How To Animate Gestures | Mike Ryan | Skillshare

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How To Animate Gestures

teacher avatar Mike Ryan, Traditional Animator

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

Watch this class and thousands more

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

Lessons in This Class

16 Lessons (1h 5m)
    • 1. Introduction

    • 2. A Toon Boom Harmony Tutorial

    • 3. How To Set Up Your Animation

    • 4. Gesturing The Key Drawings I

    • 5. Gesturing The Key Drawings II

    • 6. Housecleaning I

    • 7. A Heads Up On The Onion Skin

    • 8. Gesturing The Extreme Drawings I

    • 9. Gesturing The Extreme Drawings II

    • 10. Housecleaning II

    • 11. Gesturing The Breakdown Drawings I

    • 12. Gesturing The Breakdown Drawings II

    • 13. Housecleaning III

    • 14. The Pencil Test

    • 15. How To Organize Your Animation

    • 16. Conclusion

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About This Class

The class will show you, from start to finish, how to create a first pass will which involve gesturing the keys, the extremes, and the breakdowns of your work. Throughout this specific class and the project you will be undertaking here, I’ll be teaching you how to create simple yet effective gestures thru our basic understanding of the human figure.  In addition, you will learn how to then time your drawings to your  recorded voice track and rendering all of them together for your very first pencil test.

Meet Your Teacher

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Mike Ryan

Traditional Animator


Hello everyone, my name is Mike Ryan. I’m an old school animator who specializes in traditional animation. I’ve animated for over ten years creating short films, work reels, & small pieces incorporating character animation, effects animation, & storyboards. Sharing all that I’ve learned from my mentors to old school animators like yourself will be a rewarding experience. I look forward to having this time to show you the ropes through my animation tutorials here at Skillshare.

Mike Ryan attended the University of Central Florida from 2009 thru 2014, where he studied as an Experimental Animation major. His creative work has been awarded twice at UCF with the J.R. Hopes Scholarship for Animation and the Sony Scholarship.

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1. Introduction: Hey, everyone, my names like line I vantage for 10 years. Creating short films, work meals and small keys is incorporating character. Animation affects animation and storyboards. Sharing all diverted for my mentors to old school animators like yourself will be a rewarding experience I look for to having this time to show you the ropes. My animation to tour was here at school. Share the class will show you from start to finish how to create a first past which were evolved gesturing, the key drawings, the extreme drawings and the breakdown drawings of your work about the specific class and the pot you'll be undertaken here. Avi, teaching you how to create simple yet effective gestures to a basic understanding of you informed. In addition, your learned. Then how to time your drawings, your recorded voice track. Using the onion skin feature to drop, proposes and writing all of together for your very first pencil test. This surprising that students were either just starting off in the media or for students who already have some private knowledge of yours. For this class is great for beginners, hobbyist professionals in the field because you see skills and your understanding of the human form to create your own gesture past the principles of a nation. You can apply these skills to situations outside the class with characters of your own choosing, whether it's yourself so else or character of your very own imagination. I encourage all of you to share your parts around here because we're all in the same boat reaching the same go by the end of this class not only will be able to create an nation of effective gesture, join, but you reflect the most fundamental that walk if your care coordination. So thank you for shopping and hope you enjoy the class. 2. A Toon Boom Harmony Tutorial: So in this class team from tutorial, I'm going to show you how Just set up the camera so we can draw pencil test If you go to the camera tap, which is select the drawing Tap, weaken. Seeing our animation from the cameras Point of view. So now I'm going to the plus sign on the timeline and I'm gonna add a camera. You can see the camera on the bottom. I'm going to right click the camera and go to the properties. We're going to select three D view so I can't more options at my disposal to move it around like here. I can scale it to make it further away or closer. I can which select or just right where we've been, Up or down. I'm going Teoh Frame it. Based on how I like my animation to be seen dry wine and more lesson center General Dan Imation further way or what I like a closer. It all depends on how Univision d animation to be like in the pencil test. It's okay to fiddle around of the camera. That's fine. I restore it because I like to play well unfit to seeing if I like in one way or if you should be in another way. And right now I'm thinking maybe it's open to closed. Maybe if I move just a little bit back, I think white there should be fine. I hope it now. I can always change your later. No big deal. So now you saw me moving the camera. So now you know how to adjust it for your own animation. There. Have that done? I can. So right now I'm going. Teoh, check the frame weight, which is that? 24 frames per second. And I'm gonna go to the play menu at the top and select lender and playing this option creates or pencil tests for us. So right now it's loading and let's see what it gives us that's normal for the box to disappear. And, uh, what is that? It looks different. That's not how it's supposed to look like. And that's the point. I want to show you guys what happens when you enter the pencil test for your very first time. You're get this. The animation won't be playing on, you know, like a white sheet of paper bond like a chalkboard. So be very hard. TOC. The animation and the black lines I use will be embedded into the background, which is not what we want. We want to see all the animation, so we got to make one more adjustment to correct the issue back. Tim. It does the cool if you're going for a chalkboard drawing kind of field, and yet this would be great. So I'm going to show you. Well, I like to call the brain of team harmony. It's the node network. The Note network is what makes to harmony run smoothly, and what we're going to do now is we will create a color card. Make sure it's set to white connected to the composite tab. Once it's connected to the composite tab, the color in the background by default will be white or any color you can think of. And the color card can be found in the known library to my left and drop into the note. There were gone there, right, connected to the composite tab, and it should be corrected right here. You can see when I take it off, take it on. It gets affected ticket off to get on, you know so boring to now we render the pencil test to see the difference. It's loading. And this is how the pencil test should look like with a white background back. And now we can see our drawings. Clearly, we can see the labelling and the words as well. Once you see in this way there, we know that's good. Although I'm not gonna lie. I really did love that chalkboard feeling that looked really cool. I mean, if I was going flat effect, I would have used different colors for to set up or against a black background. But that was pretty cool under that. I'm not going to show you the pencil tests now, though, because you're going to see that later in the class. I'm going to show you now how to export the pencil tests. So we go to file Goto export and then moving. And here have my render options. Here. You can render the animation as you quick time for a W M being. Let's check the other options. Here I have my frame set of 123 to 5. I'm gonna click movie options, Gonna go to settings, make sure that this is set along with this as well. 1,000,000,000 Coast Plus said. That's quality. Check that the sound is checked as well. Gonna press OK and once you press OK or start rendering. 3. How To Set Up Your Animation: So now that we got the 1st 3 classes from phase one of the Siri's done, you can start working on face to beginning with class number four, gesture, animation, the keys, extremes and breakdowns. Let's make a new drawing layer here. And right now I'm gonna name it. Gesture, animation. I know that. Sorry. I know I'm going to be named the layer down the world, but for now, I'm just gonna name it gesture and mission. So this should be the first layer will be working on in beginning of this class. And with that, we're all set to go. That's it for now. 4. Gesturing The Key Drawings I: no. So this is the piece of dialogue that I will be using for my animation. So let's get started. Then you see them during the dynamic. Her fear, another curve for the shoulders and arms, a square for the chest, the triangle for the neck, circle for the hip, another circle for the head. And you see me adding a little bit more detail with delight, suggesting the eyes, a lot of the neck, more lines there. I tied myself during these gesture drawings, and it took me more or less between a minute or two to finish them if I took some time, the details will take closer to two minutes if I went through more quickly or take me around a minute. So Garrett take around a minute or two to do a gesture drawing. And, as we learned before, gesture, joins are nuts, work by detail. It's all about getting the feel for drawing down, which is why the curve flames were so important. They suggest action. They just form. They suggest she in here. What's more fundamental is every. Put something down on the paper first, because thes gesture dorms are central to prince, sending down on paper that we have a foundation to work on service speak. These gesture joins are so important to our work because we're gonna be using them to further. We enforce through shapes through detail and volume park character. And during this entire time, I'm using the soundtrack that we have as my guide to the key drawings I'm making and this important. We briefly touched on this in the last class, but we talked about how, with lip sync animation that there's accents to go along with it. Who noticed them when we see characters at their head turns. No way. As we're speaking like, let's say their mouth is open wide, or if there's a strong emphasis on the word that they're saying the mouth may I'm sorry, not their mouth. Their head may go up or may go down or remain. Turn in certain direction for turning back again. That's an accent where the accent were suggested emphasis on a word which is visually appealing to us, the viewer. So using the soundtrack as my guide, I'm deciding which words are the accent, so to speak, the words that haven't emphasis that word tell me as a meter how my character should react should my character have his head up should his head down Bush's head be turning? I'm using that as my guide in with your voice tracks. You were used that soundtrack as a guy to help you determine which direction hedge go, shouldn't go up, down or turning left or right, that sort of thing. 5. Gesturing The Key Drawings II: No, just making the day of curves making shapes. That's all there is to it. Just like in the previous lessons were just copy pasting the same would apply here. We're just making the curves and making the shapes in a timely basis. I would say the hardest part about you know, dream. The gesture joins is that when there's so much no, it does take time. Sure of one key gesture drawing would take away all your mayor to to complete. Or what if you have a lot of gesture joints like, Let's say you need to do 10 key gesture drawings that are being 20 minutes of your time. Where have you had training gesture joins their take around 40 minutes. And that's if you take around two minutes to complete just drawing. And that's where where it may become an issue because as the artist, you really want to finish these in time. You really want to get through this work on the next part of the process, But yeah, time takes energy, takes a lot from your mind, and when you go through so many drawings for the show pure Italian, it does kind drain you which is why it's good that would just joins. They don't require so much detail. Gesture joins require you to get something down on paper that suggests the form and shape and action of the character that you're working with, but the subject, if you will, and that's why it works so well. In drawing in drawing classes, you will begin with the gesture drawing, and then you begin to build on it by changing it all. Train in any more detail to become, you know, so that the trying becomes its final form. In the very end of the process, the same applies for animation. There's a reason why we don't begin drawing with so much detail in beginning. Because if we did that, then we were never be thin for for work. I mean, it takes what, two minutes. Do a key gesture drawing. Imagine how long it would take if you put all of your detail in that one joint very beginning the process. Take 10 minutes, 20 minutes for that one piece of trying. Then we were never be finish. If yes, 20 he trying to do and you're Spain. 20 minutes on each one of them after one and two. There were hearing three drawing to Arabi trained for the entire experience. That's why it's so good that we separated. We do three passive animation that's being the first phase, and then gradually we build on second, buying the third phase. That's why it works so well that way, Remember, Since these are the key drawing to front animation, it's important to think of them as storyboards because of storyboards. Euronet Test of creating every single drawing of sequence that would defeat the purpose of the storyboard storyboard simply tells the story. It shows us what the characters dream in a few images or several images to pay on how long sequences. So this is the approach for taking river. Key drawings for animation were not drink every single drawing of the animation. No, we're just creating the drawings that tell us the story. What the character stream from point A to point B to Point C. Just like that 6. Housecleaning I: no. So this is the part of the class I would like to think of best house cleaning house queens , where I like to see what I've just done and then organize everything. So I'm showing you now, Mikey drawings in quick motion. You can see that the character does move, but that's all we have. And that's fine because they are what they are. Key drawings. We still have the extremes and the breakdown Zia that we're giving more fluidity. And since I am organizing cleaning up, I'm going toe label all of my joints as key drawings. Yeah, we know that all of the joints were dressed. Worked on right now are key drawings. But we're gonna be anymore joints to us, the extremes and the breakdowns. And I like toe label of the drawings what they are. So I can know when looking at so here in writing the key drawing and writing what word the drawing is associated with. That way I can know when I'm drawing and going to the timeline what the character is saying there, This would be extremely crucial, helpful as you're going to the second pass and the third pass and when we do the lip sync animation. So I've labeled everything and I've imported the voice track to those you know, it's Savoy strike based on the sound waves that you see in the timeline. So why did that import the soundtrack to the timeline? Well, remember when I said how important and crucial ever be for us to label or drawings as keys , breakdowns and extremes and were words there will be associated with, Well, the times down. It turns out we actually right now, since I know which drawings air so savor of which word that since I know what flame they were being in the timeline, we're going to move. The drawing to the war is so sated with base on the frame number that I know it will show up. For example, if I have a drawing that's associate with the word the and my character speaks the word the at frame 100 I removed my drawing that's associate with the word fuck to frame 100 and I repeat the process for any drawing associate of specific word and matching of the frame that's tied to, and as each drawing to its appropriate position I were then extend the exposure of the previous drawing. So that way all the gaps are filled up. As you can see here, I am able to move different times, slider through all the drawings of no gaps in between. Since that's done, I'm going to do pick a delayer while I do became the wear because we're going to know create the extremes. And I want to have my key layer saved so I can work on this new layer, this new layer that were include both the keys and extremes. I'm now going to doing all the extent exposures I just did so I could have room to put my extreme joins in. 7. A Heads Up On The Onion Skin: Now, before we proceed, I want to give you guys a heads up on how the extreme drawings and the breakdown drawings will be shown in this class. So obviously, when we create the extreme drawings and the breakdown joins, you would use the alien skin, the onion skin, which we use for the lipstick animation. In the last class, with the red button on the left, you can see the previous drawing, and with the green button on the left, you can see the next drawing. With this feature, we were able to see drawings that came before or that come after. This helps us in creating the drawing so that we can maintain the shape for volume and proportion so that spiritually transfers from the previous drawing to next drawing. And it helps us to sigh. Rather not. The drawing should be placed more or less closer to the previous trying sports an extra line or just dead strain the middle now to avoid further repetition, which I know well, unfortunately, happen in this class, since I well, we peach or shows certain things again, which again I apologize for. But to further avoid that issue, I'm going to organize this part. The class differently, as I just mentioned before the onion skin future, would be used for creating both the extreme and breakdown joins. But for the purpose of this tutorial, I will not show the onions can future. When I create the extreme gestures, I want to focus more on creating the gesture drawings. When we get to the breakdown gestures, I would then show you guys me using the onion skin future for that. That way it won't be so ahead of seeing that over and over and over again. I say this because I don't want you guys to figure out when you see me create the extreme gestures and wonder. Hey, how's my during this? About the onions can future? I do use the onion skin future for the creation of the extreme gestures. I use it to create the left gesture drawing that you see as a faint red drawing in the background and where that turned on the previous drawing teacher turned on. I then create the refined gesture post that you see me doing these past few video lessons. This would be different when we go into the creation of the breakdown gestures You We're not only seeing the red previous trying, you will also see the green next drawing. That will be the difference between what you see me dream down. And while you will be seen during later in the class, I will also add that Yes, of course. You can also use seeing onion skin future for the creation of the key drawings. But like I said before, I want to simplify the process. I want to first focus on the creation of the poses themselves on only how do the gestures before delving into the onion skin future for the gesture poses. We're going to do this process step by step. So that way you guys can understand how to do this. And so none of the information overwhelms you, which I know can happen as I've been in that position before. So I I understand. Believe me on that 8. Gesturing The Extreme Drawings I: So now that we've finished the key drawings, you can start working on the extreme drawings. Now the extremes are different from key drawings. In that extreme drawings capture any change in direction. The character is going through, like if the head is going from the right still leapt. Those have you might extreme drawings. If the character was down and then going up, then those would be my extreme drawings. It's any change into action the character or object is going through. You can see that even though the definition is different, it's the same method. I'm drawing the dynamic curves. I'm drawing the shapes in, making sure that I capture the shape, form and action character, and I proceed to next poems. And as I'm doing these poses, I'm using my soundtrack to guide me because since and you will be going through this, too, when you listen to your voice, track over and over and over again, you visualize how your character is responding and reacting. So as I go through the timeline and I go to the certain beats of my voice, the words I speak, I can imagine what my character is joining. If my character is trained towards us or going away from us if he's training for the left, rich, the right, or if his head is going up or down like that. And as I'm doing this, I'm also mindful of the well of accents animation. That's the direction of the head when the character is speaking, if there's a certain word that's emphasized, like, for example, and if I want the word to visually sand out, I would have the head go up at that moment. So that way it could visually stand out. While other words of lesser significance, we're not get that particular accent and said will be part of the motion of the head going from one point to another, if you know what I mean. So here I am, doing this other drawing again. Like the key drawings are enjoying the the name of curves aligns, the shapes, the whole thing. And since there's more extreme drawings than there are key joins, it will likely take much longer. Of course, it takes about the same our time as it giveth IKI drawings with the key drawings and took 1 to 2 minutes of the extreme drawings. It's the same thing 1 to 2 minutes. It's just that sense. There's more of these. Collectively, all these 16 drawings together will take more time, then all of the key drawing together. So just keep in mind about that. What? I'm going through these extreme drawings on keeping in mind what parts the body sent down and movement like the head. For example. I'm asking myself why I want the head turning back and forth in quick succession like you saw those down Booth movements. If so, then I would remind myself. Okay, at one point, when the characters speaking dr want that emphasize, Aiken, draw that down, or I can apply that same thing with hands. If the hands need to be emphasized more, if they're moving in quick succession, then I would, you know, draw those as extreme drawings as well 9. Gesturing The Extreme Drawings II: The best way of thinking about extreme drawings is that if the key drawings air like the bullet points, then the extreme drawings are the information in those powerful words. I know that sounds lame, but essentially, that's what it does, really. The extreme drawings add more information to our animation. You seem more movement, more flooding, more poses, that sort of thing. And as I go along, I'm creating these extreme drawings and the gaps I left in between the key drawings. Why would I do that? Well, the extreme drawings, by their nature, they go in between the key drawings. And I left those gaps in between in the timeline. So I may be able to add those extreme drawings there that think red drawing that you see, when I'm doing these gestures, that is my original sketch, and now we finding it so you can see it that way I could know what I'm doing for the purposes of this tutorial, but I really like about gesture. Drawing is that they force us to capture the essence of the character down to a few basic lines and shapes, and that's no different than what we do in figure drawing and figure drawing way. Start out by doing in gesture there. We know from the beginning that our final drawing it's not gonna look like the first time that we put on. There was always going to be changes made from the beginning to the middle. And the final part of that's her of the journey. So you lied. Gesture joins Teoh, help us relax a bit. Not stress out. We know that where we gonna put on the paper is gonna change. That's good. There was nothing longer that whatsoever. In fact, we want that we want to make changes to our drawing, and we wanna have a solid foundation and beginning so we can build on it to prove on it, to reinforce and make it stronger. So our final drawing is the way it ought to be in the end. I know I've said this before, but I'll say it again. Just ah, we cap what I'm doing with the drawing of the extreme poses is no different from the key poses that I did earlier. I'm creating basic lines, dynamic curves, So cold squares no, to come up with e pose. I'm looking for and I'm using the soundtrack that have to guide me in drawing these poses. I know you've heard before, Bug. I feel like I have to say, because I wanted to be guys in the loop and pleasant trying to find something safe. The last mayor. So I'm it. It becomes redundant when you see the same thing over and over again. I admit it. I just want to show everything so you can see how the process is. If I can't show everything due to time constraints, l show you just a bit. So you guys understand what's going on? I've lost count How many extreme joins I have. But I know for sure that's more than key drawings, which is to be expected because by their nature, there are fewer que drawing, since these are the main story drawings, whereas the extreme drawings fill in the missing gaps there the information, the bullet point. So there'll be more extremes than the keys. Of course, 10. Housecleaning II: Hey, it's me again and it's time for another round of house clean. I like during this because it keeps my animation organized and it allows me to go through all the drawings, timing them, making sure that they're all there and labeling them. Labeling them might seem a bit tire somewhere you done into, but it always helps me as an artist. I like to organize my my drawings. Rather, it's on paper or in the computer like here. Because of so many drawings, we tend to get lost your work as artists, as you guys for Noah's well, for US artists, we're so much into her work. Then we were deep into a release track of things and thank you happen a lot, especially when you're working on a project for so long. So just, you know, doing this from time to time, keeping everything in line. It's always a good idea. In my opinion, when I work on labeling my drawings, I like to associate them with the word that the character is using at that moment. So the beauty if a software like tune boom harmony, is that when you import the soundtrack into the timeline it allows us to hear the sound as it goes. So when we move the red time slider across the timeline, you can actually hear the sound being played out. So if you select the two blue buttons with sound coming out of it, you're CNX the loop button to the left side in the timeline. If you select those you buttons, you will be able to hear the sound as it goes like right there. So when it's selected, you'll be able to hear the sound as it goes and what I also like to do as I like to take notes as I do this like I'll put in the frame number like Frame number one, and it's the character speaking anything. Nothing. Sorry, I were just put in nothing. Well, about a frame 24 the character says. Apple, I realized down Apple. Like I said earlier. The downside to doing all this organizing and house clean is that it does take time, you know, to being What's the word? Redundant? I guess that's the word I was thinking of. It could be redundant after you do for so long, especially when you do it for three kinds of drawings, the keys, the extremes and the breakdowns. But in the long term, it does pay off because for the reasons I mentioned earlier, it's always good to have everything in place. I can say this from personal experience when I would do my animation on paper on my light table. At first I would label him. But then, over time, as all artists, you may get lost in your work, and I forget to label them. And then soon things become less organized. Things get messing, and before you know it, drawings all over the place. Whether it's on the table, chair on the floor, he fib. And then when you finally go through the process of scanning your drawing since the computer or punching holes in them to put on your binder, you then get frustrated and exasperated over. Why are my drawings not in the order? They should be on calm. They're not labeled. I need them labeled so I can see where they go. But I didn't do them. And so that's why I always see my myself to just label them number of them as you go, because it saves you a lot of trouble down the road. That way you're not gonna freak out when you bring your drawings in place. No one dream. Should this go here or should this go there? You already have all of your drawings in place. Anything. Just go ahead of your work. I personally like that more then the other way. And with that said, it looks like we're ready for breakdowns now. 11. Gesturing The Breakdown Drawings I: Okay, so let's get started. I'm going to work on my breakdowns. I have the onion skin on, which allows me to seeing the previous trying and the next join the previous drawing. It's always featuring red, while the next drawing it's always featured in green, the faint blue drawing seeing is my wife sketch the gesture that I made. I'm using it to guide me and drawing out thes breakdown, drawing to the purposes of this tutorial. It's the language that you can see smoothly how the processes When I look at the previous next drawings, it tells me where more appropriately, it asks me where drew up my drawing to go. In some cases, I have my breakdown drawing, you know, directly in between the next in previous drawing. No, which is, you know, simple enough that transitions from one joints to next. But there will be times where that won't be so sometimes that may have my drawing placed closer to the rag, drawing closer to the previous trying. Or I may have my drawing closer, just a green drawing for just the next drawing. Now, why would I do that? All right, dying. It's up taking the simple route of always dreaming in between. Why would I change it up and make such subtle differences? It's because it creates a variation, a nuance in the pacing of it, because our body doesn't always move at the same speed sometimes, um, part of her body, like the hand or the the arm, the head, the chest. It may move quickly, and then it goes slow before moves quick again, And I can have when it's moving in a certain direction or when it's going up and down. That's a new ones in timing, speed and pacing. And that's something that I always want to strive for my animation. So that doesn't always look robotic that there isn't any nuance. I want that nuance. I want the nuance and subtlety of the body changing speeds said. There's a variation, so that's visually interesting. It is true. It is visually interesting because, you know, as humans as people, when we see certain things, they attract our attention more than other things. If every breakdown drawing I did was always in the middle, like the safe route, you would move, but I don't believe her quite catch my attention. However, if a breakdown drawing you know I made. It's not that way. If my breakdown drawings varying in how close or how far rate is from the previous two next drawing, then it becomes visually interesting when we see it played out like Oh, well, look at that. Look at that. The nice detail, that nice small detail as follows it is, it does pay back another payback. It does pale very well, because then visually, it sends out to us. Everyone keep watching it. As you probably noticed by now, I'm not drawing with different colors for my breakdown, drawing on keeping in blue. But I keep and bloom. After all, with the keys and extremes, I use different colors for him. This is true, however, since my previous drawings red and my next drawing screen. And since I've used red and green colors in the past, it will confuse me if I used my breakdown during and I don't want oh, you know, confused myself over that. So that's what I'm drawing all in bloom, because the blue for the breakdown drawing stands out more against the red and green. It helps me particular of the drawing without thinking in lying Dream way is my drawing with weights of post look like, you know, that kind of overthinking and second guessing. So here, I would say, when you're during the breakdown drawings go for Ah, go for one color of your choice, just make sure it's not red and green and that stand cell for almost two color. So that way it will be easier for you to navigate through those drawings. 12. Gesturing The Breakdown Drawings II: So when we started this, there were obviously good. I'm sorry this happens when I talk so much. I was saying, um there were far, few key drawings. And then there are more extreme drawings, breakdown drawings by their nature. There will be a lot, lot more breakdown joins because to come in between every key extreme drawing you put down in the animation. So it will be more time, more time spent then during the key drawings, any extreme drawings. However, at this point, you're get the rhythm of how to do the gesture, drawings and the poses. It's like you got the rhythm of it. So during one individual quake down, we're not taking so much time as you would in creating one extreme drawing or one key drawing. I was timing myself with ease breakdown drawings, and it took me, I would say, just over a minute in during one breakdown, joining. And that's in contrast to how long it took me to do an extreme gesture, which was hurrying around two minutes, maybe just below two minutes. But it did with the breakdown joins. It did not take me as much time individually to do a breakdown, drawing as post the other drawings. However, since there are a lot of breakdown joints to go through Nope, I take. It's much time altogether when you put all the drawing together, will probably take a sponge. Time to complete. The mess is set as a ward with the previous extremes. When you really think about it, breakdown drawings, they're kind of like in between drawings. In fact, in some animation books, breakdowns are called in betweens. I like to think that is, both breakdowns are like in betweens, but I don't like to think that as in betweens, because if I do think it then, as in betweens, they were then forced me to story in between my a nation, which I'm that way too, do you? I want to focus. I'm breaking down the animation to transition from one key drawing to an extreme drawing or transitioning for one extreme trying to next extreme drawing or, for one extreme drawing to next key drawing. Hence the term breakdown. And I prefer both because he has It is like any between, but you're strike. Breaking down the animation and by separating the two then makes us focused on one thing so we can focus on the other thing down the road ahead. As I mentioned before, it's very easy for us, toe easily ing in between, always in the middle. I don't think we should always do in the middle. Of course, there will, being breakdown drawings where it will be in the middle of the drawing, more or less. But there should be times where we asked herself, hang. Maybe the head should go slower here, or I should go faster here. In other words, maybe the drawing that I'm working on now should be closer to the previous drawing or just the next drawing and firming. It makes the animation all the more better. When you see those subtle differences in the timing, the pacing in the speed I've always like that. It's actually like the coin exercise fun Richard Williams animation book. The closer the courting drawing is to the previous core in drawing, there will be slower, but the further away the Corinne drawing is fund the previous one. The faster air up here there's like a, I guess, a psych tester, because the way we perceive things in motion. Another good example would be the balancing ball test, where the closer the ball drawing is to the previous small drawing like runs on the ground , the slower a work here. But the further away the ball drawing is like when it's stretching out for when it's going to the air, then the further way it would hear, the faster it will become. 13. Housecleaning III: at long last we finally reached the end of our house. Clean sessions in this class. I know, I know. Trust me. I I don't enjoy it myself. It's pretty repetitive. You ask me, and not just in terms of, you know, during it in the animation process bun in the recording of these tutorials as well, because I don't want toe we people myself as I talk over the same exercise I did two other times You're I know what I'm doing. I'm just organizing expanding the exposure of the drawing so that every gap distilled up. You know the drill by now, if anything, during the recording session that I'm during now, it's like a creative exercise of me trying toe fill up the remaining time I have for this lesson, and I want to get thou still useful information, and I just, you know, not do anything that would not be right to me. So let me think, What else have I not covered? Young. You probably noticed that there's a certain How should I put it path I have the character going through, like with the hands you noticed that there's a path that follows it goes up and then goes down or the head. How a turns from one direction to the other, almost like it's following an invisible track, if you will. That's because in my head I was envisioning an ark, an arc that would guide the characters, um, movements, whether it's the head or the chest, the arm or the hand marks help us and, you know, creating the path for the characters to go by. It's pretty self explanatory arcs. Kim arcs can be made in any way, shape or form, whatever the artist's wishes to have. Sometimes the market can be a very simple curve, with one point to another point, for some curves can being intricate where there are multiple points, like more than two, sometimes going back and forth like a zigzag. It all depends on what you want and for my animation, have both simple curves, and I have for complicated curves, I would say the simple are key camp the hands well, the more intricate arcs come to head as it shakes around a lot. I love arcs because froze animators, it's the planning guide for us to follow through and makes like so much easier I believe arcs come naturally toe animators because you do need something to help us in creating these movements. It can't just being, you know, stiff. Like I'm gonna go from point a two point zem and then Teoh Point f It can't work that wing . That's not how animation works. There must be a plan, a guide, a curve, good path York that guides our animation going forward. And I'm sure eyes you guys were working on your animation. You're probably envisioning your own arc for your own characters. Because, as I said before, all this artists need a path for works to follow through. Brothers in two D we're in treating. I'm gonna do some meta commentary now breaking the four fall, if you will on my part. But it's like when you think of all these scenes about, well, lessons to cover now and what lessons to cover later. It can be overwhelming because you ask yourself as a teacher, am I making sure that my students were getting what they need to know now in my overwhelming students with 200 formacion, where am I giving them too little information? It's always that balance that the teacher has to have because you want ensure that the student gets all the information that they need, but also to space it out so that weighing you can soar very thing on their own pace, which is most important to me. 14. The Pencil Test: now that we have gone through all of our animation layers for this class and we have several camera for the pencil test as you, sir, on the tutorial, Let's go make a pencil test. So when do you like I did before in the editorial, we're going to see layer by layer how each animation looks and here weaken, seeing just the key joins I have in the time lying only selected the key layer so you can see just the key drawings playing or a pencil test like we learned before. Key drawings are the drawings that tell the story. They're the ones that pretty much set the tone of the animation so assumes it's downloading . I'll be able to play the animation free. So let's players new and see that the characters just stream. He's going forward and going back, shaking his head a lot. He moves his hand hands alive, exasperation where exhaustion and see how the body trist in turns. Based on the dynamic curve that we put in there. See how the head isn't death. That's not flat. Since we saw the keys, let's go to our next layer, which includes the extremes like before reading the same thing. And now we're going away for it to load for me. It's so cool seeing the animation progress this way because we can see how we're building it up. We start with these, um, you know, key drawings. Then we had more emotion to it. Then we had it even more emotion to it. And for me, I always duck that, especially when you watch behind seen specials and documentaries. When you see the animators, the artists going through the process when you see through your mind set. But they're trying to achieve. And here I have vanish in plain and here weaken, seeing there's more emotion, more fluidity we can see now every ing kind of twist or turn or bounce. Does he expect up in the animation that we have here? You can see how we see some nuances. Sometimes it goes fast, sometimes to go slow, and sometimes the pace is studying. That's timing. And now we're gonna go to our last layer, which includes two breakdowns. The breakdowns which are more or less like a precursor, if you will, to the in betweens breakdowns. As we know they provide transition to the drawings before and after them. They give it even more of a fluidity than before. Seething right here. You know? Well, it's loading that there's now even more motion to the animation. You can see how it once were smoothly now, and it's almost done with the loading. I mean, Okay, there we go. Now I'm going to play it, and here you can see it really move. That's fast now with some subtle nuances, with its pacing, the speed and all. At this point, I'm thinking to myself, Yes, yes, I got it because now we finally have a just of how game nations going to move and feel like we have a character that's performing. You know, that's clearly you're tired or exasperated. That's not flat. That's dimensional. So we got that down, and that's good. We're on our way. I used all of the less sense that we learned from these previous classes and apply them here. They were on track and that I think it's an exciting feeling, seeing the animation and seeing everything that we put forth into our work pay off. So as you saw in the tutorial before, we're now going to render the pencil test out based on the signs that had set like you saw in the tutorial earlier. And they're going to see how look like when it's not previewed in the software when it's its own on video file. And here is the gesture animation, our first passive animation. I'm not gonna repeat what I said before, but, you know, run wrong track here, and that's good. After this animation plays out, I want to show you my final animation so you can seeing what this will become at the end of our journey in these syriza classes. I won't talk over the last few seconds of this lesson because I have the final animation plant, the sound, you know. So don't talk over. And so it doesn't sound distorted with both forces coming at the same time. You're kidding me, right? That's lame. But how are you going to get home tonight? Do you? You don't know? No 15. How To Organize Your Animation: So now that we've finished all that stuff that we need to do for this class, we can start organizing our animation by putting all three layers into a new folder we're going to create. You can see we have our keys. Then we have our keys and extremes and our keys, extremes and breakdowns. So I'm gonna make a new folder. I'm going to name this new folder class for something like first past gesture past, You know, something like that. And now I'm going to put all three layers into the folder Start of the key. Since that was the 1st 1 then the one wear of the extremes. And then finally, the layer that includes the breakdowns. So now all three layers are in that folder. I'm going to close it up and lock it for the next class will be duplicating the last layer that we worked on. That includes two breakdowns so we can build on it. 16. Conclusion: everyone, Welcome back. Now, if you're finished a class, that's your quick recap but won't be burned before we dive into the class project. First we learned that what gesture joints are and how to create them. Next, we learned about the importance of the key join, the extreme drawing and the breakdown drawing M process behind drawing them. And finally we have to sell the camera and to render artworks into a pencil test of sale. That all said, Let's talk about the project group working out of this class this time around for your project. Your only task, for one, decided to create a first past Van nation based on what you just saw and learned. Here. Your first pasturing through gestures of key, extreme and break down joins. If your work ST your voice over our high, recommend labeling your drawings as you go to help you along the way. The ammunition should run 12 seconds on 24 frames per second, Then render your animation as a W M. B for a quick time video. Thank you for coming by truthful next class, but we will use this first pass to create a more detailed second past detonation. See you guys later