Hand-Drawn Animation: The Animated Still | Isaac Ramos | Skillshare

Hand-Drawn Animation: The Animated Still

Isaac Ramos, Animator. Artist. Husband. Teacher.

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
10 Lessons (1h 14m)
    • 1. Introduction

      1:45
    • 2. Class Breakdown

      5:42
    • 3. Main Character Design

      9:12
    • 4. Secondary Character Design

      12:09
    • 5. Main Character Linework

      9:46
    • 6. Secondary Character Linework

      4:51
    • 7. Characters' Color

      4:28
    • 8. Animating

      19:55
    • 9. Background

      5:31
    • 10. Thank you!

      1:01

About This Class

Here is yet another awesome and powerful technique that is wonderful when used properly!  Many animation companies use the animated still for quite a lot of animation, particularly Japanese television animation.  This is effectively used during dialogue, exaggerated shots and many other instances.  Level up your animation today with this amazing tool to add to your animation toolbelt!

Transcripts

1. Introduction: e so excited to share with you the animated. Still, it is one of the most simple but fun things to do in animation. It's it's a great way to really step in and Teoh do something that's that's elegant and that can be really refined but has just a minor minor said emotion Thistles used across all kinds of Disney films on in different ways. But the way that we're gonna be applying it is having one character, maybe two characters with a background and then rich can animate just a few elements of the drawings that we're doing to give this still some life. So it's gonna be it's gonna be a whole lot of fun. And in this project I have two characters, a sultan and line, and this is actually a redo of one of my very first animations ever. Uh, one of the first ones that I did in college, and I really wanted to tackle this one more time and just really get into it and see what I can create on DSO. Yeah, I had a lot of fun, and I look forward to sharing it with you and showing you how to do the same thing. Share what you create. I love seeing everything that all of you just making come up with. All of the creative ideas that inspire you That in turn, inspire me. So please share at the end of the course, whenever you're done creating this feel free ask questions, created community and just everybody shared together. So thank you so much for checking this out. And I look forward to seeing you in the next video. 2. Class Breakdown: All right, so let's get right into it. We're going to create a file new, and we're going to do 10. 80 p. But instead of the usual widescreen format, we're gonna do 10 80 by 10. 80 and I'm going to call this one Animated still. All right, so let's zoom in control. Zero will do that for you. You knew, Layer. And what we're going to be doing is we're going to create a character, um, and can be any person, have a little goofball character. And what we're going to do, in essence, is we're going to create a an animated still. So one thing that animators use is the still and the still is really great because you don't have to redraw something over and over and over again. You can actually animate, um, just one or two things, and it will amplify your animation quickly. So let's just do a few of these, Andi or I mean between original too. Let's just see what that looks like right there. Very simply, this is gonna be we're doing. We're gonna have one basically aspect of our animation moving while the others are staying still, the other aspects of the animation. So it's but there just to see what that looks like, what that gives us. So not wonderful. But you kind of get the idea. We're gonna have one thing. And what I want to do is I want us to create an epic scene. We have the character, every choice, one character, and there's going to be, Ah, very little that is actually animated. So this is going to be one thing. And, you know, we're gonna have a background, we have the character, and it's going to be flowing hair or flapping floating or something along those lines. Eso One of the first things that we're gonna do is we're going to create a character MZ main character, great main character. Um, then two, we're going to, uh, draw the background and then three, we're going to animates. Want to features that you want to highlight. Um, it could be a flowing cape. Could be flowing hair. Um, could be a swishing tail. I whatever you do is totally up to you. But here is the basic structure of our goal. So this is going to be everything that we want to focus on right here, created in the main character, drawing the background, animate 1 to 2 features. Um, I will be drawing myself and, um, working through what I'm going to look like is a cartoon character. Um, the style that I want to do it in everything will be determined as I go, going to go through a few rough drafts of what I want and how I'm going to be looking. And then I'll decide. You know what it's going to look like for me and for you? I would like you to think about who? No, that's the That's the character where the background and what? Oh, my gosh, I don't know what that was. I'm sorry. What? So you're going to take your who you're wear and your what? And break those down. Um, one of the first things that I had done ever. One of the first animated things that I'd ever created was this sultan and his lion. So I may I may end up recreating that That kind of sounds fun. I'll be the sultan, and I'll have my pet lion. And just so you can see what, um, what you can do One feature of things. And that was an animated cap in an animated tale. Um, and it was just this looping animation. So you're going to create a looping animation with the main character background, and you're only gonna animate 1 to 2 features so that we can keep this simple, keep it clear and fun and have something to do. So I'll see you in the next class. 3. Main Character Design: all right. So I wanted to go ahead and work through some of my cake design all new this video so that I can see myself in the camera. And then I can also, um, look at myself in draw, whatever it is they don't want to see. So what I'm thinking with our character is, um, he's going to be standing on a hillside, Um, and probably a sandhill, and he's going to have his lion beside him, and with that, he's going to be standing in the wind and Cape is going to be flapping in the line. Will be kind of waving its tail casually. Um, so I may I may do something with the main as well, But, you know, I don't have too many features that air they're taking away from what I'm trying to be. So I'm going to go ahead and work on this design and see, will you come up with? So this is going to be very, very simple. I don't want to add too many details to this, but again, I am going to be making an epic taking on. Characters are looking epically. They're going to be standing in a certain pose. Want a sultan character to be arms crossed leaning back. So that's going to be jutting out his chest already. This is far better than my first animation basic. Also doing the body construction right here. He's not a massive sultan character, but you don't messaging Peyrefitte. So you're on my shoulders. Try a little bit of a different style for me, and it's a big nose in there. Warmed larger eyebrows may have a stoic look on his face. Mm. There. You have to have Sultan Beard, even though I don't have a beard, Okay. And then large here, then you're scribbling with it, okay? And this is much larger than I'm going to have is a finished product. So keep that in mind. I just wanted to get some details in OK and when cross arms. So I need to have the first arm go under for me and rest on top of the other shoulder. So I'm going to go ahead and draw that draw cylinders. That way I can work with my consistency and see under and going up so across this name and can, on the other hand, is going to go over, and we're not really even gonna see his hand over here. It's gonna be resting under his arm. Go ahead and draw it for the sake of consistency. Perhaps that right there. All right, so roughly right there. Just control t two. Shoot down a bit center of his policies. Right Years means tohave make their it's they're Yankees Good in and maybe something that it doesn't quite feel. Right. So what happened then? You back just a little bit more published meal, more forward. That actually feels better now. So that being my there a lot of actions, the outside line. All right, so that actually feels a little bit better. And I can Well, I'm here and get rid of some on needed scribbling on the scene. Step in here. So, actually, it's kind of like he's leaning over this way. Bitch, I'm going Teoh draw right there. Make this home just a little bit skinnier. So I don't want him like he's bringing it still feels like that a bit. So let's get there came bring his I'm sort of OK, that feels quite a bit better, but I still want to see less of that there's Let's try. I'm sure that right there. Okay, that feels that feels much better. Okay, and now we can see him move over there. Okay. So for his costume, and that was next. I want his keep on this way and 12 draw through on this one. That will be vital importance. Okay, so here is my sultan character based on me. Um and we're going to draw the line next, so I'll see you in the next video. Go ahead and work on your main character design. And I look forward to seeing what they look like since then. 4. Secondary Character Design: All right. So as you can see, Red, over here, I have made a copy of my originals. I don't want to have them lose resolution. So I made a second copy, had one shrink down over here, and then I have one in the originals, Poppy. Um, So what I wanted to do now is to design my lion. And for this one, this was going to be very different. So when I first did this project, this was an animation school I had here. And then I had my lion and Ryan was laying down and tail would go back and forth, and then we loop and go like that, and he had is blinking and at his cape. Eso not a very interesting scene. As you can see already, I've got my character, um, facing out this way. And there's some depth to him much much more interesting than my first drawing ever. My first animation ever. So what I want to do is I want to create some appeal, and, um, by giving this some visual appeal, I'm not going to have the lion necessarily facing the same direction. I want the line to not being necessarily facing the camera straight on, even though he would be, um, basing a different direction then my main character, um, I actually want to have the lion. Ah, you facing somewhere? No. Kind of maybe maybe behind him a bit. No descending down the hill and then have this huge line. But the line is not necessarily looking The same direction line could be facing this way while our main character is facing off into the distance. Um, could also have lion facing. Well, it is early. Give a great picture. Um, facing this direction, but obviously not too much so that you can still see that. So might might give line a profile. Um, so the line has a profile instead of where first character has a 3/4 view, this one could be ah ah, profile. So let's see where this goes. And I want to make sure that I'm staying in same style. So that's why I have my main character up here in the in first above. So have the have the lion right here. And lions are very noble. Very, um, masterful, I guess you might say, um, so I'm going to go ahead and have my lion character years come back. So you get too much of a bridge than it looks more like a bear or a dog, So I don't want too much there. All right, so have that there. Lyon clearly has a main male lines anyways. Okay, I think that doesn't look too bad. Okay, so now to draw through, I want to make its where my lion is complete with solid drawing. Lyon shoulder. Think through some anatomy. The chest comes down. I love the shoulder down. Seems like it's got some very human proportions. I'm going to read Ross in this. His shoulder higher. Have some massive paws. Actually, I want to since shorten up the face a bit. It's better. And have can you just working through those details? Giant cat right here. Maybe you'll be sitting off the sidelines or not very active. At least not male lines. Actually, we're gonna be getting him ready for, uh, ready for an attack. You enter? So we're going Teoh have him prowling, but at least preparing, okay? And actually, I'm not sure that I like this face right here. Rest of that I'm pretty happy with, um I am Profile. Okay. You can find plenty of lions right here. Age browsing, sand shutter stock. Okay, So very straight face. But the mouth isn't large enough. So that's what I think I'm missing right there. And maybe seen there. Something's Let's check this out. So actually, the face isn't too bad. It's the eyes. Okay. Oh, my goodness. Just that right there makes a huge difference. Let's see if we can get this right. Sighs portion. They're elf last played a little bit. Not too low back. Maybe it's the size. And so it could be a combination of a few things. Um, proportions are super important. So let's see, this one has very close to the brow. I mean, higher ups on the top, upper left side of face snow there kind of get this just right. But we are going to lions can look like they have. So when you go ahead and that's into the distance that I think the fair would actually come up to right there as well. Okay. And years and years need to be moved up as well. All right, so there you have it. I'm going to be now working on what these characters will be doing. That's right. It is just a moment longer. And there we have some that. So when we besides these see right there, we're gonna have our sultan character standing next to his lion. We want this to be an epic shot. So have him not quite center. But we will have them standing home. They re suicides. Maybe it's gonna be like that. We're not going to see a whole lot. We'll see. Several things have sky in the background, maybe temple in the background, some focal attention and just kind of get the feel for what is gonna look like. So right there. We have background and our secondary character and and have the cape waving in the background. I may turn the head, um, a little bit more 3/4. So that's it has a bit more visual feel. But there you have it. Can't wait to see your second character. What is going to look like? Go ahead and post your rough draft up on the page, and I'm super excited to see your progress 5. Main Character Linework: All right. So what I want to do is I want to finalize my still shot character. So I am going to turned on the capacity on him. And I found the portions the size that I want him to be out. If I draw him a little bit bigger, that's totally fine. So what I'm going to do is I'm just going to go over this character and finalize everything that needs to be finalized. Um, so that when I animate, I can just work from what is needing to be animated instead of redrawing the character over and over and over again. So, um, let's get right to it. I'm gonna go ahead and draw some poofy clothing is Everybody knows that clothing. Their war was not fitted. So studies and folds and wrinkles. Yes, mother. Here. Fearsome compression on this wrist. So it's gonna be straight over here and bunched up just a little bit more on top. Okay, I am really want to make sure that character stays consistent. So that's all right here. I have be able to see some of his images and have sure come out this way. Go. Okay. We also want him to have the cloth belt's going again. Be more bulky. Have it tied over. Over here. This is probably more tucked and rolled attention. There, we'll have him. Let's go ahead and draw through. Does next folders. Okay? All right. He's gotta rob Mom shirt mayor in this way, Tucked in there. Just kind of fancy with it. It's just a little too much right there. Okay? And anything that doesn't need to be seen to be raised, just recovered with the beard. And be careful with tangents. A tangent is something that happens whenever the point touches a line and it's indistinguishable. Teoh tell which one is in front or how far in depth that's supposed to be. I'm going to say that there, all the nose, you know, this is pretty pixelated. Um, totally fine for for what we're doing, because it's going to be kind of the smaller shot. So we're not too worry about the overall picks. Elation of this image. Oh, some of the wrapping action in there make it look like it's Hold it over. See, I have no idea how they all of these. Um so my anatomy of all this isn't going to be nearly as effective as it could be. But with a little bit of study, you can we could figure out how they do that, make it a much more accurate, accurate image. Folds in there. She s Is there a way? All right. We have Close right there. Makes he's pretty, bulky, baggy, awesome. Wrapping wrong Mees and then have it tech in to a shoe right over here and not very flattering clothing, but it iss whatever gets the job done, right, Have some wrinkles there. Then you'll have sandals is you don't want something hot in the desert, right? Maybe. But some straps right there. Okay. And that should be just about it, for I'm in character. They're turnoffs underway. Yeah. Doesn't look too bad, although won't mom that in there? Except it's really bad I didn't go through and make any tweets that you want to your main character. And pretty much you're going to do the same thing for your secondary character. This guy is going to have his cape waving behind him. Okay, so this right here will be a still shot, but we're gonna have it animated for the animated still, and he's going to be having that waving behind him. So looking forward to seeing what you create 6. Secondary Character Linework: all right. So going to jump into the lion character. And like I said, I really want to take the head and turn it more to a 3/4 type view. So it's not gonna be quite 3/4 because again, I don't want to be mimicking the main character. So I'm going to get my head sphere in here, have him looking off more this way. So it's going to seem, or of the more of the face, but not as much as the main character. So from that construction in there that in Okay, so I'm gonna go ahead and I'm going to speed this up so that you can see my finished product and just watch through. Um, so yeah, glean from what you can and I'll see you at the end. Okay, so here is my final design, and I'm really excited about this. Turned out better than I expected it to, Which is always a great surprise and always what you should be going for. Um, but this is going to be my still shot, and this will be fully colored, and I'm going to have him standing next to our main character and our main characters cape will be flowing and his tail is going to be, uh, waving, flipping just a little bit. And I think I have the tips of his hair, um, also kind of bouncing up and down just a bit. So what I actually need to do is to separate this layer. So I'm gonna go and do that using my lasso tool and come in here and select a lot. I want to be sure to I'm gonna put the head on a different layer so that right click later , cut, um line so that I don't have to redraw everything here. I can just redraw those tips. So actually separate this and then I can separate his head on another level as well. On this shift shift cut That way face is missing. That is missing. All I have is the main by itself. And then I can animate that by putting it on a different layer. So here we go. I like that much better. He's facing more towards the camera. This one's facing off to distance just a bit. Okay, So go ahead and, uh, cover all that you need. Ryan puts that shit head All right. So, uh, can we see your secondary character do? I hadn't upload that. And I will see you in the next video where we get to coloring our characters so that we can animate them in full color. 7. Characters' Color: So here we have our main care and secondary character. And I wanted to go ahead and lay in some color work so that we can animate in foreclose on the turn off. I label this as and confused together. Okay. And just like the last video, I'm gonna go ahead and put this on warp speed so that you can wash through it, see the process that they use and go through it quicker than normal, but still see what's happening. So enjoy the music, and I'll see you when this and Reliant are done way . Okay, so here we have it. Um, this is my colored scene. And with my, um why in Maine and the Cape animation these we're gonna be done on separate layer and in another place. So hopefully that was helpful to you how I showed as I was going through that and really looking forward to seeing your finished colored products. And, uh, we will move on to the next part after this 8. Animating: Oh, wanted to come in and let's start working on the cape a little bit so that cape Flowing in the wind is going to be a little bit different because we're going to be coloring and animating the one thing. So I'm gonna come in here and I'm gonna do do a couple of things I'm gonna set in the first frame of the last frame and then I'm gonna figure out what the frames in between me to look like, just like any other animation class. That's hot, too. Frame one. And then the last frame, whatever frame number that would be and then fill in the in betweens. And this is a cape. So it's It's okay. It was a little bit more unpredictable. You do straightforward animation on it. I'm going to personally do some opposed to close animation with this one so that I can have We'll get more predictability and control over what my finished product looks like. One thing I would like to mention is that I have adopted to do these little bits right here somewhere for his cape to hold on to. And so I'm basically just saying, you know, that there's a little Maybe it's Velcro. I don't know. I don't know what they would have had back then. So I just wanted to point that out, that I had some anger here for his cape. And, you know, we could have said no. It was just strapped across his back or whatever, but I just wanted to have something so that it was tied to it. Did not want to be that eso what I am going to do with this. I'm going to put my cape on his on the frame behind him so that no matter what I do, I'm drawing behind him. I'm not going to mess up my green drawing. So for that case, I'm going to go ahead and lock my color block everything right there so that I don't have to mess with it one bit. And, uh So let's go in here and I'm going to I have my frames come in from here, so drawing through, So that's where that goes. So I noticed that there is the S form s right here. Um, that is going to be something that we use consistently throughout this particular generation. So, uh, going to go ahead right here and notice I went through right here. Um, I really want there could be some flow to this. So I'm gonna go ahead and do that. This will be Kate. Start another train has the ball on this one. I want that looks it still won't be able to see it. And then let's see. I want the cape to do, like a reverse us. So it's going to basically have the opposite. There we go. And this is blowing. The wind is catching it. Hi. So it's going to be flowing more out that way. Maybe not quite so much that's going between so that we can get some different colors in there going and gets a nice anything done on that under It's the King. So now if we just toggle back and forth between these two, okay? And well, actually, let's do that middle, since this is gonna be looping will be the start and end right there. And then all we have to do is figure out what goes in between these two so that they are more easily que pasa b upon this middle. So if we just use those two frames. It looked like this already. Not bad. Get a lot of motion in it. And there's a whole lot more than you do, though, so we want to make sure they were going back and forth. Ta going between these two and getting the motion between them. So let's at a new frame. Turn both of these on in down. I want to bring right here. So let's get the weak emotion in. Be pretty standard. Kind of in the middle, drawing right there, but far in years. See how that looks already. Not bad. Not bad. Um, right there. And let's do one more in between these two. Just see how it goes. Okay, let's see how those look right there to get a feel for it way. Make it feel more full. Okay, Not that. All right. So we want to add another frame right here. Let's start working back towards the beginning frame. It's keep three to be like 84 and then 56 or so. We're gonna start working back towards Cape from here. So start getting some of these is distracting. That four color. It's down back in when we have it I like it for Megan's. Let's check this one out. Notice. I'm testing every time I see a new creating a frame cares little jitter there's so I need to make that happen so that when it flops, it's going to do that with and move down. So So I need to get it to where it's going to whip. So that tells me that this frame right here and you, so this needs to be more extremes. Okay, let's check that out. See how that all right. Not bad. Not bad. Oh, that's where that waas Okay, so we have it comes in out and in back in, and it doesn't feel right. So down in. Okay, so I'm going to have this frame being in between for these. I'm going to go ahead, get rid all that. Looks all that. Okay. All right. So let's see. Okay, here we go. Let's see how that does for us and say are getting the s motion getting that in kind of playing through it so feels much more natural waving in the wind. Okay, that's to get sign. Okay, so now we can bring in the lion and we know that we have. It's five and cape. 123456 So we have six frames of animation that we can do on our lion. So let's get the secondary action on the lion's mane. This one is a little bit more complex because it has more details. But we're not going to animate everything. So that's that's the good news. Good news there. So let's go ahead and turn on the lion. We can see everything. I'm gonna go ahead and get. This is not gonna worry so much about getting all the way to the edges. This because EJ is gonna be what kind of lift up a mountain we have our lion head down, covered up like colors. I want to be sure I'm getting that shaking back in my main that I know won't be changed very much. All right, so I have that right there. So I'm going to have that as mean. Fix elbow. You hear the line work? Turn that wall even not that you l one four finds main flying one, and I'm going to have color right here. You're not gonna have a ton of movement. Also, I don't want the entire head flocking up all at one time, so I'm going to animates some smaller sections of it at a time. It's going to be kind of alternating almost down these hairs down these now. And this one I am doing straight ahead. Doesn't want to make sure that I'm getting that same movement as a moving along. Just be overlapping these murder. Start animating these going out this way and the other hairs going in and meeting you mean a bit more way. Have two more frames fishing in just a little bit there. The last one in the trial previous two frames and passed down 19 to go between warms that existing that can create looking effect. Very simple, but effective. So let's go through contaminate these. We has layer one, which we want to turn that way there. That's great. New one won't make sure that first frame doesn't affect anything else on that one. All to three. Turn that off can. This is going a little bit fast, so let's slow it down. 0.2 seconds. Yeah, that's a little bit more natural, much more relaxed. Feels like it's more of a breeze and just feels better. It's more comfortable, so you can get a really great effect by doing some really, really simple things. Um, so I am going to and I mean tail very quickly that we can see what that's going to look like, but it's not going to be. I'm going to be much, and then we'll get into the background in the sky and do all that stuff, and that'll probably be just another speed video, Um, inspire you to do something creative, but also minimal so that we don't take away from what's happening right here. So I'm gonna go ahead color drawn, called the tail and all color in the cape as well. So something that I noticed was that I have this flickering, um, right here on the main where I just missed some spots. So I'm gonna go back and fix those, and then we will be done with the animated portion of this picture. So really excited about that. And you might have noticed that I decided to keep the tail. Still, it was just too much motion that I was wanting to focus on otherwise, and it didn't make sense to actually have um, have the rest of the pictures come out? Have have any more motion than the cape or the the main. So I just decided to, uh, keep that as it waas envy. That means O u Turn on this one. Turn on, King. It was like every other one, that kind of the homes, every other one down just a bit. All right, so that should have fixed it. Yeah. Still getting feeling of emotion there. I just wanted to where the hairs or not? There's Okay, so that should be everything for this one. So now we just need to go in and create our background and real be set. 9. Background: kick this last bit. I just wanted to go ahead and throw in a background and foreground. Um, the animation portion is completely done. A So you can see we have the main flowing and have cape flowing. Um, giving it a really good aesthetic. And we could even play with the timing on some of these hands, you know, just kind of see how it feels whenever something different so speeds up and slows down. It's just a little bit different. So play around with some of the timing of it to the amount of time that it's on the screen . So it goes back and pours just a little bit different and very, very simple, subtle things right there. And you can play around with your own timing. Um, feels pretty steady. And I really like this right here. I animated it in a way that the, uh, cape and the main are flowing a different rates with just the drawings that I did. I didn't have to mess around the timing so much. Um, So what I'm gonna do is I'm gonna put this on another time left, and I'm just going to draw in a desert background, probably dusk and have have the palace in the background and see how it turns out. So as a note, any time you animate something that is not on frame one, it will change later on. So just keep that in mind as you if you make changes on something you don't want to hear Palace moving in the middle of the similarly animation. So what I'm going to do is I'm going to turn that off on frame one, and then I'm gonna turn it back on frame one, and it doesn't do anything, So I'm gonna turn off there and let's right there. Duplicated this one. I'm going to turn on the palace here. Move it where? I want it right here. Delete frame one and in turn, Off and back on a pop up in the same place on every frame. No, it won't. Oh, my goodness. Okay, so some trouble shooting here, here is our problem. I don't see you know that. That's dispose of this one. It's just really it. Believe it altogether. New frame there. And him Turn on those next frames for the one that wants. Still, it is not working. Okay? So let's move this one where we wanted to go. Okay, Now we can just start measuring it over, right? And while you got it, it doesn't move at all. It does not move at all. Which is amazing. Exactly what we wanted. We have our little figure right here that our animation ends. Now we kid, there's a lot more that you can do with things like this. But I have so look forward to seeing what each of you creates. I can't wait. Teoh, be able to just look at how your work blows mine out of the water. So go ahead, create your projects. Don't forget to post class by class in session by session, so that we can all keep up and fall along with what you're doing. I so look forward to seeing it, and I will talk to you soon. 10. Thank you!: awesome job. You finished, class. That is absolutely incredible. You have finished creating your animated still. And now you are moving on to bigger and better things, which is just absolutely incredible. Thank you so much for taking this class. I can't express enough just how important it is to me to be able to get to share just a very little bit of what I've learned. What I've studied worked on and to inspire. Hopefully somebody else just like you. Teoh do Mawr and better things and I've ever done or ever thought of doing so again. Thank you so much for taking this class. I hope that you will share the project and allow me to see it. I love seeing the work that you create. So please do that if you haven't already and please check out my other classes. I'm always creating new content, thinking about it, working on more. So I hope that you will go in Seymour and thank you so much again and happy at a meeting