacing, play with the timing on it, and, ah, then you'll. You'll really get to see how the ball bounces across the screen. When you do the vertical ball bounce, it's not as visible, but you can still see a little bit of the effect that gives you the idea of what you're gonna be using in this lesson. So you will make your keys, which is gonna be the highest, the most extreme parts of the animation. So this one is the top of the ark and the bottom of the arc, Which this would be key one essentially, in this one would be what about six or seven for me. You don't have to make it either of those. You can make it 12 or 35. That would be really That would be like a slow motion ball bounce. But however you want to do it, you can play with it. Um, this is going to be your keys right here. Each of the extreme parts. So then you go in and you'll make your slow in, uh, places. I'm gonna go and make a new layer for that right there. And this one will be your slow in. And so right here, Marks, they're gonna be closer together, and then you're slow out. They're also gonna be close together and then gradually get further apart as the balm increases in speed. And so that will be. And at the fastest places, the drawings are gonna be further apart in the slower places. They're gonna be closer together, just like that. So once you get those drawn, you can move on to the next part. 6. Rough It In: Okay, So whenever you get into the actual animating of the ball, you're going to draw them one by one, just like you did with the vertical ball bounce. So I've gone ahead and put in some drawings on these layers. So each of these, they're pretty close together. This one's a little bit easier to see without them being on the vertical ball bounce. Everything looks like it's really, really close together. And these air all touching, probably about halfway into one another. Um and so they're a little bit closer, but you can still see the space that they cover a little bit better than you can. The vertical wall mounts. So this goes through like this, you're gonna have them closer together, and they're gonna be easing out. So this one is starting to slightly flattened a little bit. It's getting a little bit more elongated and get moving further away. You can see this one isn't touching the middle ball. It's kind of moving closer to the edge of the biologists before it, and the 2nd 1 moves closer to the edge and then moves further away, and it's stretching more. What you want to do. is you want to try to maintain volume in this so that it looks like it's still the same ball. This one is stretching just a little bit much. It's a little bit wide, so what you can do is you can move into translate, make sure you're on that layer, transform and probably use one of the angle and can move it. Make sure that it stays on that ark. That's that's a little bit better so you can move along this way and you can adjust your layers like that. Um, see, this one is still moving a little bit further, stretching a little bit more. We're gonna continue doing this and making sure that the ball follows the arc for one and stretches out to. So the longer gets the thinner it gets, the shorter the more round. So you gotta maintain your volume. And once you get to the squash, you really want to feel the impact. So right here, you want this to touch the ground and then squash into the ball so it's gonna change shape and then your next layer. It's not going to be touching the ground because you really wanted to feel like it's moving upward, so you're going to have it come off the ground a little bit, and then it's going to start regaining its round shape fairly quickly so you can see it comes like that and then moves up into the second arc and the balls are closer together. I'm gonna go and turn off all these layers and play it through and let you see what it looks like you don't want. They're to be too many, um, drawings in this space because the more you have, the slower it's gonna move. And you don't have to have them real refined either. This is really are rough stage. So you're gonna rough these in where they need to g o and about how long may need to be. And then we'll refine them later. So playing the animation looks like this. So it looks, But again, I'm gonna go and put it on forever. So I looked through a few times so you can see that the ball stretches out and then it feels like it's got an impact down at the bottom and it slows down is it loses momentum. It's not gonna have so much stretch, so we'll still have a decent amount. But that's just for the feeling. It's not so much for because it's moving fast. You're just trying to get it to have the the appearance of moving. So we're gonna go back through, go back to frame one, turn off your marks and pass layers, play it through and you can see a little bit better. So once you get that done exported as a gift file and go ahead and upload that to your project page and we'll check it out. 7. Smooth It Out: All right, So now that you've got your rough ball in place and you've got it playing through, you see it, you see it bounce, you see it change shape, you see the way it feels and flows. You got your timing marked out. Got your spacing. Now you can go through and refine your drawings. So go Just make sure I didn't mean that. So go back to your second frame and you'll go. Uh, what I did is I made folders for each of the files or each of the different stages of this drawing that I've gotten going on. So if you turn on all of your layers on layer to they'll stay only or two. But if you turn on layer one, they'll turn on for every layer. So make sure that, yeah, you can go back in. Just set these up the way that you want. So you want to do too much more work, Okay, so you can see that I've gone in and smooth out several drawings I've got. I've done it from drawing one through to the top of the second mark. So what you want to do whenever you come in and you rough these out is see, I'm gonna go and go toe to and in turn on my 23rd layer, you can zoom in a lot closer and really get in and worked with your work with your drawing . This is a little bit harder to do with the mouse, but it can still be done. You might want to get closer. If you're using a mouse we're gonna do is you're gonna come in here and you're gonna find that space in between all of these rough sketch marks and I'll go and create a new layer so that you can just see how how I do it and I'm going to, let's see, going to take this whole thing and turn the opacity down. Okay, So would come over to my layer 49. It's still a 100%. You can just come in here. And now that you've got the idea of what it should be, Ruffin kind of do the the average space of line drawing Come through and do that. If you're using the marquee tool with a mouse hold shift, make sure it's completely around. You can do edit stroke due to pixels, and you've got that perfect circle there that's a little bit easier. Um, and so if you if you're using a mouse, that's that's a good way to do that and still participate in this lesson. So what you'll do is you'll just kind of do that. Turn that off and capacity back up. Then you can turn off visibility. E could really. You could just turn off the visibility for that whole layer on that and then turn on the next one. Move to your next one. Turn that off only 25 and so on and so on. You see, like my my ball is still a little bit rough, but I like the drawing. I like the way that the ref er drawings look, that's just my own personal taste. If you want it more refined, more perfect than you can spend more time on it. You can spend 20 minutes on each ball drawing, and that's perfectly fine. So just go through and work with each drawing. You have to turn off the layers for each one when you get to that one's frame. So 31 30 not off next frame. 31 turned that layer off to, and I'll just continue working through this all the way through your animation. It is a slow process, but it's worth the finished product. Looks like I missed the drawing in there, So I'm gonna go ahead and work on that. Zoom in to my drawing. No, I know this one's getting closer to the top, so it's gonna be more round. Go ahead and make sure that this is round as it needs to be. Turn that off. Actually, go back to frame one turn off layer 49. She means later, 34. 49. That layer Mexican when I got a duplicate in there somewhere so gay so we'll go through and see what that smooth ball bounce looks like. Okay, Looks pretty good. So you can go through and refine it. If you need any more tweaking, go ahead and do that and again upload it once you've completed the whole ball bounce and will check it out in the project page 8. Color It Up: All right, So now that you've got your rough ball in place and you've got it playing through, you see it, you see it bounce, you see it change shape, you see the way it feels and flows. You got your timing marked out. Got your spacing. Now you can go through and refine your drawings. So go Just make sure I didn't mean that. So go back to your second frame and you'll go. Uh, what I did is I made folders for each of the files or each of the different stages of this drawing that I've gotten going on. So if you turn on all of your layers on layer to they'll stay only or two. But if you turn on layer one, they'll turn on for every layer. So make sure that, yeah, you can go back in. Just set these up the way that you want. So you want to do too much more work, Okay, so you can see that I've gone in and smooth out several drawings I've got. I've done it from drawing one through to the top of the second mark. So what you want to do whenever you come in and you rough these out is see, I'm gonna go and go toe to and in turn on my 23rd layer, you can zoom in a lot closer and really get in and worked with your work with your drawing . This is a little bit harder to do with the mouse, but it can still be done. You might want to get closer. If you're using a mouse we're gonna do is you're gonna come in here and you're gonna find that space in between all of these rough sketch marks and I'll go and create a new layer so that you can just see how how I do it and I'm going to, let's see, going to take this whole thing and turn the opacity down. Okay, So would come over to my layer 49. It's still a 100%. You can just come in here. And now that you've got the idea of what it should be, Ruffin kind of do the the average space of line drawing Come through and do that. If you're using the marquee tool with a mouse hold shift, make sure it's completely around. You can do edit stroke due to pixels, and you've got that perfect circle there that's a little bit easier. Um, and so if you if you're using a mouse, that's that's a good way to do that and still participate in this lesson. So what you'll do is you'll just kind of do that. Turn that off and capacity back up. Then you can turn off visibility. E could really. You could just turn off the visibility for that whole layer on that and then turn on the next one, move to your next one. Turn that off only 25 and so on and so on. You see, like my my ball is still a little bit rough, but I like the drawing. I like the way that the ref for drawing. 9. Thank You!: Congratulations on finishing the ball bounce. And thank you so much for taking this class. I hope you finished learning something new and that you enjoyed it and that you'll join me for the next class that I teach on skill share. Have a great day. Keep animated.