Learning the Basics of 2D Frame For Frame Character Animation: Animate Your First Character! | Valerie | Skillshare

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Learning the Basics of 2D Frame For Frame Character Animation: Animate Your First Character!

teacher avatar Valerie, director / animator / concept developer

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

7 Lessons (49m)
    • 1. About this class / Nice to meet you!

    • 2. Introduction to Animation / The First step Holds and Inbetweens

    • 3. Timing / ASSIGNMENT: Start building your character! + Animation Software

    • 4. Rough Animation and Clean-up

    • 5. Character Design / How to decide on your character design for Personal & Commercial project

    • 6. Coloring / How to work with Layers

    • 7. Summary / Your first 2D character animation!

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About This Class

Animation is fun to watch and it’s also fun to make! But where do you start? And how is animation made? Are you curious about 2D hand-drawn animation and are you interested in learning how to animate yourself? Are you interested in animation as a professional or do you want to pick it up as a hobby? Then this is the class for you! This class is for beginners who like learn about animation and how to animate a character. We’ll start really easy so anyone can join the fun! The classes will get more advance as we go on.

In this course you’ll learn:

  • Basics of 2D frame for frame animation
  • Basics of character design for animation
  • Some insight on the animation industry
  • How to animate a your first character!

This class is for: beginners (No prior knowledge is required.)

Watch time: 49 minutes


Over-all assignment of this course: Animate a character. We’ll start really basic so anyone can participate!

There will be short assignments with each class as animation is something you'll learn better, by doing. The assignments are a step by step process towards creating your very first character animation! All the assignments will lead towards creating your very first character animation. I recommend participating in each assignment.

Tools: There are no tools or software supplied with this course. It’s recommended to download a demo/ purchase the animation software to your preference, or use the tools you have; paper, scanner and editing software. During the course I’ll use digital drawn-2D animation for my explanations. The basics theory of frame for frame animation are the same regardless of the tools. I will talk about the software at times for those who are interested!

Animation software examples you can purchase or download a demo of to participate in the class assignments: photoshop, tvpaint, toon boom harmoney, moho, celaction2D, synfig, opentoonz, flipbook.

Meet Your Teacher

Teacher Profile Image


director / animator / concept developer


Oh! A visitor! Welcome to my Skillshare page! Please have a look around. Let me know if there's anything I can help you with!

I-uh, came here for the dog (actually I got lost while exploring and got distracted by the puppy because you know...puppies.) But you are...?

I'm Valerie! I'm a freelance animator, concept developer and director for animated films from Europe! I specialize in 2D animation and concept development, such as; storyboarding, script writing and character designing. I've worked on various projects, from indie films to commissioned projects.

Wow. That's a mouthful. So you're here to teach? (Also, can you tell me where the bathroom is? I don't want to be rude, but you know... nature calls and such.)

I do not know where the bathroom is. ... See full profile

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1. About this class / Nice to meet you! : welcome to miss Feels your class. My name is Valerie, and I'm an animator cause the development and director from Europe Well, she's not my first language from the state has had off. So if I say funny things, that's just gonna be unfortunately, So you know what you're in for If you do participate in my class, isn't that wonderful? I think I wouldn't signed up already. Anyway, one of this class about I'm gonna teach you about two knee hand drawn character animation where you alert is the basic of character animation. So your key frames in between holds physic, different hodja berry animations skills and I hope little things in between. I'm gonna start really basic so anyone can participate in this class. You know, if you have a law for animation, give it a try. I do recommend to download a demo or per case in animation software Opie a preference, or use the tools you have to the paper Skinner on editing software. There's even the option of phone shop you can use. I will use a two d animation program for my explanation. However, the basic theory or frame for frame animations are the same regardless of your tools. So it shouldn't matter if my tools are different from yours. This glasses for beginners because I want anyone who has a love for animation to be able to participate. We'll start really basic. Anyone can participate in the exercises, which I'll give throughout this class. It will start off moving simple shapes to animate in your first character. Be sure to post your animation as I and everyone else would love to see your progress. By the end of scores, you can do basic animations off your own characters. Illustration for personal and professional use. If you would like to see more classes, be sure to leave a like in a beef you. And if you would like to stay up to date with future classes, don't forget this described in this field here page. I'm looking forward to see your animations 2. Introduction to Animation / The First step Holds and Inbetweens: and mention is fun to watch, and it's also fun to make. But where do you start and house animation, mate? Are you curious about two D hand drawn animation? And are you interested in learning how to animate yourself? In that case, this glass is just for you. We'll start. Really see So anyone conjoined the fund and it will get more offense as we go on there, many different types of animation. So just favor frame to the animation cutout animation Stop motion three D Motion Capture wrote the scope thes days. Animation is everywhere. It's on TV commercials. It's on. The Internet is becoming part of our everyday reality. Of course, it wasn't always like this. It started off really small, and it just grew into this really big thing that we just cannot live without anymore, right? It's everywhere. It's part of it. Most of the movies are special effects. That's why animation is so fascinating. Animation is great because you can create anything with you. See the commercials on TV like the car commercials. It's all animation. They model the car, they replicate. The streets is cheaper than to film on location, and this is not uncommon these days, but I want to go back to while not all the way back. But I do want to go to an time where animation used to be frame for frame, hand drawn on pig, her Carla by paint. That's the animation that it's part me to become an animator. There's a blank page to fill, and you can fill it up with anything you want. Have a cannula and have a snow land. Go to the desert, just anything your imagination can come up with. I want to tone it down to character. I think character information is something I really like, because you can bring a character to life through animation. You can see it move, you can see dance. You could see talk to this something I would like to teach to you the basics off character animation and to be more specific cartoon characters. I'm gonna teach you too bouncy stuff. You'll see what I mean is you go on with any animation course, we'll start with this. I'm no different because I think it's useful to know the basics. So what I want to cover in today's class is the basic understanding of shapes and wave and holds the name betweens. So let's start off with. Holt's hold is a post to post picture. Like a comic, someone is bending down and he gets up. So ah, hold is when he's down in another hole is when he's old way up. But there's gonna be a very weird skip in between because they're only two frames. One the two holes right, the two whole Soeder, two frames down and up. But it will look much nicer if there are in between the in betweens. Already. Additional frames that will make the movement smoother sometimes said the more frames smoother or depends on the pace and how many in between shoot at as effect on the pace it has effect on the wave. It has effects on Howdy movement feels, so you can add one more frame, one in between. Then it will have three frames. If you add three more in betweens, it will have five and you'll see the difference in the animation. But sometimes you have to think about what do you want to achieve and what is necessary for this current movement. It also depends on what you want to animate. And what's the look you're going for? Um, example would be reached Williams on a fantastic animator, very inspiring to a lot of us. And he can make very beautiful movement, very detailed or an opposite example of that would be family guy. It started off as a short film, but it grew into a commercial project. And then you have to deal with budget and you have a team so the movement can be very bomb bomb, like very quick. Peters up Peter's down when he falls down and arms we're precision. We is an example of using less frames to create the effect. But having that, it creates a comedic effect. So it really depends on what you want to animate and what you want to achieved. This is suits the subject. Are you going for comedic are going for dramatic? Are you going for romantic? I'm just drawing things out there. Thanks to think about eventually. Not now again. I want to start a VC. What, you guys So for the very first assignment of this court's elected start off with animating a shape can circle and the square can be a rectangle, just whatever shape you want to do. You can do multiple shapes. You can let them roll. You can let them jump. You can let them dance. You can let them float. You can let them fly into all kinds of things with just basic shapes. But what you'll learn with this assignment is the effect of in betweens and holds. So if you want an object to fly, you can draw it at the bottom. You can draw one of the bottom. You're gonna draw one all the way up, so it's flying. But in between, How does he get up? That's the optic start flying in a curve. Those the object start flying straight weight, which would make it more like a rocket, I suppose. Are you wanted to go up like a bird, or do you want to float like a sugar lighter? So all kinds of ways, you can try and see how to create certain movement. But don't worry about the character. Get because the character, if you if you go for a very detailed character right away, if you're just a beginner, is gonna take away your attention is gonna take away the animating part just want you to focus on the movement to get that in your fingers. And that's I'm just going to stop from here. I'm talking a lot right now. Just give it a shot. And don't forget to share your work on skills share so everyone can see the different interpretations of this assignment. Very curious what you'll come out with. So please do share and yeah, I'll let you do it on when you're done, we can go to the next step. 3. Timing / ASSIGNMENT: Start building your character! + Animation Software: welcome back in the second class, we're going to talk a little bit more in depth about Holtz and in betweens and how to build up your character. But let me grab my screen here. Character is built up out of shapes. For example, I drew to duck before, so the duck is basically. It's a very, very rough rendition, as you can see over here things. Is it beautiful? But the duck is built out of shapes. You have the head, the body, the arms defeat, the lacks the beak, the eyes and his hair. So what we did before, Of course, it's tried to animate a shape, and I want to talk a little more in depth about that first. So let me play this animation. You can see here how it rolls. It just is basic circle, so there's nothing particularly about it. But it does showed emotion of it. You have to think about the movement you want to make and how many frames you want to use. So with this, I made sure that it started out very, very slow. Me zoom in a little bit more so you can see it better. This'll is the previous frame. This is the frame that comes after. So I'm using TV paint, which is a French produced animation program for two D animation, to be particular. And this is a light table. Of course, if you work with the hand or different program, you have different life tables. But basically the idea is the same for every table. The light table will help you see what's the previous frame and what is the next train, and I can show you that the more I click more frames, I can see what happened behind. See, so these are all previous frames, so we're going to start off easy because, like a car, a car has to pull up and it starts slow, so slow that well said, rolling, rolling, rolling, and then go faster and faster and faster until it's at the speed that you wanted to be very slow. Pull up, and then it can make bear steps in between so that it can speed up and then it slows down again. You can also cut it from me. Remove a couple of frames this and it will look different. See, it just keeps going. It doesn't slow down. And the reason why I'm telling you this is because you also have to think about the motion . When you, for example, drawn arm, you're gonna drawn arm and the arm is going to grab an object. Se za grabs a circle over here. But what speed does the arm pick up? The object is going super fast. Or does he take it slowly? Maybe it's a scary scene, so he grabs like hesitating. He's not sure what he wants to touch it. Check his fingers. Does the little things to think about when animating the motion. What house look, I think, is if you acted out, you acted out yourself. You can feel you can also see the emotion that you're making. If you grab a cup of coffee, you lift it. And, of course, a couple have weight if there's something in it. So it's different than lifting up a piece of paper, which is much lighter. So the weight of the object it was bigger. It might be heavy. It might be difficult to grab, and those are things that will make the animation world mawr believable. This is a bowling ball. That character has to pick it up. It's very happy. So he puts more strength and wait into picking up the object compared to a feather, these air beautiful, drawn hands, I know, but it's just to get the idea across right? And it's how you think about motion and waits. So if the character is very scared and he needs to pick up the object, you animated fairy slow because I'm drunk. Everything in one frame, the wrong layer to make even wars. There could be that example, but I'm just using it for my explanations. It's very slowly grabbing it. He's, you know, he's scared what I mentioned before. You connect it out yourself to see what it's like to pick up a cup, or you can ask a friend or somebody else to pick up a cup, and you can film it or you can observe it. Real life reference is a great way to understand motion. If you look at the dog, see how the dog run, see which lack goes in front of which one, and that's how you can understand how it certain emotions work for something you can look at the baby and how baby moves it might be very wonky. It might go over the place, but most very different from an old lady. For examples, the bones are aching. She's not that quick anymore, so the movements will be different from baby frigid movements of in a Lady. Animation isn't real, but you do want it to be believable. And you wanted to be part of the world it is in before Pixar movie up, the houses floating. That's of course, impossible but balloons. But it has to fit within the universe, so you cannot make float with one balloon. He needs a lot of balloons to make it float, and it isn't very much riel setting. In the beginning, of course, it becomes a lot more fantastical the moment the house lives often starts flying. But the sending off the movie is a realistic world. Hey, could be one of us. Then you got to play with those rules in order to make the character believable in that world. But for example, if it's a fantasy setting the Dragons and you've got to imagine, how does the dragon move? How does breathe? How do you make him believable inside that fantasy world? Think about what the world is like, the characters in and what you want to animate, how it moves within that world. Great ways to observe and learn and see and try out yourself. If you have any questions, let me know. Just leave a comment. I'll see if I can cover your question in a future class. So moving on some hold sitting between shapes. Let's go into characters, so characters are build off out of shapes. You animated a circle or square or any type of shape. You want it, and now you want to translate that into movements of a character. Characters are made out of shape, so you have head, which is a circle. You have the body, a triangle shape with the neck on it. You have the pence over here, which is quite square, and then you have the legs. So as you can see, the oldest shapes touch to each other. Creating a character was a beautiful head, isn't it? Yeah, it's nice. It's like a Cyclops boy, but anyway, so characters built out of shapes can be very detailed. Character can be very simple character, but they're old shapes. And yes, I think about how those shapes move. For example, I drew this little bunny over here till little legs. There we go. It's a bunny. Very rough bunnies. He had a tough life. You have to think about how do hiss air? Smooth. But he bounce up and down. Do they stay still? How does the head move? Does he have a nose? That's the no sniff course. I pray they might move very swiftly and your feet until with us until move when he jumps does go up and down ST same. How is the tail attached to the body? And the movement is based on those shapes. So basically you're animating shapes separately. All right. I created a new layer and put the money in their habits and is what it looks like. If I turned off the light box, I just kept the body and remove the ears because years or something to think about how All right, this is a very rough example. I'm just going to animate the years. So this is my whole This is one hold. This is the 2nd 1 This is what I want to move the ears to skills. Something to keep in mind as well. When drawing something. If you change the size off the ears, I'm going to show you in this wonderful example what effect it has. If you change shape when you animate, you have to make sure that the shapes stay the same shape unless you do not want it to. If there's a reason for it, that makes sense. You know there's a reason for it to grow or to shrink than that's part of the animation. But usually it's not part of the animation, so you have to make sure the shapes say about the same. But because it's a very rough example, I think it's a great way to show you what effect it has if you do change the shapes. But don't be afraid to make mistakes. Or while I wouldn't call them mistakes so part of the learning process. So don't worry about experimenting and trying out in your art. I think that's how you learn and understand why things were and why some things don't work , and it's also how you can discover new things for yourself. But you might like maybe you think it's better way more effectively to do something or maybe stylized, really cool. So just try things out. Don't don't worry about well, of course, you have to worry about it if you're working on assignment. But But if you're learning and trying things out, making mistakes is a great way to learn and a great way to explore the medium. The pace of the animation is the same. There's no speed up. There's no pulling up the string. It just every frame is paste the same, which creates an intimation that might not have a lot of way through it. I can remove some frames, so now it pays is a bit quicker and could see it makes a difference in how it things air pay. So what I did, I removed a couple of frames at the top to make the top movement a bit faster than when bunnies pulling up the years when you animate you want to work on layers. Usually it would be everybody. Heart would be on a separately, while depending on what a character needs. So in this case, the air should be on the different air Head would be on a different day or offense would be on different there the body to pause. Everything would be on its own layer, so you can animate old the different parts separately. You don't have to. You can also animate the body on one mayor. Its body is animated the same time, but I would put the head on a separate layer This personally, I think it would be easier because the head might move separate from the body. But it's a little bit about layers and how you want to build up your file. Of course, it depends on the animation Corruptor using how it works about animation program. I think people might be interested in this in which programs you can use to animate. You can actually animated photo shop. I know that there is a adobe animation program. I have not tried it myself, so I don't know if it's great or not. Course it's flash on. The it flashed exists. I am old. Also, there is tuned Boom, an animation program that's used in the industry a lot. You have a TV paint, which is the program I'm using, which I just like how basic the program is and how close it is to frame to frame animation , you have a lot more, you flip note. You have probably different programs for Mac and we know Spill Also have programs on upstate like animation. Absent cation. Want to do it on your phone or on a tablet for every program the frames and layer should be . Their light box should be there, and those are the tools you can work with to build up your animation units. I think if Doc Mort enough. So let's move on to the assignment of this class for this class assignment. I would like to see if you can animate multiple shapes moving together, for example, a welcome cycle. How do the feet move? How does the body move? How does head move? You don't have to worry yet about the details of the character, just a simple fight for yourself. And of course, animation is a very time consuming thing to do. You can do this if you want, but I don't think it's necessary yet to really fill in the details. So if you just animate the shapes and focus on the movement, that would be great. If you do want to animate a character with a face and see how the clothes go. That's a lot of additional things to do. But you can do it if you want to. I would love to see what you come up with. But again, for this assignment, it would be great if you can try out to animate multiple shapes working as a whole. And of course, you can share it on skill share. I cannot wait to see what you come up with. I'm gonna distract you any longer. Just go ahead, give it a shot and don't be afraid to experiment. Enjoy out things. Let's start animating shell way. 4. Rough Animation and Clean-up: Welcome to the third class of this course. Today we're gonna talk about rough animation and Kaleena It's basically the animation process, right? So make sure you warm up your fingers, don't get some cracks out of there because we are going to animate a lot. Everything is gonna be hand drawn. Frame the frame. Let's do this on our table. Want to give you is scale lines. That's just over few to make sure that every body part stays the same size. Because gonna look funny if all of a sudden the hand grows and in the hand shrinks. So those lines are there to help you make sure everything stays on skill. So in previous class, the assignment wants to animate multiple objects moving as a whole. I think I still got a lot to learn myself. So I also participate in this assignment anything. This would be a great way to show you guys how to continue your process. So I to the d Simon, and this is what I got. I animated those wobbly Bali things, and I created a wobbly bobbly character to fit those movements. So we have this little dinosaur looking dude that I'm going to animate and clean up the lines eventually. So in this class, I'm showing you my animation process is going to be a speed of version because actually took me all day to think this. I'm not crying in the inside or outside. I love information. It's a lot of hard work, but there's a lot of love going into it as well. So I have no idea when my dog is doing What is she doing anyway? I'm not distracted at all. I'm doing a rough animation. I animated the shapes, and now it's time to fill up those shapes to give it a little bit of detail, like a face added some clothes on hands and feet. Actually, you can animate every body part with a shape. I didn't animate the hands this time as a shape, but you can. You can animate a shape for hands so you can see where it goes. Knees, elbows, the bottom of the feet as well. You can, and you can use the shapes for anything just to figure out where everything goes off. I also edit you'll see later on a longer tail to make it more of a dinosaur, and I could have animated an additional circle at the end. That's where the tip of the tail would be to speak, Sure that it's the movement I want, but in this case I just went with it. But I did follow this circle to make sure it fits the movement that I animated before to do a little recap. I animated the shapes announced, filling in the details by adding the shapes of the character, adding arms, feet, an expression. While he doesn't have much of expression, that's a lie. I ended the details, and now it looks more of a character. It isn't. It's abstract as it was before, and the rough animation this sketchy This is, too. Just check out and see if I can nail the movement that I want. In this stage, I could still change stinks. When I clean it up. It's basically going to be tracing mind sketch lines, So that's why I think it's important to make sure the sketch lines are very close to what you want. Off course. You can still change things in the cleanup version. That's fine. I've done that before as well. I give a rough animation. But you know, you could have changed her mind. Anything is possible as long it's not rendered and send Teoh, for example. The cinema it's done is all the big screen. You can always change it, but with animation, because it's such a labor intense production, you want to get things done properly as early in the stage is possible. So if you can get things nicely at the beginning, the next step, which is cleanup, will go much smoother because you don't have to fix as many problems. But realistically, off course, I'm just speaking, ideally about this. Things happen. And in the process, there are always things that you can fix or change or improve or anything that aside, let's focus on having fun. I think it's very important when you animate that it's fun. If it's not fun, that is gonna be a chore hand. You don't want to do it. Sure, in your free time, right? Or ask your work. Have fun while doing it. Play some great music watching videos. Uh, listen to podcasts or anything that makes you keep going, because it's going to be something you're gonna do for hours and hours and hours. That's my personal take on it. Of course, everybody has their own works. Tell if you work better in silence than of course, it's fine. That's well, so again I spent of my animation process. I did rough and after the rough, I'm using that as a reference for my clean lines. And, of course, the clean lines are meant to be for coloring. And later on in the video year, olds going to see that I worked on multiple layers. Sometimes I work on one mayor, sometimes for somebody parts are we're going different layers, and that has to do with weather, body parts or objects cross one another. And during the coloring process, it makes more sense to have that on a different layer because you're not going to see part of it. And and this is going to be the thing with animation. Sometimes you animate something, and it's gonna be covered by something else, but you still need to animate it in order to make sense. You can not animated, but it's not uncommon for animators to animate the entire thing anyway. But I'm getting ahead of myself again. Usually how warrior and clean up is that I have my previous frame in my life bucks on and the next train. But because the next rain usually is what I'm working on, I just have the previous frame on, which is why you can see the pink lines there. That's my brief, a strain on screen. So I know what the movement is, then I need to draw and what the papers one was often checked during my animation process to see what the people's famous like, and I have to play the animation just for myself to see if the animation works or not. Course I could continue and finish it all the way. But if there's a mistake, it's gonna be a little late on my part to fix it. So I rather make sure everything is okay before I continue. Anyone has their own work cells. Don't worry about it. If you rather work differently, that's all fine. Just go with whatever works best for you. So here you can see that I turn on all the layers you can see process. You can see the shapes, you can see the rough lines and you can see the cleanup. Oh, Here's not a few. I want to show you how I build up mine layers. So I put the head on one layer. I put the body, the arms and a tail on one, and the reason why I put the deal there as well, because there's not going to be anything crossing the tail in this animation. So it's fine to put it in one layer. And as you can see, I put the left, lack and right leg on separate layers, and it has to do with my coloring set up. But you work alone or what do you work in a team? It's very important to have a clear over few off your layers. Enough about that. I want to talk about the next assignment. So the next assignment I would like to give you if, of course, you have time to participate is to do what I did animate your first character. I think clean up is gonna be a lot of work. I'm gonna suggest just to do a rough animation. You have the layout off your objects that you animated before. Use that as a basis, and it made a rough character at a face at arms. You can also just animate on object, like a bottle or a pencil case. I'm just throwing things out there. Very boring examples. But you can also animate objects. It doesn't have to be a character character. Make something amazing. I'm really excited about what you guys are going to make. If you want to share it left, see it. Imagine the movement you want to animate. You can shoot a reference. Here's another thing. They'll make it too long. Maybe one second, maybe two seconds. I would say one second. It's fine. I animated 1.5 2nd for this one. I'm just trying to give you some tips on If you are a little bit short on time. I think that's enough for now. I'm going to stop dogging so you guys get started animating Fill the next less 5. Character Design / How to decide on your character design for Personal & Commercial project: welcome to another class in this class. I would like to talk to you about character design. I'm not gonna talk about animation itself, but it is a subject very much related to what we're doing right now, which is animated your very first character. So you might have picked a character decorated like that already exists. Then you want to animated, or you might have designed your own character when designing a character. There are all kinds of things to keep in mind. And the reason why I want to present you with this topic is because I think it's very important and I would like to share my own experience with you guys. So when you design a character, you have to think about what is this style? Is it a cartoony cell? Is it realistic? Is it abstract? What type of character is it, for example, is a human is an animal like dog? Isn't a creature like announce is an object like a little cup or a teapot? Or isn't maybe a world, for example, in for drama, evil clans of planets and how do they look like? How did they move? Is it alive? What type of creatures live there. They're all kinds of things to think about, and anything can actually be a character. Another thing to keep in mind is the goal off, whatever it is you're animating it for. For example, if you're animating for commercial can be a leaf blower commercial, and there's a guy blowing the leaves and the please air flying. What little needs, how little faces and they're screaming while they're being blown away on the leaf is a character Or is it a short film about parenthood? Is it for all ages? So it may be very sweet, or is it very dark, like a tough part of parenthood? But is the story behind the animation you're creating and it has to suit the story if it's aimed for adults than it helps to also make a design suitable for it old. Same for Children, that these are things that are very important in the industry, and they look at it on a commercial part. You have to make it fit. Whatever the client is asking for. If it's for a bunch of men in ladies and suits, then you want it to suit their tastes and have appealed to their interest or whatever it is we're trying to explain, For example, for Infographic talking about the medical field and new findings in medication, for example, right. But you also have to think about your time limit. How much time do you have to produce the animation, your debt lines and also budgets? But it is a big thing, but also with free time work. I think this is also important to keep in mind goes free time on this. Of course, you have abundance of it. But in reality, of course, there are a lot of things going on at the same time an animation takes a lifetime to do you have to think about. Okay, I want to make my own film, for example. But it has to be something that is realistic for me as well as me, as a few whose animating it and then you have to think about Kate. This is the song Go for. This is a realistic decision. Can I chief this go? How much time do we need to achieve? So even if it's something for yourself, still think it's important to really make sure you're behind your own design, and that you can do it to achieve a goal, which is to create the animation recap is that the design has to suit your target audience . It has to suit your budget. It has to be doable, everything your time limits. And you also have to keep in mind what tools are being used to animate this. For example, if it's a three D animation, you wanted to be a character that suits three D animation. You know, someone has to model it. Someone has to rig it. Someone has to animate it. So there were certain things to keep in mind. And how much time does it take to do that? Or is it going to be cutout animation with puppet tools? Then you have to make sure that the character design also suits the capitals. And, of course, with two D animation is the same thing. It has to be a character that you can draw over and over again, because if you forget, a line is going to be visible right if you have a character like a pocket, a lot of lines in his face. But if you forget one line in one free. Eventually, you're going to see it sometimes on the people are going to see it. It's just that you want to produce, of course, a complete product. And if you see a mistake, you want to fix it. But it needs to be doable for you. It's a tool for others, because maybe you're gonna work in a team, and they have to be able to reproduce the artistic style that you chose for your character . Design courses different for three D animation than they have to nail the animation of the character. But because there's a model in three D, every model's gonna look the same because they're working with the same model. Software tools, budget time limits. Yeah, I would like to use the example of Pixar. They use a lot of shapes in the character design, but if you were example, have Netflix Castle Vania very detailed, Of course, more enemies style, and the information is very detailed. What comes along with it is that it's a very time consuming style because actually frame it's very detailed. You have the cage, the actions going on, so it's something that looks fantastic, but you will probably need a bigger budget for that compared to animating a Dora episode. Indoor uses a lot of holes is a very simple style, of course, is made to suit the target audience, and it's very effective for a target audience. Same with Castle Vania. But there is a big budget difference between Dora and Catalonia, so those are the things to keep in mind When designing character course, you have to have fun with charity. Yes, the door character gets sure. Cut a draw that get many, many times. And when you design a character, of course, so, so very useful to make a character sheet to see all the sights of the characters like make it three D model and, like making camera, turn around the character and see every side of the character. Top bottom side left, right front, the back, the tail. I'm just saying things. You have to see every little detail off the character because then you can use that as a reference and make sure that the character looks the same in every frame. So, yes, I think that's about it. For now, if you guys have any questions, I think you'll share has the option to leave Romans or maybe refused or anything. If you have questions, let me know. I'll see if I will be able to cover in a future class. I hope you guys found it useful and work with it. I think a lot of guys might already have in mind what you want to animate. But moving on, you know, maybe off a client who wants to do it. Okay, at this idea, I want to information. They have to design a character that suits the subject of clients. There shouldn't things to keep in mind when designing it. It would be very unfortunate, of course, if it would not really work out or if it's too time consuming. Or if there's no budget for this Saul you're going for but also for yourself. It has to be doable for you when animating. Just have fun, watching the characters come to life, and that's the biggest payoff you get out of animation. You can see the character move, then seeing talk. It's the absolute pay off all the hard work. So how if you guys can use this information moving on off course, we're not done yet. Next class, I'm going to go back to animation and talk about coloring. I hope you will look forward to it. 6. Coloring / How to work with Layers: Welcome to the next glass in this class. I would like to talk to you about going. It's a bit of like coloring, coloring plate, like little kids do. But I want to go a bit into details about layers. So the program I'm using is TV paint. You can work in a different program. However, I think layers will work similar in any program. I usually just leave their. So here we are. We have the character to animated before and previous class talked about character design. I didn't mention it, but I did write it down with the assignments that you can do the Leinart off yours. So you might be cleaning your lines right now. You might between it later. Anyway, I would like to show you how the coloring is. In case you want to call a rate as well. I'm gonna do one layer first. So let me through that what I do, I'm gonna call it ahead for So I drew the body parts on separate years. So in this case, the head is on a different year. Layer. I am placing the coloring layer of the head below the line Art of head I notice a lot of heads. One sentence, but Flynn colored is first. And then I'm gonna show you what I mean with the layers, So Oh, yeah. And also you can hear my mouse clicks and such. I hope you don't mind this time 40 real time stakes way Have the hit that's colored. Let me move my screen bit So you can see my years like this Very go. This could just want over here. There we go. So here you can see my layers. This is the sketched design I did before because remember a long, long time ago in episode on how to animate your first character. So you we have the head layer, which is a line art of the head and half the coloring layer, which is in which I placed the coloring off head and on a need at the body feet. I cannot see it. It's on a screen. So what I'm going to do is create new layers for the calorie, Anita, each layer depending on the body part. So there's gonna be a coloring layer underneath the line feet to be coloring layer on the needs of line buddy and it has to do with how the layers are on top of each other. So because the head is the biggest because the head is on top of the body balancing on top of the body, it's covering the body. In a sense, sometimes the hint like over here hand is behind the body. Then it's not gonna be a problem with coloring because the coloring layer is on top of the hand layer. So even if you were to color the hand layer, this is reporting the raw lamb right now, but I just want to show you what I mean. So this is the head coloring layer and its covers. The Handley or anything I color in this layer is gonna cover anything you need, except for the head layer on. I notice is basically your talk. But it is something to keep in mind when animating. Because if you're working in the wrong layer is gonna be a lot of hassle to fix, because you know you have a lot of frames to go through. And if it's you know, if you're making a mistake in multiple frames, then that's, uh, additional work to fix. And if you can avoid that problem. That would be really good for your own sanity as well. So here we are. I'm gonna color the rest of the body parts and then continue talking about layers. All right, So you have I have the entire character color, but it's only one free. I'm gonna show you the leaders again. See over here What? I did. So here we have the head there. That's the 1st 1 I did. Coloring layer, body layer. Then we have the coloring of the body. Would, until included way have feet there. And we have to call another feet. We have the line of defeat, the other feet, and then we have to call it that if it everything is in a separate layer because they sometimes cross each other. See if I can screen a bit down. Give me a moment. Right. Here you go. This is what I want to show you. So there is a reason why I did not or actually is a reason why. Colored the background with a different color, which is this one And TV pain. Usually this is some white player. I gave it a color because the character has white in it, right? It has a white face. The gloves are white feet. I guess it would go off. Feet are also a white, and I want to be able to make sure that all the gaps are college with the character. This, of course began, depends on your information program. How you're doing it. If it's on paper, what is different. But you have to do with pixels in this different case, not affect your program. Sometimes it colors outside the lines, like over here. Let me fix set too much just a little bit and our little gaps that it doesn't always color zooming roof real good to get those little touches out of there might be picking on my part . But the thing is, if you watch the animation on a big screen like a cinema screen is gonna be blown out of proportion. So the little gaps did you missed are gonna be visible. That's how I usually check. So I called in the background with a different color of the character, and then I check if there are any gaps or holes within the coloring, and then I fix it by pencil. it might be more efficient. Do it differently. But this is how I personally I like to do it because sometimes when you call her, you also saw me do that. I know if it's still edit, sometimes when I click on something, I could do it again. For example, Over here, I flick on this little piece here, right? I'm actually this is peace Who let me change my color. You can't say this is the piece that I'm gonna click on to color with the bucket, right in my case. But because it's such a small, small, small, small gap, the bucket cannot read it very well in this program. For that, it fills in the entire campus score. It callers it wrong. So sometimes I think it's big easier. Just use your little pencil brush tool to color in the little gaps. Everything looks good. So here we have it. It's only one frame. So I'm gonna continue covering the next, and I'm gonna speed up that process. Coloring is done. As you can see, I just thought coloring no shading just to keep it simple For now, I did a little bit of fixes here in there just small ones to improve the animation. Oh, so I wanted to talk about layers, right? So that's what I'm gonna show you now. So let's have another look at the layers. So here we have all the layers as before, so you can see there's a Here's the line head layer on the coloring and all the coloring layers are underneath the line version of what I colored. Let me grab my animation again on a switch over the screen for you to see just a bit better this way. There we go. And yes, but what I want. So you guys, what's about the feeding elect? So here we have this layer just cold feet two in my case. And this one is on top of the left leg of the little dinosaur creature, and here we have the other leg and force the cover in layers underneath it. So because here is this good example, this foot is covering the left foot right foot is covering the left food and can see the lines off the economy. See if I can draw it. You can see the lines over here off the other foot, but because the coloring gnaeus on top of fifth. It's covered. You're not going to see it. I still drew it as an animation to make sure that the black movement was done properly. And you have to make sure, depending on the design of your character, how complicated is how many layers there are? What's perspective, where the camera's pointing it is disappointing from the top of the bottom left side, all those kind of things you were thinking about when setting up your shot for your animation. It depends on where you have to put all the layers in which body part is covering what and how it would makes sense to cholera it as well. We have the color version off the character. Yeah, so for your next assignment is what I get right here is to see if you can color your clean animation. You don't have to, of course, if you're short on time. But if you have some time, it's a good practice just to see it for yourself and understand how the layers work your innovation program. And if you're working on paper, you can scan your line work and then cholera it on computer That would be my suggestion. Because, you know, we're gonna ruin your paperwork. I think you got plenty of work on your hands if you want to give it a shot. And if you guys call it your animation or if you want to show off line work, don't forget to share it on skill share. I'm sure everyone and me included Love to see your result When you guys 7. Summary / Your first 2D character animation!: Hey, everyone, this is the wrap up of this class. I want to go through everything we have been through together. You know, in this last. So what were you done in this class is the basic of automation. And we went from basic shapes practice to understanding, timing holds and in betweens. Using the basic steps to time out your characters movement and eventually adding the details of the rough animation which you can also do is I did the entire animation, the rough animation. But you can also just do a rough animation of the Holts and see what it looks like. And in between later, so off course, if you work on your a first, if you do every frame of your rough, that's gonna take a long time. So if you don't have that much time, you can work on your Holtz first and then work when you're in betweens. And, of course, after your rough animation, you want to clean up the lines. Unless, of course, you want to keep it rough for reason. And if you clean it up, it's much easier to color. We call it digitally because it just leaves much quicker and more consistence than doing a traditional. I think if Newt on paper with cells and you have to paint it on the back, it's a different type of process because you have to wait for being too dry. But I think most people do not have the traditional cells or if they do that really awesome . But I think most people will go to the door out because that's more successful at this moment. This class was very basic. I didn't go into a whole lot of different movements and how to do this. That and that's because I wanted to start a really basic so that anyone could join the fun . Because if you don't have experience with animation, might be a bit overwhelming, so hope doing it this way. It was a bit more accessible and less complicated for some of you guys. If you still have questions or if they're center topics you have questions about, let me know and I'll see what I can do in future classes. So maybe I'll put a couple of questions and I will comfort him in classes. I'll see what I could do to help you guys. Richer animation If you want to stay up to date with my classes, don't forget to follow my skills here, peach. And if you follow me, you can always see when there is a new class up. Also, I would absolutely love to see your work. What have you done with the shape animation? The rough animations? You clean it up, but you cholera it. I really would like to see the process of your animation and what you guys give up with. Because, you know, I just give you some tips on how to get started and of course, the imagination. That's all your So I'm looking forward to see what you guys have done and don't get to share it if you want to. Of course, on a scale share, and I will check it out. And of course, I think everyone else kennels. Check it out, check it out and encourage each other and make great work. Thank you guys very much for watching my class. I hope you enjoyed it. And hopefully next time we can go into a little bit more details about certain things in animation. Begin, thank you very much and have a great day by