Jump Into Traditional Animation With Photoshop | Lily Baker | Skillshare
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Jump Into Traditional Animation With Photoshop

teacher avatar Lily Baker, Animator based in London

Watch this class and thousands more

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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

    • 1.

      Class Intro

      1:12

    • 2.

      The Project

      1:21

    • 3.

      Set Up Your Scene in Photoshop

      3:19

    • 4.

      Install Brushes

      2:39

    • 5.

      The 12 Principles of Animation

      0:49

    • 6.

      Animate a Bouncing Ball

      7:32

    • 7.

      Design Your Character

      1:20

    • 8.

      Animate a Jump: Key Poses

      9:57

    • 9.

      Animate a Jump: Breakdowns & Inbetweens

      8:29

    • 10.

      Animate a Jump: Finish Inbetweening

      9:53

    • 11.

      Animate a Jump: Clean-up

      4:58

    • 12.

      Animate a Jump: Hair and Facial Expressions

      6:52

    • 13.

      Animate a Jump: Colour

      5:02

    • 14.

      Animate a Jump: Export Your Video

      1:13

    • 15.

      Extra Credit

      2:54

    • 16.

      Sayonara!

      1:05

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About This Class

If you're a motion graphics animator that wants to get into traditional animation, this class will really help you get your feet wet! I'll teach you how to use Photoshop to create a beautiful classical style animation.

We'll get all up in the video timeline, install some excellent brushes, and animate a full bodied character doing a broad jump. I'll break down all the key steps so you can follow along with me!

No matter what software you animate in (2D or 3D), the principles of classical animation are fundamental to creating exciting and satisfying animations. Adding frame by frame to your arsenal as an animator is not only super fun but highly valuable.

This Class Covers:

  • How to animate in Photoshop (using the video timeline, brushes, layers, onion skins etc)
  • The principles of animation
  • How to animate a ball bounce
  • How to animate a full bodied character jumping (key poses, breakdowns, in-betweens)
  • How to clean up, colour and export your animation

Who Is This Class For:

  • Animators who want to get into traditional animation
  • Some experience with Photoshop is helpful

What You'll Need:

  • Photoshop
  • A Wacom/Cintiq or something you can draw along with me on

I'm so excited to have you here! I hope you enjoy the class and post your projects on the discussion board!

You can find me and say hi on Instagram or my website!

Meet Your Teacher

Teacher Profile Image

Lily Baker

Animator based in London

Teacher

Hi! My name is Lily and I'm a freelance animator and illustrator based in London. I specialise in character animation and I work mostly on commercial projects, which allows me to experiment with a variety of styles!

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Level: Intermediate

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Transcripts

1. Class Intro: Hi, everyone. Welcome to my skill shake loss, where I'll be teaching you how to use Photoshopped to create traditional innovations. My name is Lily, and I'm an animator and illustrator based in London, and I work mostly freelance and on a variety of different projects and styles in the commercial sector. But over the past couple of years, I've been getting more and more into traditional or frame by frame animation. So I wanted to share with you across that would give you everything you need to know to sort of get started in that direction. In this class, I'm gonna show you first how to do a simple ball bounce and Photoshopped, and then we're going to get into doing a broad jump by full body character. I think classical animation is super important. But any animator, I mean, the principles that you learned here. Ah, fundamental to creating exciting and satisfying animations. No matter what tool your using to do you three d, It's such a beautiful Ott form, and it's really fun to try, even though it's a bit time conceiving. So I hope you're excited. Get comfortable and let's begin 2. The Project: all you're gonna need. But this is Photoshopped on and a wacko normal sin, teak or something that you could draw along with me on. And it's really important that you sort of like, do this and follow me as I go and stop and start when you need a bit more time the class is gonna be broken down into two main sections. So the first is gonna be an exercise, and the second is the main project. The exercise is we're gonna be animating a bouncing bowl in photo shop. This is just where everybody needs to start with traditional animation. Even if you've done similar exercises in after effects or cinema 40 maybe it's important that we get a bit more familiarized with the video timeline and photo shop. We know the software little better, and it's also a chance for us. Teoh get down some key principles of classical animation before moving on to the main project. Then we're going to step it up a knowledge and dio the main project, which is animating and character, doing a broad jump in photo shop and apply old principles that we loved in the bouncing ball exercise. I'm also gonna teach you how Teoh cleanup that animation color it and export of video so that you have something really cool to share on your portfolio. 3. Set Up Your Scene in Photoshop: already. Let's set up as seen in Photoshopped. See, I print fighter shop create me. I was going to jump to the film and video preset here. Okay? And this is a video timeline. If you don't see this, which you probably want just goto window in Thailand death and then create video timeline. This is where all the magic happens. This is where we animate very important. First thing you want to do is hit thes three bars there, go to set timeline frame, right, and put this at 24 frames per second. This is the standard for traditional or classical animation, so we're gonna follow that. And then the next thing I want to do is create a bunch of blank frames. So Atalay there, and I'm gonna make it to friends a lot born because we're going to animate 24 frames on juice. Or, in other words, there'll be a drawing. Every two friends, someone to duplicate is a bunch of times You can just hit fault and click on that layer and drag up. And this is where this is where fighters shop is much more annoying than using like flash or other two D software tools. It is a bit more off Italy, but I do think for short animations it has its benefits because you have so many cool brushes and textures that you can use, which make it look really awesome. I'm also gonna change the duration off my work area to one second. So that's my little work area. 24 friends seconds. Most of these functions here Sigh. Play like that, Mrs. Draw something on here first, So mobile there. And then I played back. I've also got looped playback on. If you don't want that, just uncheck that. But I think it's quite useful, and it'll loop your work area. Another cool thing, which we definitely want to use, is onion skins. So if I go enable onion skins, I get a bit of a preview off my drawings on the other side, and that is really helpful. If I'm doing, for example, I can in between here, maybe I'd want to get it. You know more that way, you can also adjust the settings of your onion skins by going toe onion skin settings. Um, I mean, I want it. I probably just wanted, like, four frames before or after to start with. If you find it really distracting when you've got loads of drawings that you can play with the maxim pass ITI and bring that down, but that is very useful. 4. Install Brushes: before we get started on a bouncing ball. The other thing I just want to show you is how to get some good brushes. Um, even though we're not painting anything yet, there's some great sketchy brushes that we can use. Like this is quite a light touch, which I really like when I'm doing rough past. So I mean brushed my now's I've hit B. If you go up here, you see, I've got tons of brushes installed here that you might not have many. Hi, Add them is you just go to this call ends select, get more brushes, and that'll open up your browser and bring you Teoh. The exact page that you need to download from, which is actually really easy said he's It is amazing. Kyle brushes which people being using for ages. But Adobe recently acquired hm, but they're just they're really awesome, and I add a lot of life to your animations and illustrations to get started. The ones I would go with a mega pack for sure, watercolor and goulash, and you just hit download. I get down, Lady. This one's quite big, so it might take a seconds. Hence the name mega. Okay, Show that in your downloads and only due to install its double Click it. I'm going to do that because already got it installed. And that would just create a duplicate folder, which I don't want, But it'll just pop in there, and then you can use that if you really love brush. Like maybe I love this pencil. I can drag it to a favorites folder like here, and we can also play with settings of these. So obviously the size Kulla he, uh, just want to start with black for now, Um, you know the capacity there's tons of settings for all of them. I just start with the default settings, and, you know, maybe if I want, um, for example, if I wanted to increase how heavy that is, I just felt the flow on that one. Um, but yet to start with the default, get a basic sketch brush and let's on made a bouncing goal 5. The 12 Principles of Animation: in this classy and him. He talked a lot about the principles of animation. If you already and I these just skip ahead to the next video. But if you don't please familiarize yourself with them. I'm gonna be going over key ones that come up as I do the animations. But I really recommend you want this video, which sort of summarizes them if you've never heard of them before. These are the principles that would developed by the nine old men at Disney, including Frank Nolly. And they really are things to think about no matter what you're animating. So please have a watch of this video and write them down and just always have them on your desk. And, uh, yet let's move on to doing a bouncing ball exercise. 6. Animate a Bouncing Ball: so to start with, I'm just gonna create a shape layer and have this continuing the length of my timeline. So it's a reference for me, and this is just gonna be the path that my bull is going to go along. So I hope that by doing this exercise with you, we can highlight some of the key principles of animation. And I'm not gonna go in total detail on everything. But I want to give you sort of a quick start into traditional animation. So I'm just going to try, do this exercise with you and highlights of the key things along the way. So hopefully we can just sit alone by doing a bit and give you a good taste of it. Okay, So I'm going to stop by drawing my bowl. It's just coming onto the screen, and this is where my bowl is gonna be at its standard shape. So he just the regular ball, Um, because it's sort of in its hang time position at the top of the Ark. And as I go to the next position, I'm still going to keep the shapes quite close to each other because it's still moving quite slowly at this point because it's at the top of the art. And this sort of brings up a very important point. Um, a very important principle of animation, which is spacing. So the principle is that the slow of the movement is, the more close your drawings are gonna be together. So with that bull, it's gonna be moving slowest at the top of these ox when it's just sort of worked its way up. It's got a bit of hang time and before its thoughts to speed up as it reaches the ground. So it's gonna be going mice quickly as it sort of hurtling towards the ground, because that's how gravity works. So it pulls us down. And if we gain speed as we fall down to the Earth, so my joints are therefore gonna be closer together around the tops of the arcs, and then now I'm just starting to, like, space them out a bit more because my ball is gaining speed. Here, it's That curve is getting a bit steeper. I'm also kind of playing with shape of the bowl. So in automation, when something is moving quickly, we kind of stretch it out because it looks really nice when we play it back like it sort of seems like a smear, and it makes things feel fast, and it gives it a really nice movement. So as my bowl is gaining spade, I'm sort of just really stretching that out. And a really key point is that the volume shouldn't really change. So if I'm making it twice as long, I need to make it that much thinner as well. I can't have it be this long as I have, but as thick is, I had it to begin with. So I need to be careful with that. And that's especially true. When we're doing a person, you've got to keep the volume in mind, and that's something I'm quite bad at. So I can simply have Teoh. I constantly have to, like, change the size of things and, um but that's OK. You just keep going over it and keep tweaking it, Um, and with photo show up, it's quite easy, cause I can just, um, transform the drawing quite quickly by hitting community and then scaling it down. Well, decayed. Yet here here, I'm going quite extreme with this stretch cause he's going really fast, really, really fast and about to hit the ground When the ball hits the ground, I'm going to do a massive squash because squash and stretch together very important animation principle. Um, they make things look really, really good. You can never have too much squash and stretch. But before I do that squash, I'm gonna make the bowl actually touch the ground, cause I think that looks nice since it is actually slowing down a tiny bit before hiss. And that's just a little bit of easing, which is another principle. And easing is where we have the action slowing down at the beginning in the end of the movement. So things tend to go fastest in the middle on the level of easing convey various. You could be really slow at the ramp up and then maybe a little bit of easy in the end, or vice versa. But it needs to be in there to some degree invalidating a squash big squash. No, I'm just getting that bowl. So to start the bounce back up, sounding in pretty sort of gooey fashion, um, you don't have to do it. This being this flexible with the shape. But I think the movement, um looks quite cold like this. It's a bit of easing here again. So the bull is it faster as it flies back up and then we'll have it slow down again as we come to the next top of the OG at the high point and then also had drawings will therefore be closer together at that point as well. So keep keep thinking of these principles and just try keep them in mind throughout the whole thing I was starting to fall again back down. So my joins is still closer together It there and then Now I'm gonna dio a little bit of the little bits. Question stretch. So, yeah, now it's stretching a little bit. It's not gonna be as extreme. I think here because, um, it's falling from less of a hot it compared to the first drop. But I still need Teoh. Apply those principles of timing, spacing, squash and stretch and easy. And just trying to keep in mind mass and volume and try keep that consistent as well. So yeah, now will play that back, see what it looks like Set a bouncing bowl with tons of squash and stretch. It's very cartoony, but it shows hopefully those principles pretty well, and it's something really simple that anyone can do. 7. Design Your Character: okay, so coming up, we're going to be starting at a rough cost of that jump. Before we do that, it's good to have a design of your character available. I know it can be a bit daunting going from a ball to a full body character, but it's important that we see all characters is just sort of a group of shapes that we can break down into. I mean, if we look at the poses that you can do with a flour sack, which is very close to just a bouncing ball that can look so human and have so much feeling an emotion to it. And it's just basically two balls on top of each other, so we can do a lot just thinking about the shapes, and that's that's where it really way you want to get your head at. And don't worry too much about during fingers or toes or anything. Just get down the key shapes of the body. So I've gone with a pretty simple character here. She's pretty slender, a costume isn't very detailed, and I can easily break this down. So yeah, you're welcome to use a character that looks like this or design your own kind of style. Um, but once you have that, let's move on. Teoh during the key poses for a rough pass. 8. Animate a Jump: Key Poses: Okay, so let's start by during key poses for a jump. So the keys air, just the poses that have to be there to show what's happening in the story. Um, so for me, I'm just gonna dio a girl running away from something. She's very scared, and she has to do a big long jump of Ah, Kravis was something like that to get away. I suppose that the keys for that said the bear minimum to tell the story would be her running in onto the scene, showing that she's scared and being pursued by something, and then the next would be her jumping like her crossing the top of the crabbers. And then the third key would be her escaping at the other end. So it would be those three. But we're going to do a bit more here, um, so that we can get all of the main poses off broad jump down. So I'm just going to draw my path here, as I did with the bouncing bowl so that I've got a bit of a reference there. My first pose is going to be her running in unto the scene, just going to keep it super, super rough for the moment, just doing some basic shapes. The reason why we don't want to get to detailed too quickly to clean is it is very time consuming, or at least for me, it is to draw perfect joy ings. Um oh, not even perfect, but but clean drawings that takes a lot of time. And if you spend all your time doing beautiful drawings at the beginning and the movement isn't right or the timing isn't right, then you just wasted a lot of time. So it's far better to do a really rough pass. We can just get the key actions down. Check that everything's working in terms of when your character is doing a certain pose, or if that poses working or when they're stretching when they're squashing. Um, it's better to get that down in a rough past before you do any sort of clean lines or clean drawings. So I have really just broken my body down into basic shapes while maintaining sort of the integrity of the character as faras her being, you know, a woman who is relatively slender. Um, I suppose my rough past would look a lot different if I was doing maybe a short round a character, Um, but I'd still keep it super basic with, like, very basic shapes Big, round apple for the tummy and stuff like that I can next pose. So we're gonna have her going up slightly here before she squashes down to then launch. So the whole going down before she jumps up, that's part of anticipation, and that's really important. And it just means that where giving the audience a clue about what's about to happen. So every major action in this case her jumping across of the crevice needs have in anticipation. So we need to know that she's preparing for that, and that's all part of her squashing down to get that momentum to jump up the head as well is gonna be tilted up. I'm just gonna shade the back limbs for now, just so it's a little clearer, because that could get confusing. As with the bull we needs, keep volume in mind, even though this Israel, on such a scale her down a little bit. I've already violated my volume rules, and it's still probably too big, healthy, except later I can Now she is squashing down, So she's going down to the ground before she springs up. Get that momentum. Sort of like she's landing at the end of her run before she jumps up. Head is down. Here is well, you have just put a bit of a guide. They're just to keep in mind where her head was when she came onto the scene. And now we're sort of starting the jump. She's sort of gonna leap up, but her foot still has to touch the ground at this point and have front. Um was already coming forward as she went down, But I really wanted really flying up at this point. Um, swinging the arms is really gonna help make it look like she has a lot of momentum. When you do a big jump, your arms are a really big part of it. So she's stretching up. Her body is sort of going along the path. And if you think about her whole body as just a big bouncing bowl, we can kind of see how she's stretching out in this bit of drag from her heel can. I'm gonna go to my next key pose, which is her flying through the air, said this point. Had legs gonna be up, her arms gonna be up because she's couldn't be. She's gonna have thrown herself up like everything up. Kind of like a long John or Hurdle or something. It's very athletic. Just putting in a reference here just to give me a little bit more of a guide. Her head is gonna be sticking out, sort of like everything's being thrusted forward in her neck as well is going to be sticking out. She's really throwing all her force because it is actually quite a long way to jump. I think throwing the homes up I don't know about that. It looks to celebratory. I'm just putting it a color overlay on my reference, which I do when I want to draw sort of over the top of something. But it's, um it's confusing me when I have to drawings that both black on top of each other. So that's a handy little tip case, and I'm doing the next contact pose. Um, I really want to get a lot of lane into this here. Just add to the momentum because she did do you quite a big jump and this is a massive stretch. And then after this, of course, she's gonna do a massive squash because she's gonna have landed. That's going to be quite a lot of force. But before the squash, it's gonna be a stretch. So if these words really 90 now, But I'm just trying to, um, inception them into your head so that you are for everything came up, um, came trying to do something just ever so slightly different with the back leg where possible, I try to avoid twinning and twinning. I don't That's the official word for it. Maybe it's no twins. Yeah, but in my head, I always call it twinning. So you you don't want your your two arms to be doing exactly the same thing and your two legs speedy exactly the same thing. So I try to have a little bit of variation. I think, um, I have arms. It's like fully back here. It might be too extreme, but we just We just try it out is the point of the rough pass, right? You know, I'm just gonna move that reference, which was actually exactly the same as one of my earlier poses. Maybe it was posed to, um and that's her running out of the scene. So she's she jumps over the massive crevasse and then lends. And then off she goes, because in my story, she's being pursued by some terrifying character. Okay, this is the pose officer. She makes contact, so she's landing. He, uh but she's squashing down, So I guess her arms gonna have being flung over her head. At this point, kids play that back Tene onion skins off. So I kind of just seeing if the timing and the poses of roughly working I think it's roughly working. I think I'm okay with the timing of that. Might might be a little bit fost, but I think we can work without for now. So that's a key pose is in a rough past. So now let's move on to doing a few more. Breakdown in between drawings 9. Animate a Jump: Breakdowns & Inbetweens: All right. So we've already done the main poses that were necessary to tell this story, which is obviously her running onto the scene, doing the jump and then escaping at the end. Yeah, but we've also got some more storytelling frames in the in their part of the breakdowns and breakdowns. I suppose if the keys are showing you the extremes of your movement, the breakdowns are showing you how the character gets between those extremes. So they're not at the in between stage yet. They have a bit more storytelling ability than that. At this point, I'm just scrubbing through and kind of looking for target areas where I need to describe a bit more movement. And then slowly, as I keep doing this, the whole thing will become smoother and will be more filled out with drawings. So I'm going to do a drawing. He had to show how she's getting from this squash position to this super extended stretch position right before she leaps off the ground. This might actually be Mormon in between. I think I'm just gonna do, um, sort of identify what parts jump out at me, and some of these might be breakdowns, but I might have a few in betweens in here as well. So when I do this front leg coming up, standing up a bit more, but have body is still gonna be pretty, um, relatively hunched as she comes up because the next poses is quite fast. If we break her down into geometric shapes and we think about her like a bouncing ball and say like her torso is a ball and we think about spacing, I want this to sort of be close together to the previous drawing because hotels is gonna be slowly moving out and then, boom, she's gonna stretch and fly. So at this point, I see it as pretty close to each other between the squash and this drawing. And we're going to do her arm coming forward here because it's got to get all the way up in the next frame. Would probably want to have a hand dragging at this point a little bit when it's still really at this rough pause, and I just want to change the angles of things. The experiment. I often just grab the last little draw ground, part of Armel hand or whatever, and then hit committee and transforms. I could just quickly have a play with the angles and the rotations of certain things. I just find that so fast away from me. Okay, so she goes, She's running. She's getting ready. Teoh brings shot up. So she's going up. Thank you. And then this is the launchpad back. Calm needs to start going backwards at this point. So you've got a front, Um, in the middle of swinging forward with a bit of a drag on the hand. Head is down because she's still this pose, this middle pose here. I do want it closer to the previous post, then the the launch. I'm calling this the launch pose where she's she's almost off the ground. So I'm just playing back a small section just to see if that works. I like that. I can already see a bit of a swing in the home coming up, and we have to remember that everything moves in ox in animation or basically everything. That's so I wanted to keep that in mind when I'm swinging and, um, or body. I just want to keep in mind that it needs to be moving in a knock. So I like to I like it when you can feel the ah can feel the swing. Okay. Destroying a breakdown here as well. So how is she going to get from this launch to this position where she's high off the ground, flying in the air, slightly covering her face. So essentially both both legs have eventually got a swing up. Massively said back legs already up. But it's going to eventually have to get this a little bit higher. Front leg. It's gonna do most of the swinging. Okay, Just need another arms for a second. So I got my front, um, Sweetie Oppa's I launch, and then it's gonna come in a bit over her face when she's flying through the air at the top of the Ark and back on also needs to be swinging up at this point. And that's a big part of the momentum that she gains Also would have ahead sticking out, starting stick out because she really needs to thrust a lot of force forward at this point . Someone had a drawing here, and this is gonna show her really bending back before her weight is thrusted a bit more forward to get her extra hide. Not 100% sure about this yet, but we'll just see how it goes. I didn't think that that, um, that I'm really isn't working. So I'm gonna do the back, um, again swinging up. But it hasn't gone as far yet, so I get more of ah, basically just running at more than talk movement in these arms, cause that's gonna look better. Yeah, Okay. I think her torso like be I think she should still be leading a bit back. Okay, so let's adjust something. So I'm still having her lean a bit back, not know, as extremist she was in the in previous pose, but, um, it's going to take longer for her to get into that crouch. This sort of crouch in this guy position where she's bended over said now a drawing how she gets from this position. Teoh starting to bring that front leg up. And I think that's what coincides with her around her torso bending forward. So much is her swinging her front leg up. So we just draw that in and make sure we get a good arc shape in the movement off that front leg as it swings. So we've gotta keep poses. We've gotten breakdowns, and it got a couple of in betweens in here as well. So we're just gonna continue with in between ing in the next video. Just keep going over this and filling it out and making the animation feel better. 10. Animate a Jump: Finish Inbetweening: alrighty. Let's continue with improving automation and in between everything and getting that movement feeling nicer. So the in betweens Ah, just the drawings between the movements that are gonna help smooth out the animation. They don't necessarily have to sit right in the middle. Like if I do a bowl in one position and then on frame three further over to the right. The in between doesn't have to sit exactly in the middle. Easing and timing and spacing still comes into play, but it's not as big of a story telling move as a breakdown. For example, we already know what's happening in a scene, and we already know how a character is moving. We just need to get the animation looking better and looking smoother. So I'm just gonna go through. I sort of keeps growing through over this and just identifying pots to put some in betweens in, um so you can follow along and do this for your own animations. Well, all right, I want to add a jury right off toe. He gets into this flying position where he's a little she sorry, but she's a little more, um, Hunt Stover heads bent down Ah showing this the fear aspect. A bit more arms covering ahead, a bit more. We also need a pies of how we're going to get out of this position where she's flying and just coming ahead to landing. So she's sort of unfurling. She needs Owen fell at this point. I think I kind of want to show her do almost a bit of a twist in the air, maybe sort of start to try, put their legs approaching the ground and have her torso maybe twist a bit forward to the camera. So still shading that back leg, just the clarity. And I'm also drawing this in blue because now we're getting a lot of Turing's, and the foot should be pointing down towards wish. Months ago, Tosa should still be a bit Ben, but she's on and she's looking down at the ground. Just got to figure out what to do with the's arms, and I'm gonna add another drawing here between these two. Wish is sort of turning back to the profile view that she's about to land in. I was going up about two sort of swing back, although they might be, I think they're too far back a the next us much gonna do quickly glossed of that, huh? So just got rid of the arms there. I think they were too far back. I was waking me out, Gonna try with head leaning back a little, and I'm still up, Just not quite as crazy. So I wanted it come out. He's out. Bit of that squash as she is about to run away again. So just tell you during that's quite close to the previous one because I wanted to feel quite heavy because she is jumping from quite far. I wanted to be like a bone, and so that's gonna take her a second to spring out of that. So it would be nice to have a bit of, um, Dragon the head here, and just to make that previous pose feel like it has some weight to it like that, you could feel that landing a bit more. Just trying to identify where it needs some more in betweens where it's not smooth enough. Even though this is still very rough. I like to do as much. I like to fill out as much as I can in a rough pass because I just want to save time later so that I don't have to do Redux clean. Goering's I can just really trying to nail down the movement in a rough past first and then Usually I just go over and over it and its slowly becomes so I just want to see a bit more that talk of that front leg swinging up. Um, it would be nice after the foot dragging feet and hands and heads and hair and all that dragging is part of overlap and and follow through. So you have your main movement, which is driven by in our case. She's sort of like jumping up for years, so forward, and she sort of flying her body forward and certain things. I just like following through on that. For example, if she's pulling the legs up the feet, I'm gonna follow through and they're going to be a bit delayed. And then once she brings her foot up, then her toes in a sort of come back one or two frames after that. Yes, I'm just gonna put ahead a few different colors going on here. I'm just going to try put some stuff to black so that when I play it pack, I'm not, um, distracted by the change in colors. I'm just focusing on the movement if he owns of the end of a gym. Nasty. But I think in general the timing works. I think I'll just add ah, in between here to show Thea front foot coming forward like a passing position. So we've seen mostly animating on twos. But sometimes if the movement is fast ah, you might need to do it on ones. So here I'm kind of doing and make sure ones and twos. But in general, I always start with twos, and then I might have a few sections where I feel like it's not smooth enough for any more detail, and then I'll put a few ones in. But I always start with shoes just adding in between here of her moving forward, gonna add an in between here. I still wanted to be quite not snappy, but feel quite heavy when she lends. But I do want a bit of just a little bit of easing into that just a little bit, so I'm going to try, see if we can doing in between here. We bring her arms down a bit and see that feels nice. Oh, but yet again, this is why I just keep it so sketchy and and rough at this point because I'm still so figuring out all these little poses thes thes gymnasts, arms killing me. She's not ready. Yeah, that something is I don't know. It's not working. It's too like then some Senate bring arms, but no forward. I think that does feel better. That is much better. Let's just get, uh, springing up again, bringing that front leg up cause she's really gonna launch right off again, not into a jump straight into run because she's running head's gonna be a bit more up now. It's probably the point where Isa on the prize ahead of her, remember volume. So now you've got a rough past, so I'm pretty happy with that, and I think it's time for us to move on to clean up 11. Animate a Jump: Clean-up: Now that we have a rough pass working, let's just go over it on new layers to clean it up. We still don't need perfect lines. We just need to get it a bit more tidied and just go over it as many times as you need, but don't stress too much about drawing something that's perfect straight away. I used to be very stressed about this until I saw this sun feature it off. Glenn Kean, who, if you don't know Glen Keane, is an animator who's responsible for Ariel the Beast, Um Aladdin, Tawes and Plus you should see his short films this stunning. He's a wonderful automata and brilliant oddest, but I saw some videos of him showing his workflow, and I was so surprised to see that his first couple of drawings a super up and he's very, very rough when he starts his drawings and really starts animations. But his movement is incredible, and I think he just focuses on the movement from the outset, and then he just goes over it and over it so many times, and then he obviously generates these beautiful creations. But it's sort of opened my mind to the possibility that even if I can draw a perfect during straightaway, that's okay, because I can got over it and clean it up. Asai go. And even if it is a bit rough around the edges, if the movement is great than then, that's the main thing. So what I've done here is after AGD in some of the images of my character design. So I've got a reference for her proportions basically. And I'm in a group my existing rough past together. Just have it in a folder there cause I'm gonna create Neely is that I'm gonna do my clean up on and this this is when we start naming l. A is properly so this is a pain, But you really, really should do this because we're gonna be doing the head on a different lay of and you will thank me later if everything is properly named, so just do it. Just do it. Something to call this cleanup in a minute, duplicate this blank lay is and call that head because the head, I think the head is really noticeable. If you mess up the massive it, usually I have it on a separate Leia and I have a lot of reference. So I might copy the head over a bunch of times and then drive that, but we'll get set a little bit later. So now we're just gonna draw over a rough pass and really look at, ah, reference of of a character design and just make sure the lines of right the proportions of right we can still go over this a couple times as many times you need. No, I'm stressed about the head as we ascertained. So I'm gonna draw over the head here, is going to sketch over it, and then I'm gonna move it into position, destroy my mouth Fun. Her mouth has been open here. So what I'm doing is I'm just like I basically took that as a template head puffed it on and then change the expression slightly. Although we're not getting we're not getting to into expressions yet. I'm just she's not gonna have the happy little smile that she has in my character design reference there because she's scared. So I just opened her mouth a bit. Um, but we'll get a bit more into the expressions later, so I'm just going to continue with this process of drawing of my rough pass, cleaning up all the drawings and maybe making a few minor adjustments here and that if I see them sometimes when you clean up the animation, it reveals a few things that you didn't notice before in the rough bus. So I would make you sit and watch me go over all my drawings. But you guys continue it. That and then we'll get ready to start looking at her expressions and her hair. 12. Animate a Jump: Hair and Facial Expressions: So we've cleaned up a rough past. CIA and dis finished a couple of things. I've added a pose in the beginning after pose for just to help that transition of squashing down a bit. I've also got an expression sort of going on there and there because I wanted to see how it would work with her stretching out. Um, but I haven't really touched the rest of the expressions yet, so I've just added in in between there. Okay, so I'm gonna start by doing sort of a rough pass on my hair and expressions. What I'm gonna do is just go to my head folder, copy the layer of the frame that I want to work on, um, delete the existing artwork, but I've still got the original frame there and then just draw over it with a different color. So with the hair, it's all about overlap and follow through, which we discussed earlier. So this, again is is the principle that a character's body doesn't move all at the same time. Um, for example, if I move the arm, the hand is going to take a second to catch up. And similarly, when the body stops, certain things keep moving, and that applies to any appendages, like hair or a tale or big floppy ears. And they will take some time to settle after the character stops. So her hair is pretty simple. I haven't got long hair or a ponytail. I've just put it up in a bun. Um, because I wanted to make this quite easy asses our first jump, the things that I'll be playing with a basically have fringe. So when she's moving up like it is now, her fringe is gonna be dragging because it's moving. It's catching up to the body, basically. And her bun, similarly, is gonna be dragging down if the head is going up. And then if she drops her head, her hair is gonna move up, says sort of going the opposite way to the movement and then settles afterwards. So she's dropping down here, so her fringes sort of flying up with that force, and I just go through this for the whole thing and just kind of just scrub through and see how it looks. Then, once I'm happy, I will go over the real head and change that artwork underneath. When she's at the top of theocracy. I think her hair is is going to be catching up with her, but it's gonna overlaps that's going to go maybe forward and then sort of settled down, sort of like a whiplash. And then when she's landing here, have friends is gonna be up because it's gonna land after her head has done that big nod. Still gonna have a bit of a drag on the fringe there. And the bun hasn't quite gotten back up to its normal level yet as she's raising her head. No, I'm just highlighting all those rough handle is and I'm gonna put them into their own group changing the colors. I can see it a little better. I'm gonna call it hair rough. And I was gonna follow a similar process with the expressions, too, so I can draw kind of a draft over her face and with the expressions she's not. Her emotions aren't changing too much. Um, maybe at the top off the jump. And as she's sort of landing and she can see the crevice beneath her, she might have a bit more like wow, very scared in her face. And essentially, she's gonna be pretty wide eyed for most of this. But I think the thing I want to emphasize is that the expression of the face should go along with the whole squash and stretch of the body. So here she's she stretched up a bit before she's back to squash down, so I want there to be reflected in her face. So her eyebrows going up, her eyes a wider her mouth is more open. And in the squash position, we'll probably do eyes closed, really scrunched, scrunched down said. Should really follow what the body is doing. I cannot have her eyes sort of looking down at this point. So she's she's already jumping. It's it's kind of too late to do anything about it. But she's looking down below now and then, probably is going to be even more scared at what she sees. And this is gonna lead into her really covering her face so that that makes more sense, sort of opening her eyes again and then seeing the ground as she lands. And I've got really a big stretch in the face as cheese making contact with the ground, and now we want to squash again. So eyes closed, I rose down mouths shut, and that will help emphasize the force of the off the landing. I'm gonna highlight all of those rough expression lies and put them into a new group and call it expression enough. And I'm going to redraw the head on these frames. So do a similar thing. Duplicate the layer, delete the artwork, and then I'm going to draw a clean version over the top. And then when I'm happy with that, I'll delete the head. Leia underneath it. Summer placing frame three of the head. Basically, I'm just trying to do it in a way that's not too destructive. McCain. Let's just continue with that. And then once you've done that and I clean up is done, we can start coloring. So catch up with me on the next part. 13. Animate a Jump: Colour: it's well finished at cleanup, and now is the fun pot. So, yeah, there's not that much going on with my hair. Um, like I said, cause I wanted to keep it quite simple, just pretty tied up. But I did want to feel a bit of overlapping. Full is there in a bit of balance with that bun in her hair. Someone's gonna put my character design and my swatch, and I'm gonna paint this in water colors because we've got a lot of frames to paint. I'm not gonna dio shading or highlights or anything like that, but I think using watercolors is good for this because you don't really need to play with the colors. I've just got, I don't know, five colors there, and it still gives it a very nice textured feel. I have created my first color layer called C one. Remember to number. Be very consistent in your numbers. I want my colored one layer to match my clean up one and my head, one said. If ever I need to move a frame around, it's just very easy. I can highlight all the ones. I'm just testing out some watercolor brushes. There's so many. I kind of get lost in the choice. To be honest, that's kind of a dry one. Glass is really nice as well. I don't know if I'm pronouncing that right. Yes, I've gone with color magic to I think that's really nice, Yes, and I'm also keeping it on normal. A lot of these watercolors Ah, set to multiply is to see how that second stroke was so much darker. I just think setting it too normal for color and character really helps me control how I color it, because I'm concerned about time. At this point, I don't want to be spending hours playing around with shading. Just playing my swatch down so that I can easily pick colors is a paint. So this brush I can see is blending the colors of my foreground and background. So if you've got a brush, it's doing that. Just select your background like I've done and said it toe white, and then it will be blending with white. Essentially, changing the flow doesn't seem to do that much to this brush, so just leave it and then we get painting you guys. I usually sit of his paint over it and then erase where I've gone too far out of the lines . But because it's kind of sketchy and because it's watercolor, it doesn't matter if you're a little bit over the lines. Okay? Just doing the eyes. I just need a heavier brush to make sure that the whites of the eyes of their try something random yet little what? And to see the color of the I think I probably wanted black sets more noticeable. So you notice that my lay it is still feels, Ah, light a bit more transparent than my reference. And I don't want to spend days painting over it to get it more opaque. So what I'm gonna do, the end is essentially duplicated like that and said, the layer on top to multiply and probably lower the opacity down around half or something like that. And you see how that you still see all the water color and you see the different, um, levels in pressure. But it's just more saturated than what I had before, so I'll just do that at the at the very end. Basically, I'll get my whole color group duplicated and make one group set to multiply on top. So for now, we don't really have to worry about that. Kim Senate. Create a bunch of blank frames now and name them all, and I'll put these into group cold color. So this is the time when you put on your favorite podcast or you put on a TV show in the background and you just get down to coloring and I will catch up with you when you finish that, get up said. Now we have colored everything amazing. And I've duplicated my color group, as I mentioned earlier, set the top on to multiply, and I've also duplicated my cleanup players. Just get the line a little bit DACA because I was using, I was still using quite a sketchy pin, and I put those two multiply as well, and that's just the easy thing he can do at the end. So we're always there. Everyone in the next video, I'm gonna show you how to export. This is a video 14. Animate a Jump: Export Your Video: So now we're ready to export video. I recommend you add some sort of a background here just to give your seen a little more story to it. I've just got a foreground and a background group, and I've just done this using watercolors kind of the same brushes we were using before, and obviously those the layers of foreground and background are just going to extend to the whole length of your timeline because, you know, animating them a case it to export a video only need to do is go file export Brenda video and then all the default settings should be there. Just choose your folder. Um, it should be in 86 4 quality did same dimensions of your canvas 24 frames a second. And it should be rendering your work area So that all looks fine Que hit rendah and there's a video and you can add sound designed. That, too just had a bit more to it. And yeah, I hope you have you with it and I hope you share what you've done. I would really, really love to see it 15. Extra Credit: okay, extra credit time. So I have a few recommendations for you so that you can keep learning about classical animation. By no means is this clause and exhaustive lesson in traditional animation. It just gives you some of the key principles and key techniques to get started with, So I really encourage you to read more about it and learn as much as you can. It's super interesting toe. Let about. The first thing I have is the animated Survival Kit by Richard Williams. This is really the Bible. This is the number one thing I think you have to get. It's so useful. I refer to it all the time. It's got references, the main movements with people and even animals like, ah, walk cycle of run cycle jumps, even things like how fabric moves at certain moments and the references It just great. And it really takes all those 12 principles of animation and shows you how to apply them. So stuff like that really useful number one things again. The second book I would recommend is Drones Alive by Walt Stands filled, and this comprises a lot of the key lessons that Disney animators torts when they're training new animated back in the day. So it's got a lot of references to drawing for animation on do things that are really cool to learn about, for example, extreme poses of the face and stuff like that. It's just really good reference. Anyway. Give that a read on the third book is Is it actually really heavy? That book is the illusion of like and this just really get you inspired about animating. It goes through the whole history of classical animation, the 12 principles of animation and how they came up with them. And it's got some stern ing out working here, So this is just a beautiful book to have. And finally, the last thing I want to recommend is the animation put cost by Clay Keita's. So He's a Disney animator and he's got this podcast online, which actually isn't running anymore. But there's heeds of episodes Vito listen to, and he's done all these long interviews with really, really important people in animation who have so much wisdom to give, and they talk about the techniques and the different approaches and fun stories from back in the day. And it's just a really good. Listen, it's something that you probably wanna have on when you're doing something mindless, like coloring, for example. So that's a great one toe, Havas. Well, 16. Sayonara!: you did it. We finished. It took a while. Traditional animation is kind of time consuming. You knew that Very well done. If you made it this spot and thank you so much for being with me and letting me be your teacher. It's being so much fun, and please share your per JAXA bouncing bull and you jump on the discussion board of this clause that everybody can see. I would love to check them out and just a few things to keep in mind As you continue in your animation, Jenny, just always think about those principles of classical animation that we talked about. Really Get those ingrained in your head. Always be thinking about easings questions, stretch timing, spacing. Just have that on a constant loop in your brain as you animate. And secondly, don't be too worried about during perfect clean lines and having perfect drawings. Just make sure your movement is great and focus on that, and that's the main thing. And then finally, just practice and do more and more clips to more, more scenes and have fun. Thanks, everybody see next time