Hand-Drawn Animation: Straight-Ahead VS Pose-to-Pose | Isaac Ramos | Skillshare

Hand-Drawn Animation: Straight-Ahead VS Pose-to-Pose

Isaac Ramos, Animator. Artist. Husband. Teacher.

Hand-Drawn Animation: Straight-Ahead VS Pose-to-Pose

Isaac Ramos, Animator. Artist. Husband. Teacher.

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13 Lessons (1h 40m)
    • 1. Introduction

      1:34
    • 2. Document Setup

      3:47
    • 3. Creating GIFs

      2:03
    • 4. Straight Ahead

      10:40
    • 5. Pose to Pose

      14:04
    • 6. When to Use SA or P2P

      4:51
    • 7. Effects Animation

      9:36
    • 8. Beginning Your Class Project

      14:01
    • 9. Adding Overlapping Action

      11:17
    • 10. Inking the Frames

      9:09
    • 11. Color and Cel Shading

      7:39
    • 12. Ideas for a Background

      10:50
    • 13. Thank you

      0:36
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About This Class

We're going to tackle a character animation using Straight Ahead animation and Pose-to-Pose animation utilizing Overlapping Action to create interest in our project!  Get ready for an awesome time as we launch a new class focusing on Pencil 2D, although the techniques are applicable in any medium or program.

We are going to be moving one step at a time as we plan for our project, add some interest, work on line work, and talk about what is important to consider when thinking about animating straight ahead or from pose to pose: Which should you use and when?!?

Meet Your Teacher

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Isaac Ramos

Animator. Artist. Husband. Teacher.

Teacher

 

A Quick Blurb About Me

Hi!  I'm Isaac and I have always loved art, animation, and films.  I am an animator, with a year and a half of formal animation education in 3D, but gravitated to 2D and learned that on my own.  I enjoy teaching on Skillshare and want to bring you the best classes you can find to help you do the same!  I am a 4th grade teacher and a business owner and do pretty much anything else I can get my hands on.  I look forward to sharing my classes with you and seeing the amazing things you all will create!  Check out my website for more cool stuff: http://bit.ly/an1m8

 

What are students saying about my classes?

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Transcripts

1. Introduction: Hi, My name is Isaac Gross. I am a hobbyist animator, and I am loving that I get to teach on this website. This is just an incredible opportunity to be able to share some of the things that I've learned. Some things that I figured out for myself in self taught animated. For the most part, I started studying CG animation but quickly fell in love with two D animation after leaving school and just have come a long way and doing things just for myself just for fun and really wanted to share with you another class that I have on my mind and creating a class focused on overlapping actions. What you're gonna be able to do after you finish this course is take, uh, characters that you've created and you can using character that I created. And you're going to add something from them that might be long. Hair could be a scarf. Could be a tale. It's up to your imagination, which is? The incredible thing about animation is, whatever you do is is limited only by what you think you can do. So what you're gonna be doing is you're going to be creating a character doing in action and there's gonna be some secondary action flowing from that character. Could be 12358 10,000 things. It doesn't matter. The only thing that matters is that you jump in and that you get started and that you put in your best effort and create something awesome for yourself. So I will see you in this class looking forward to it. 2. Document Setup: All right, so I have opened up pencil to T. And as you can see, I am inversion the 6.40 point 6.4, um, pencil tooty is an open source software and absolutely phenomenal. I love it as faras the different free animation APS ago. So I would highly recommend downloading this. Of course, the principals in this, uh, class are applicable no matter what programmer software you're using. But I'm gonna go ahead and break down how to set up a pencil to D document for those of you who are going to be using pencil to D. So go ahead and click on your properties, Edit and preferences. So it starts off. In general, there's not a ton that you wanna, uh, that you need to change here. You can change your backgrounds. Uh, the default if you want to, um, to speed up the, uh, processing of your computer. If you have a little bit slower running computer, you can turn off some of the appearances that you see there. Um, and then the window opacity. You can see through it if you need Teoh. Um, you might use that if you're tracing an image or something, or if you want toe, figure out anything else that you might use that for. Canvas anti A leasing that's going to smooth out things. Vector curse. Moving all this. I don't usually mess with any of it. I don't need to have your files. Is gonna enable auto save. It brings up an alert every time you do 20 actions off here just doing minor strokes to every 20 of those. It's going to ask you to save. So I've gone ahead and turn that off. I just make sure to save regularly your timeline. You can change the your default timeline length short scrub that's gonna lie. You toe scrub back and forth through it. Um, and so what I have said is on any anytime I click on a new drawing and I make in action, I may. There may be a keystroke, something like that. It goes ahead and creates a new key frame on that new drawing, and I really like that. It keeps you from having toe create a new key. Everything like that. It just makes it easier, so if you want to do that, you can do that on playback. If you want to show your onion skin while it's playing, it can be distracting. Um, but it's something there that if that's what you want, you can do that, um, tools your maximum onion capacity. You want to make sure that this is something I think to be distracting from the work that you're doing Minimum onion capacity. I mean, just not gonna be any less visible than that with the number of frame that you're doing. The number of previous onion frames shown. I think the default is one. I've gone ahead and changed it to two. That way, if I'm working on 24 frames per second, then I can see if I'm working on twos. Aiken, see between the two and then work and then next onion frame. So this is back and forth in front of and behind pencil shortcuts. If you want to create any of your own pencil shortcuts, you can do that here, um, totally up to you what you're doing so you can restart the default shortcuts there as well . And as far as it goes, those are the only settings that you have in preferences, so go ahead and get that set up the way that you want. What I would recommend is focusing on the tools onion skin makes ensure that this has enough for you. Make sure that you have your timeline set up. And then if you don't want to be bugged, every 20 actions go ahead and check Auto save and then I'll see you in the next video. 3. Creating GIFs: so if you want to publish your work, it's very simple. So let's just do something really easy. I don't want to do that right there. Something very simple. Okay, very easy. And just create a loop just like that. So you're gonna click file export animated GIF. You're going to choose the resolution that you would like frames to include and make sure that you have, um, your camera later selected, which most time there's not gonna be another option there. So you can go ahead and do that, make sure it's animated, or that loop is selected that way. It goes through the whole thing. That's gonna be much easier to do. And you're going to go ahead. Click. OK, it will generate that. You can go on double, check it, check your file open up in whatever your standard camera application is. Middle start running. So that is very simply and easily how you're going to create the projects. Um, the published works for your file, uh, in your project in this class. So he have any questions? You can always revert back to this video, but should be simple enough. Hopefully you have any questions? Let me know and look forward to seeing the projects you create 4. Straight Ahead: All right, so one of the first things that we're going to talk about is straight ahead animation. So what the heck does that mean? So straight ahead is the idea that you work from pose to pose, to pose, to pose deposed hose, to pose all in sequential order. And one of the benefits of working straight ahead is that it is unpredictable, so it's a little bit more spontaneous, but one of the downsides is that it's unpredictable. So that's something that super difficult to figure out with straight ahead animation. And almost regardless of how good you are at drawing how skilled you are, you're still going to have some shape change variations. So maybe your character starts out like that in the end, like that, or vice versa. They're going to start out huge and end out small or start off small and and off huge. Um, you don't necessarily know, so proportions change. Um, there's just a lot that can go wrong with straight ahead animation. So we're gonna be looking at straight ahead, and then we're also gonna be looking at post oppose. So if you're working pose to pose, you start here, you say okay, and my character is gonna be standing, And then all of a sudden there going to be running. They're on a full sprint. You're gonna figure out okay from there? I'm gonna work this pose in here. They're going to squat down. Both hands are going to be back like that. And then I know toe work in here. They break in all sorts of ways, and then they turn up. In doing so. You figure out a little bit more consistency. It's a little bit easier to have all of this taking care of imposed, oppose. And most animators actually work this way. They worked post oppose because it's more consistent. So now what I want to do is show you what it looks like to work straight ahead, Doing a very simple animation. We're not gonna do anything super complex, but I want you to do the same thing. So let's see if this will actually be okay. Note. When you try to delete after selecting a whole area, delete doesn't work. You gotta use backspace. That's something that I forget. Occasionally somebody go ahead and set this to a pure black And what we're gonna do is we're going to work straight ahead. Um, doing something very simple with a very basic character. So big circle head. And it's fine if you work rough in this, get a little bit of respective. Are you had character? Okay. And then I'm gonna jump two frames. So what happens when I jumped two frames and I have the setting on that? I said in the previous frame, it creates a totally new frame, and I don't have to go through and worry about it. So that's something that's very nice. So I'm gonna have him. Let's see, it's nice that I have the onion skin, but I'm gonna have him duck down. And this just having jumped so his arm isn't gonna move a ton that a little bit came on a mark here. Onda jump. Let's say you lift this leg up right here. Race some of this and going to a little bit of attack race occasionally. You hear me talking to myself? Not necessarily teaching just kind of walking through what I'm thinking at the moment. Okay. Then he's gonna start reaching down with his right foot race back bombs so we can see through You still use control Z that also, if you press the space bar to move your image, it's going to change to that. Permanently saluted. Press in for the pencil. There's something a little bit new from you and I started working in pencil to D came and then he's going to land. It's squashing there, shoulders strong a little bit. I don't want perfect symmetry. It's not as appealing is having that in see here. OK, jump to the next two frames from their start drawing that he's just going to stand up. And then he got from point A to point B. Oh, happy day. Okay, so the theory is that I drew him perfectly from point A to point B. Let's see how we did. So Looks like his head is a little bit smaller. It fluctuates between right there. Smaller overall. Not too bad. Okay, maybe I want to draw him se running. Go ahead. Warned. Copy that Frame on. Extended out 2 24 So we get sometimes actually going to go back a little bit more and then we can play it. Oh, and this is it told frames per second. I wanted to be running this at 24 frames per second, so it's running on twos. So not terrible, but definitely could have been better. Something that I was struggling with was a little bit remembering if I would had heart angles or soft angles so you can see some a little bit right there. He has some hard angles, but on either side of him, he doesn't so not too bad. Looks like I got his proportions off. So his body here is not the same as it Waas back there. Let's go ahead and add a new later and this is just gonna be my guidelines. It's draw line. This year. This street is possible. Click again. Enter Inter. Then we'll see if he was. If he ended up the same through the whole thing came. Not terrible, but imagine you're getting into a whole lot more detail and everything. It's going there. So the bottom of his head has had definitely shrink. Not terrible, but go ahead and try this exercise. Go through work post. Sorry, not post oppose work straight ahead. And I mean it could be character is simple. Is this, um could even be more simple. But the more complex it is, the more quickly you'll find that you have a little bit more difficulty in keeping things straight. So go ahead, work on straight ahead animation, make sure poses and proportions are all kept straight as best you can, and then I'll see you in the next video, where we will look at post, oppose animation. 5. Pose to Pose: All right, so now we want to look at post oppose. So when we're working in post opposed, the nice thing is is that you can see where you've been and where you're going. So let's say that we want to have our character do a front flip and land over here, So I'm gonna go ahead and trauma character be the same character this time. He's gonna be spacing straight on to the camera and notice I'm using a really simple character. Don't need anything fancy to practice this, but it's just something fun today, actually, let's let's change this up just a little bit. I'm gonna Race has had in his head is gonna be floating instead. So have ah, floating head that maybe something finally kind of play with so kind of bathroom stall guy . So let's have this character land right over here. So you notice I can more easily if I know where I'm beginning and where I'm ending. Keep my proportions straight, keep my character in line and do more with fewer drives. So what I'm gonna do here is I'm gonna go ahead and move this out a little bit, and then in between the two drawings. I'm going to, um, see, do you like my halfway pose? He's gonna be attacking his knees, have a little bit more freedom to do this. And then there's a little bit more spontaneity in here is, too. So and yet the benefit of having both. So we're gonna have him not symmetrical. That's not the shape of his feet case seeing that right There's now I'm going to select both of them to do this. You just click and hold drag over release, and then you can pull him over. If you do it any other way than that, then, uh, it gets it gets funky. Weird. So I'm gonna go ahead and have him anticipate an anticipation is a principle. Um, it means that you are preparing for the action that you're about to do. And so you always want to make sure that you have antic anticipation. It creates appeal in your animation. So he's already getting ready like those. It's Yeah, there we go. So can figure out what is doing quite wrong. Right here. So I'm gonna go ahead and move right there. Should go this way. So he's ducking down his head's a little small. And, of course, you can do this in post oppose, but more than likely or starting straight ahead. But more than likely, you're just moving, and so you don't get bogged down with some of the so the details you normally do in here. So if you want to turn off the onion skin as you're previewing, you can do that. Okay, so I see what this is doing. I forgot about this. So if you click onion skin right here, then it is going to show you. The 1st 2 frames were the first to as opposed to the 1st 2 drawings. You do it right here. It's going to show you the 1st 2 drawings in the next two drawings, so that's the difference between those. If you want to turn it off, turn that off on this side over here. And these two buttons on this side right here are four layers, so if you want to see the layers below or above, that's what that's for. This is onion skin before onion skin after or vice versa the other way around. So he sleeps, so it's a pretty quick action squat down. He's gonna jump up next. Those were still selected, so I can do that now. It's turned on our onion skin. I just want to see the 1st 2 frames. Not I say it was next to so has had, is consistent. Let's Ah, let's go ahead and have his arms stick out. He's reaching risk. This foot have this time Hold it just like that. And again, I was getting a bit small on his features. Here we go. Now I need to animate between these two. I want him to kind of start turning. So let's have this arm reach out. There's also actually no trying to think about the motion that I wanted to have. He's gonna start doing this sort of thing where he's turning himself over this leg. Be right up here was getting all sorts of twists hit right now. All right, so it's really funky, so really funky drawing out there. So he's not moving much between these two French. I don't like that time, so that's something that I can do pretty easily is just get rid of that frame altogether and redraw. He's gonna go up this time. Let's do this. Let's get some foundational blocks in there. Let's say he's turning this leg. So if you try and do this motion yourself, which I wasn't doing just now, when you try and do that motion, you're gonna tuck your arm right there. Extend this one further and faster. Okay? You're also gonna tuck this need just a little bit. Be not a ton. A little bit more than being fully extended. Okay, Awesome. So I wanna do the same thing here, break it down between these two, and I'm gonna go ahead and start bringing his hands. Thank you's about to tuck. Let's actually take this. We're gonna move him up a bit, and you got to use two separate tools to do that. Otherwise you just keep redrawing. So then press enters. Get rid of it. Who's already starting to take a little bit. Okay, here we go. Starting starting to see kind of how it works and unfolds. Okay. Now, which I think I like that enough that I want him to start breaking down between these two. So click off of that one, going between the two and let's start having him spin out of it. Oops. If you middle mouse and drag it's going, zoom in and out. It's had him lagged behind just a little bit. Help them. Not getting too out of all proportions doesn't seem like it. We'll see. Once we get to the end, you can do more complex animation. It was going to have him this right here. You want him to keep this leg out? He's getting ready to land. I would be really extreme here, basically folded. Start covering some distance here and any place. Let's go and put on loop. Play through it. All right. That doesn't look too bad. And we get to see how it's staying consistent through the hole. Sing So he comes through a little bit, a little bit sudden right here, which couldn't tell in the 1st 1 my head changed just a little bit, but not a ton. So overall, pretty happy with these results. I could go back in, tweak a few more things, but I mean, there's a little bit of a difference between straight ahead and pose to pose as faras um, consistency goes And um So go ahead, try out something like this. It doesn't have to be the same thing. Um, but work on filling in the in betweens and she being get something, something worked out and go ahead and posted in the projects. I'd love to see it. 6. When to Use SA or P2P: So as you are working through using pose to pose or straight ahead, Um, there's some things to keep in mind. So when might I use straight ahead? That would be things like fire or smoke or snow, Some explosions. Um, And why is that? Um, these are things that you want to be more unpredictable. Um, I'm not sure that's a or I will just say it's I if, uh if you're looking at these things, they don't ever come in predictable patterns. You don't you don't see them. It's not like it's It's a perfect and lovely monotonous thing. Yeah, you can use loops with them and you can use some things like that. But for the most part, these things are not cut and dry. Not every explosion looks the same. Not every snowflake falls the same way. Not every thing that that emit smoke is going to come out in this really neat and lovely looking pattern. Um, fire flickers differently with everything. So you really want to use some of this straight ahead motion to t get that going? And it might be it might still be post oppose if you're gonna have it on a loop. Um, then you want to start with, um, a flame that looks like that. Then maybe you wanted t go full circle so that whenever it gets to know the one that's blowing just a little bit, um, Then you can leave it back around, and everything in between here and here can be, um, can be that straight ahead motion, or you're you're animating it straight ahead, and then it loops perfectly. Um, but you're going to have, uh, some more unpredictability, and it's gonna be a lot more appealing when you're doing that. When might I have posed to pose and was caught P two p opposed to pose. Um, where am I going to use this one more frequently? This one is used a lot more frequently with characters. Um, you know, if you're doing a fight scene, you don't want it to be, um, completely unpredictable. You want to know where you're going, you want to know what everything is gonna look like. So you're gonna have these different, uh, different times that these air mawr appropriate. This one is excellent for animating characters. It's excellent for animating fights. It's excellent for animating just about anything. But when you do want that more unpredictability, you're going to go with straight ahead animation. And, you know, you can use a combination of the two Ah, when you're animating hair when you're animating, um, clothing. Um, when you when you get to feeling like you're post oppose animation is a little bit too stiff, too rigid. Whatever it might feel to you when you were animating, you might want to use the mixture to create some spontaneity in your characters. Actions. Now there's a level that you're going to achieve when you do mix both of them. When you do have both characters. Sorry. When you have your characters being animated with both straight ahead and post suppose you're going to create this perfect storm of creativity and and motion. So that's just a couple of instances that are gonna help win when you're thinking about OK , well, if I want a certain result, how am I gonna get it from just using straight at or just post? Oppose? Um, and that's something that you're just gonna have to find that balance. So, um, what we're gonna be working on is getting through, and we're gonna do? Ah, few straight ahead animations. And then we're gonna do a few post to pose animations. Um, and so we're gonna try the 1st 1 being smoke. So we'll work on smoke and will develop that. And then we'll work on fire, will develop that a little bit, and then we'll work on an explosion and do some of that. So these will be really fun. But we're gonna get in those in the next video, so we'll see you there. 7. Effects Animation: All right, so let's get into a little bit of effects Animation. Um, let's say that we're gonna have some smoke rising from a cup of coffee. So we have a cup coffee, and we'll I mean steam smoke. We're gonna be pretty similar. Smoke a little bit more billowy. Yeah. Say it is very black, top of coffee. So we have that layer, we're gonna go ahead and create a new layer. And we name this layer steam, steam and smoke. Very similar in the way they they Okay, so here is just my 1st 1 and I'm gonna go ahead and and you can see that since they're on separate layers, I don't have to read your on my coffee mug. All I'm gonna have to do is redraw the steam. So that's super nice. Something that's super great here. So you can see I'm following a similar pattern, but I'm not doing it exactly the same as it was before. And in this I may not want to have such drastic changes. So, in a sense, I'm still gonna be, um, easing between the two, so I don't want it to be a super, uh, secret Rapid transition between the two of them. So I am still innocence, using a little bit more, both strategies. So by you see, it's decent, not quite the speed that I wanted at. So you can get the idea of how it's going Teoh be affecting both. So let's go ahead and get this one so that we can Everything spaced out. Okay, space set on a little bit more. Start getting this one back to returning. Okay, so it's definitely a loop. You can see that for sure. Let's get rid of that one. So something that typically happens with steam, you're going to see that some parts of it move faster than others. So there is going to be parts of this that I didn't mean to draw that in between. You're gonna be ableto add onto some bits. And so let's say this part is moving over faster than this part is. They say you can start to get the idea of how, um, this straight ahead animation works and why it would be a little bit more appealing to use it for for this context. So let's go ahead and get rid of that. We'll do that for which one is. Actually, we're just gonna go ahead and get rid of this layer, get this one and then create a new bit map layer. You can always turn off the visibility to If you don't want to do that, either way is fine. So that's, um, go back to her brush that the enter button que super basic flame. But, you know, for the most part, we're gonna be tracing the base of this fire isn't a very smooth transitioning thing. So let's go back in here. Trace this in. You can can have some things melt into others. And I have that right there, the licking flames. Let's make this one gradually recede in every Watch it so you get a little bit some of the unpredictable flame sensation. So this is rising up again. Let me just keep going and take this is are as we want it. That last one might have been just a little bit too big of a jump. But again, you get the idea. It's not about being perfect about learning and growing getting better, doing some other things and trying to figure it out. Um, so, yeah, I mean, as you go. Um, you can start ups. You can start small and kind of work up. Do some different things. Experiment, play around with it. Um, not is it able t get through a ton of examples with you in such short videos, but, um, again, play with it. Take your time. You have the idea here, and it's about growing through and doing something new the next time. So let's, uh, go ahead and practice some some smoke and some fire. Um, steam. See if you can, uh, get it figured out. And go ahead and post your project when you are done. Um 8. Beginning Your Class Project: So the main project that we're gonna be working on is creating an animation that is a combination of posed, oppose and straight ahead. And I have a character. I'm sure you see him a lot if you watch my videos called Red and Red is a little horn monster character who has a really big mouth. And what I would like to do is I'm going to have read kind of like a bean shape. I'm gonna have read skipping. And then he's gonna have the cape, not a cape. Sorry, a scarf over his mouth because there's not really anywhere else for him to put it. And then I saw my street ahead. Animation is gonna be on this card. My post oppose animation is going to be on red himself. So when I create this animation, I'm going to animate read first because that's what I know is going to happen. That's what I know I'm going to do. From from 1 to 2 to 3 to 4 to five, everything is gonna be planned. And I'm going to have a predictable way of getting from a to B. So these is supposed one is supposed to and then I'm going to be in control of the breakdown, the in betweens, and then I'm gonna be able to put that on a loop, and then I'm gonna come back and I'm going to go a B c d e f g however much I need to animate the scarf going straight ahead. So let's go ahead. And when you are working on yours, figure out what the main action is gonna be. So I'm gonna have Red and I'm going to set my poses. Who's in my construction lines to get Red said. And I know that and not going to be needing his mouth. So I'm not gonna bother drawing that. I don't want to waste time so bad is going to be skipping. Actually, he's probably gonna be going across his body, not forwards. It's going to be right here, and his other arm is going to be pointing backwards. But there's my first pose and then I want to have him meaning back, little bits still moving forward, but meaning off to the other side. I'm gonna have read skipping just a little bit. I'm gonna go back in here and tidies downwards Happy with emotion. This will be going forward. So scrub back and forth. Let's move his foot down just a bit. And that was not what I wanted to do to leave that frame back on here. Go ahead and get that tied down then really, I can like that. One thing to be aware of is that when you drag a cream across a lot of other creams, it's gonna push all those other frames back to fill the empty space behind them. So skipping right there now gonna go in between. There's the hop is a hop step in skipping, say his, but comes up just a little bit. And I may need to rearrange our reposition. Some drawings don't hit the middle mouse button track. Okay, that was a mess. Sorry about that. Hey, sorry. Down to the other foot. So it's gonna be a point where he's on both feet. Let's go ahead and draw that in. He'll be in between or is shifting from one side to the other slightly bent legs. Arm is continuing that this time's up forward a little bit. Want Teoh have him pop up on this. He's gonna be coming up remember, Always think about the motion that you have in real life, getting all that looks like a fun dance. So he'll be down, down and I'll switch back to the other foot and then keep skipping. So get that doing, actually could probably just use. Actually, no, we're not going to be able to use that because they are coming from different positions. So the arm used to switch back to the other side will be going in between. You can see where everything is come back together and just how useful Post opposes when you are getting things in order for, uh, notify character animation. So let's So he's skipping. It's working out pretty well. I like the way it's going right now, and that's that's not many frames. I can space him out a little bit more. So slow down just a bit. Actually, I really like that right there. So going better and then I can go in and I can tie down, tie down. Once I'm happy with it all. Get that set, Then I can copy this one. Do that over. Everything's going. It pushed over a frame. Then I can take this and I can't move. This character was to turn on that opinion skin frame. Then take mouse. We did it all working properly. Take the mouse right here. Yes, I want to apply the transformation. Take this. Do that one. I think it's pushed over a frame, so it's gonna be a lot of tweaking and adjusting if you want. You can take these down to eight grams per second cause I had them all spread out on threes and that will put us at the same frame rate. You'll just have to change it if you want to add more frames and keep the rain rate of motion. So it's got these. Didn't care of easier use mouse tablet in. I want to get them out of order. Okay. So still pretty neat. When you do get a frame, I will throw it to the end, which is really nice. But if there's a gap, it fills it in. So you can just have that there. Yes, transformation. But remember, every one of these is gonna be a new drawing. So if you don't want to have to recreate the scarf every single time, be sure to finish your animation That's another thing. Whatever the cursor, our time tracker is on. That's the frame. It's going, Really. It's not gonna be the one, um, that you that you may necessarily want to be, so that one of those. So I have six frames, 18 frame loop, came next video. We're gonna go in and we're going to get his scarf in place, and we're gonna throw that in. And if there's anything else that we're missing, we can always go back and add more frames. So yep. Go ahead and get your character main motion down and publish that to your project. 9. Adding Overlapping Action: So as we are working through this next part, I'm going to go ahead and create a new layer. And this is just going to be my scarf layer. So I already have what this is gonna look like and have an idea. So I'm gonna go ahead and I can just rough in here kind of what it's gonna look like, who's gonna be wrapping around his arm and probably has more down this way than it will up top. And I really want to I don't really need the ones after I just need the ones before so that I can see where my lines are. So if I want to add a scarf and I wanted to be consistent gonna have him Hey, so I'm just gonna go in this first time, and I have so staying consistent right there. Well, that more of this white coat Whoops. Don't want to do that. Give me that And even still see their super important that you stay on the frame that you're working on, cause I just went through and did that on all of these. So go ahead back through. And that's a Sfar as my history will allow me to go. So make sure when you start working on this don't just create the next look here and still be working in the same one. You want to make sure that you're working on the correct layer. So go through, get back, do all that. Okay, so now go back to my scar player. Start getting all that. Okay, then I can go the next one. Now I can see it's different layer and going through. Can you get that care of? Okay. Very simple. Make sure you stay consistent within all I'm having it kind of wrap around as if it was going over and nose or something like that. This character doesn't have a nose. Go in and add the wrinkles and the things like that or whatever. Whatever it is that your characters doing. Like I said, if you want to use this character, you can. If you want to use your own character, feel free to do round character. Totally fine. Either way, the important part is just getting that practice and getting that time doing these things. So if we were to play it, it's not changing shape a ton. So stunning to go through. And now we're flying a few things like That's not super consistent. Let's go. And if you want to skip frames, you can use the the comma or the period buttons. Jump frames, not dragging. You're seeing it frame to frame. So something like this you can see much easier. It's what, like flipping flipping pages is very easy to dio. Okay, And on like this make sure that sustained, consistent throughout. Let's changes that right there. All right, so now if you play through better so we're gonna have the wind blowing this way, not going to see the wind, but it's going to affect the scar. So let's go ahead and get this in here and we have her anchor point one scarf. Okay, so he's moving up. So the scarf is gonna be kind of dragging behind, so it's gonna flowing behind like this. So we're just working straight ahead. So now he's gone down. It's going to drag from the top, and it's also trying to stay where it waas. So that's something that you're thinking about as you are animating straight ahead. So he's moved forward about two right here, so that's proportional right there. I increase the link on it. So that's something that I gotta think about right there. Yes, my Ah, my motion is decent. But you got to think about the length of it as well. One of the principles of solid drawing. Which means that no, the drawings are consistent, so it's not growing in length or shrinking. It's so you have gravity acting on it as well as motion. Everything is going to try and stay where where it is. Nothing really wants to move, but also you have gravity acting on it and motion acting on it. So everything is going to everything is going to be affecting it. Draw through helps make sure that you are being consistent. You know, back in the race, if something is supposed to be in front of or behind something else, so remember things trail. He's not moving a time, so it's fine to have this in between. And right here that's a tangent on a tangent happens when two things are touching. This is the tangent right here. You wanna have teams b overlapping because that helps you see that something is in front of them. behind another thing. So make sure that that is something that you do consistently. So either have a gap or have it come behind. So something to keep keep in mind right there. Okay. And then our last one. So let's see how that is. Okay, so we have some straightforward action along with Post oppose, because we've figured out where we are, where we're going and what we want to do. So go ahead, get your main characters action if you haven't already, and then get your follow through action as well. And let's see where where your project is at right now. And so you are looking forward to seeing what you have going on with your project and look forward to seeing in the next class. 10. Inking the Frames: What we're going to do now is we're going to create a new layer, and this is going to be our inks. So this is gonna be the final line work that we use in our animation, and we can use both layers. If if I wanted to take them off, I could want just anime that. But for my inks, I'm going to go ahead and put them in one layer and going to tie it out. And we're gonna be using this pen tool right here. Take with down five. And, um, just make sure that it's a little bit, um Well, bit easier to see a Zibo through each things. So control plus gets you animates there. So I get you to zoom in, and then you're gonna go through tidies down. I mean, to double click that. No, actually, going through adding things a little bit at a time. Get some line variance in you work and in here. So this is the very, very intentional part of do in. It's gonna take a little bit more time and just getting your rough sketches in. No, I can go ahead. Bad eyes. The real sensitive to the pressure that you put on these lines, it was going to give us a sense of depth. Everything you're doing, make sure that you go back and t is to get your pin tool back. And don't be afraid to undo. Go back. I always thought every line had to be perfect. But that is not the case. Lots of animators will redo their lines until they get the right one. You want to be a smooth line in the smooth transition. So if you took away and we would see this work left over whole different than what you're seeing before, smoother and better that in here in the higher resolution you draw bless Pixley, it's going to appear. So just keep that in mind. If you're wanting something looks finer, make sure you do that. So this one, this is my previous frame, but it's still showing the onion skin as well. So what we're gonna do is we're gonna go ahead in click on that 1st 1 Now I'm gonna use the previous drawing His reference for lying Wait so that I can get the lines the same. There's not a ton of line variation in this particular drawing, but you can see how it's going to quickly come together. And then if I did have a major line variance, thank you that this is also gonna be the final check for proportions for solid drawing, making sure that everything is going to remain lined up. Explore with this. Have fun mess around, is it? This is pretty much what we're going to be looking at in this video. So if you are feeling confident with the way that you do it perfect, go ahead and jump in. Well, it didn't work, too. The rest of your, um, work through the rest of your project getting your lines in your inking done. You want to get a final line tied down, make sure that you're staying on the include your our side layer that you're doing your thinking on year overlapping lines, taking care of Make sure that there staying straight keep in mind where things are he wanted. Add any final details before you tie the rest of your animation down. Now is the time to do that. You won't get some wrinkles in the cloth and fabric. You knew that. I'm not gonna worry too much about that right now for the sake of this video. But you see, I'm kidding. Getting to a point where I can you have all that tied down and get a pretty need drawing here and watch out for tangents. The ones that I explained earlier Make sure that you don't have any lines there. That's gonna be another place for you to double check that tangents. You can't really tell where where things are. So make that smaller there. And actually, I want to bring this whole thing out. So inking is like your final checks and balances as well. Were they drawing? Get that tied down. Um, work through that, make sure that everything is staying solid. And, uh, if you would like Teoh watch the rest of this video, I'm gonna go and put it on fast forward so you can see the rest of my work. And, uh otherwise, I'll see in the next video where we will tackle color and 11. Color and Cel Shading: coloring is going to be much like Anqing. So I'm gonna go and create a new layer is gonna be my colors and that below my inks. Okay, And then I want to make sure that I have the colors that I want for my character. He's more of a mall. Red color, increase the size of my brush is gonna look like it's painting on top, but it's going underneath just so you can see and go ahead and lay down the base color for it. And the larger brushes, the more area you're gonna be ableto covered so you can press a little bit firmer and your colors under here and then have a little bit more variants whenever you getting into tight spaces. Not to worry too much about getting out of the lines, going back to elementary school, stay inside lines. And just like that, you have your base color. Now, the more complex your character is, of course, more. You're going to have Teoh change colors. Get other pieces then Now it doesn't really matter that I have that for, um, for him, but I want to make sure that no, I'm getting into those spaces. So I'm just gonna go into each frame and color in those, and then I'll just go ahead and do this one real quick. That way we can see we're doing because we're gonna mess with shadows, going to do some cell shading. So shading is what they did. They used to paint on to, uh, cellophane cells. That's what they call themselves. They're cellophane, and they would paint on the backside of them. They have the the inks on the front side so that the line stayed clean and then they would paint on the back of them. They would paint the different sections of the shadows and clothing, and it was a very expert deal with them. T get everything done on those cells into state consistent from cell to cell because they were literally painting plastic frames and those frames would go through everything. So what we're gonna do is we're going to do another layer, right? You shadows, Vikan, spell correctly shadows. We're gonna go again under the thinks. It's going to be a darker tent, and we're going to paint where shadows would be. We're gonna do this retrain, and the reason we're doing this on a separate layers so that when we go to the previous one , we can see where it was before. We're gonna turn off color layer. We want to stay consistent. Everything is about consistency. So we don't want to forget where we were before. Actually, it's gonna be a larger section of him. Painted on this side. Causes me quite a bit in shadow. Khaki needs more shadow. Go ahead and add more shadow. Totally fine. Okay. The idea there. Underside that way on the back side of his leg, back and underneath. And we appreciate it. So we have a cell shade here, Go here. Mimic that on this previous frame. I just wanna make sure to stay consistent. I have the curve of his head. It's gonna go down under here, shaded back a bit on his body and work through away pup Hiss side. I was back to make sure that we're getting the same thing. Stay consistent between your shadows so that it doesn't move. Go ahead. Whole side right here. Back of his leg. Underneath. That way, when we go to our colors, they're consistent. So his shadows or staying consistent as well So you're animating shadows is well, so there's a lot of work that goes into it, but the result is so much better than just a flat color. So this is still great but want to more depth to our character. So weaken continue with that. So the rest of this video is going to be the same as previously. I will be animating on the colors and just continuing to do that. So if you would like to watch great. If not, go ahead and move on to the next video, where we will be looking at a background. 12. Ideas for a Background: So we're gonna go ahead and start working on a background. But before we jump into that, I want Teoh go over with you real quick. How to, uh, changed the resolution for your project. So if you are working, um, in pencil to D, you're gonna go ahead, double click on the camera layer. You gonna go to these resolutions and it it's a little bit different in pencil to de because you're not Ah, changing. You don't necessarily see the change right away. So I'm gonna go and change this to 720 pixels by 720 pixels. Click OK, And you're going to see that the gates for or the frame for your animation draws. And if you zoom out, you see everything is your Your drawing is just getting super tiny and you can see the resolution that your zooming in too. So right now it's 25% control plus or control minus. Will we get that? But I'm still on my camera layer, so I'm gonna go ahead and click off my camera layer is gonna zoom back in to what says 33% is and then you can zoom out and see what the actual canvas sizes. So I'm gonna actually change my camera layer to be a little bit smaller. Let's do 5 40 by 5 40 So it's a little bit smaller. A little better than than what it was before. The character still right in the middle. But now I have it to where I can actually go in and do what I want to do with this. So we're gonna go ahead and design a background, and this is gonna be the fun part. This Give me where you are. Uh, this is going to be another fun part. Not the fun part of this whole thing is the fun part. But you're just gonna go in. And I titled Mine BG for Back Ground. I know. Very creative. Make sure it's behind all of your other layers so that you're not drawing on top of everything. But this is gonna be where you can really have fun with it. Maybe he's skipping toward the cliff and has no idea. Maybe he's skipping in a super dark forest. There could be just a bunch of irony, depending on what your character is doing. I'm gonna be real playful with mine. Um, and I'm just gonna to jump in and get to it with some of my drawing. So we'll see where this actually goes and play around with it. Have fun. You know, just do whatever it is that we want and you can draw through. You don't have to worry about having a perfect line into end, and we are in perspective. So I'm gonna go ahead and okay. And he's going to be in, uh, skipping through really dark force. I'm gonna draw through because I'm not. I'm on a totally separate layer. I'm not worried about him getting drawn on. You can always and it step out later. You don't want it. You don't have to keep it. That's a nice thing. You know have actually put that on a different layer. I will do a foreground that are B F G before ground will have another right here. Maybe love groups. You could even animate the eyes right here. If you're doing something like what I am, I'm just gonna go ahead and go for it in here. And as you can see, it doesn't get every single pixel. Um and when you're zooming out, gets a little bit wobbly. It's not. Is fine. Is it would be with some of the other things. So it's just something to keep in mind. So go in touch on a few things. Remember toe change back to your previous tools. So two D sorry pencil to D is not perfect, but it really is a great alternative for some of the more expensive platforms out there. Photo Shop is a month to month subscription TV paint, which is like the animators Photo Shop. Absolutely Incredible program. You can get free stuff. Uniph Retrial where you can animate in it all day long. You just can't save or publish. So that's That's the downside with the free version of TV paint. But it's worth a try because it really is an incredible program. Um, but go out there, find some others. I have a class showing how to use Creed A, um so always another option out there. Know anything that you can find that works for you. It's not about the program, it really isn't. It's about the skills that you develop as you practice. So please don't ever hear that you know a program is going to make you better. A program won't do that for you. A program is only going to help you finesse some of the things that you've already been working on. So also make sure that you're in the right side when you are working on your parts of your picture. Let's see. Okay, because this isn't a close shape, it doesn't want to fill it. Oh, it's going to flip all the rest of it. So apparently I don't have it all the way there. Do a little bit there a little over there, And then let's see if this will let me still doesn't want to let me. So what I will do is I will just go ahead and fill in the rest of this. So what you're gonna be doing is just going to go in and filling in some of the spaces in your drawing that you want to use to tell a story. Backgrounds can tell a story, too. Um, it's not always necessarily about the animation alone. A lot of stories are driven with backgrounds. Um, you can look all over the Web and find different things that that was terrible, you know, sees the line and that will, how you move on from that, and these can have much more to. And also what I want to do is when I'm done with my foreground of my background, I want to make sure that I have another key set for the end. So it is not just showing this one drawing Oh, should be showing the one drawing because usually only turns off frames when there's nothing to be shown. So let's look at taking paint larger areas with the brush the brush tool go through, get your background painted up. Use it to tell a story. Don't be shy. Don't shy away from it, but really emphasize something that you do and make sure that you stay on the frame that you're trying to draw on, because that's another thing that will quickly throw you off. Hey, you can go through and put another layer down for color if you're not going to be dumping your paint, bucket into it and that's gonna help you get along. So look forward to seeing the projects that come out of this that are going to be telling stories with backgrounds and using some character animation are really look forward to seeing that. So I will see you in the final video and we will wrap up this project. 13. Thank you: Thank you so much for taking the time to watch my class. It means so much to me. And I love seeing all of the work that each and every one of you do. You will put in a ton of work and so much effort heart into what you're doing and creating animation. And so I just want to say thank you again. And the support means everything I love knowing that thes classes are adding something to somebody else. So I appreciate you taking time to watch it. And I hope to see you in the next class. I have plenty of stuff on the way and look forward to seeing you there.