Some ANIMATION BASICS WITH SKETCHBOOK | Abraham Liebherr | Skillshare

Some ANIMATION BASICS WITH SKETCHBOOK

Abraham Liebherr, Let's make some animation!

Some ANIMATION BASICS WITH SKETCHBOOK

Abraham Liebherr, Let's make some animation!

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13 Lessons (49m)
    • 1. Hello!

      1:58
    • 2. Heads UP!

      0:59
    • 3. Making A New Filpbook File

      1:22
    • 4. The Timeline

      3:36
    • 5. The Brush Palette

      5:42
    • 6. Layers

      2:31
    • 7. Getting Things Back

      2:21
    • 8. Follow Along!

      1:20
    • 9. #1 Poses

      6:09
    • 10. #2 Arches!

      5:13
    • 11. #3 Stretch & Squash & In betweens

      6:31
    • 12. #4 Timing!

      9:48
    • 13. Congratulations!!

      1:15
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About This Class

Hello! and welcome to the class. my name is Abe and I will be teaching just a few of the basics of hand drawn 2D-Animation. I hope to give you a good start in Animation and that these videos will further you in the art of animation as well.  

We'll be learning the following 

  • Sketchbook tools
  • Poses 
  • Arches 
  • Stretch & Squash & In-between's 
  • Timing  

Music BY : Kevin MacLeod - iTunes link

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Abraham Liebherr

Let's make some animation!

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Transcripts

1. Hello!: Hello. My name is a bit and I'm gonna be teaching this course on some animation basics with sketchbook. Um, I've been animating for probably the last three years, and I've been drawing for the last six, so I'm been around the block in a pretty good idea of what is useful to learn when you're just starting out. And keep in mind that this is class for beginners. If you know it doesn't seem very advanced, it's because it's now. But I will say, If you just want to refresh yourself, then you're more than welcome to to watch. I'm not going to stop you. Obviously, on the second. No tracking down tell you not to watch my videos because you're so good. But for those just starting off, um, yeah, these air just the basics of animation and they will help you grow and flourish as an animator. And after this animation, after you make your first animation, maybe it's your second animation. Maybe you've already made animation, but point is, after this, you can call yourself an animator. This is something that you want to regularly do. You are now an animator. You don't have to go work at Disney. You don't have toe get some big time job. You don't have to be some big time creator if you're animating and that's what you love to do. You are an animator. So congratulations. You've gotten that for now. Let's just get good. So I welcome you to my class. I hope you learned something and I hope you have fun. So I will see you in the videos. Thanks for stopping by. 2. Heads UP!: There you go. Hey, this is just a quick heads up. But I just wanted to let you know that if you were already familiar with the sketchbook software, feel free to skip ahead to the lessons. Don't worry about any of the workshops, but if you are new to sketchbook, and I would recommend that you stick around and learn a little bit more about the software and just the basic tools that will help you a lot as we go along. And another thing is, sketchbook is totally free. So if you just watching these videos just to kind of get a few a forum, you can go on download sketchbook for free. It comes with a little bit of animation software that's super easy to use, and we'll be going through that so it's free. It's easy to use, and I even made some little tutorials for you. Tow watch. So, yeah, I will see you in the video 3. Making A New Filpbook File: Okay, so I'm gonna show you guys how to start a new flip book file. So if you wanted to do that super simple, he would just go here to file, and then you would hit new empty foot book. But before we do that, I was gonna go over some things real quick. If you go to file and say you want to save anything, you have all your options right here. Just for future reference. That's a pretty straightforward thing, but just so you can see it. So what you would do is you go to final new empty foot book right here. Get that. And I always ask you, if you want to save whenever you're working on, I was gonna hit no for now. And when you hit no or yes, Wherever it is you want, it's gonna open up this window here and gonna have all your presets. So it's just a duck. This is just a bunch of different, uh, sizes for your paper that you're gonna be drawing on. And then this is the width and the height of the paper you're gonna drawn If you want to customize it yourself and then you got your frame right here. And then you have your number of frames. I just leave everything as is. And then you would just hit. Okay? And there you are, your set, and you're ready to go. So see you in the next video. 4. The Timeline: all right. So I'll show you guys about the timeline. So right here you have all your friends. And over here, you have auto key friend, auto key friend. If you just click on any frame, you hit it automatically at a frame that's really useful tohave. All right, if you want to add friends, you have insert empty frame or you have the option of copying, friend. So that will just copy your number three frame or whatever frame it is that you want to copy. All right, if you want to delete a frame, just hit, delete empty frame. Now, if you don't have automatic uh, key frame on, you're gonna have to manually at a frame, and you can add a for key frame right here. That little button and just automatically adds it. If you want to believe it, just hit that button again. Very simple. All right, so let's say you want to see you're frames with lightbox. Let's see our previous frame number one and then our forward brain frame. Three. Just keep these buttons right here. If you want, you could, in just the amount of frames that you see forward and backwards go all the way at the time , I just keep it at one. And now you have your, uh, playback options, so I'll show you how to loop it all a bit automatically. Beyond, uh, it says loop right here. You don't have to touch anything. Uh, if it's not on, it will just be one arrow if it is on nobody to so hit play automatically loops. Super simple. All right, Now I'll show you the play through. So this is the plate through, and I'll just play all the frames and it won't look, You just play all 295 frames, all right? And then these buttons here, uh, this is your next frame. This is your previous frame, and these will just forward backward. That's what Those dio this right here. We'll go straight to the beginning. Uh, but it will only take you so far back. This, uh, scrub are right here. You can expand it, retract it. But I will only go up to 39 frames, so I'll go to frame 30 month 39 I'll go back and I'll go back. Toe frame. One bite. If I goto frame 1 27 and hit Go back. It's not gonna go back to frame one and only go back to frame 89. So that's how that works. Um, and the last thing I'll show you is adding frames. Another. Another way to add frames. So I have 295 frames. Let's say I want to add 400 so I'll type in 400 in that box. Hit 400 now I have 400 frames and go all the way to frame 400 400 friends. I could do the same if I want to take away frames and I just want 200 frames. Not only have 200 frames very easy to use. This will just take you to a specific frame. So let's just say I want to go from 100 type in frame 100. I'll take me rate to frame 100. Very, very simple and easy used timeline, and that's really all you need to know. It's just a basic overview of the timeline and how it works, so play around with it, getting used to it, and I'll see you guys in the next video 5. The Brush Palette: Okay, so now I'm gonna talk about the brush palette. This right here is your brush palette. Um, it will always start off in the left side of the screen right here. But for now, I'm gonna put it right. Center. So first things first. If you're messing with it and you accidentally click out of it, Here is how you get it back up here in the toolbar. It'll save brush palette. Hit that pop right back up where it left off. That's super super helpful. So this doesn't look like a lot of these air. Your basic options right here is the brush library. And this is where you're gonna get a bunch of different options for a bunch of different brushes and pencils. My favorite currently or the fantasy art set. I love them. You can create some super awesome effects with those, but right now, we're just gonna stick with the pencil. So I'm on the pencil right now in the pencil does not get advanced settings. It just gets the basic ones. So right here in this tab with the scrum bars is your brush properties. And with the scrub are you can address the size and the hardness. I usually keep it in about a two point. Oh, but I will show you other ways. You can adjust this real quick. So right here, it says. 3.7. If I were to use the keypad, I can adjust it to 2.0, are the wise. If I wanted to go a little higher to 2.5, I can use these little key tabs here, and that will adjust it to 2.5. And you could do the same with the opacity, and I'll show you a little bit about the capacities. I'll bring this up just so you can see it. So if I were to bring the opacity down, draw a little bit and went back over what I already drawn, it'll get a little darker, and that's great for creating texture. I do that sometimes, but not often. I really only do that when I'm like painting or drawing with the actual drawing part of the software. But for now I want when I'm animating, I often just keep the capacity at 100%. I keep this at two point. Those are my favorite settings for those So now I'll show you the advanced settings. So for the advanced settings, I'm gonna hit the ball point pen. I'm going to brush properties, and this is really cool at type. You get a bunch of different options. If I wanted to make the pen work like a marker, I could just hit type. You have more of a market texture. If I wanted to make it glow, see how it's going right there. I could make it glow smudge, making all smudgy I get the eraser. Race it. That's really cool. You get all those awesome options with the ball point pen and most of everything else and most everything else will have advanced settings. The basic pencil dozen. But I really love the basic pencil, so it doesn't really matter for me. But if you want Teoh, use a different pencil. Just go to the brush library and pick out something that fit to preference. So for the advanced settings, you have size with heavy pressure size with light pressure, and that will kind of create a tail and either in the middle, Orel taper off on the ends. So I'll show you here actually have to go back and put back on standard. So show you see how it tapers off when I give it less pressure. That's actually really useful, and I like to use that for pretty much. Everything I use like that have that kind of natural look when I'm drawing. That's just totally me, though, so I will show you a little bit more. So you have spacing. See how it turns into a little dots like that. If you have something with texture, it'll spread that texture apart. And then there's roundness that will actually make things sharper. Make the edges a little more jagged and see how flat that looks. Just that we have the rotation. If you were to have, like, a bumpy texture, see how those dots are swiveling? You can notice that you see that, Yeah, but you have all these different options. Uh, so it's totally up to you to go in here and just all those settings just how you would want them. I'm going to resettle that because I like the way it is in the first place. So those are your advanced settings and those kind of how they work. It's up to you to adjust everything. How you would like it. And overall, those are the basic functions of brush palette. Very simple, very easy to use. So before you go in the next video, like everything else, I just suggest that you go through it, mess with it, get lost in it, get frustrated with it, which most likely won't be. But it's good to because it'll help you learn and get familiar with this function and then move on to the next video. So until then, good luck. We'll see in the next one. 6. Layers: So now I'm going to talk about the layer box. This is very simple. So first things first. If you actually click off, just goto tool bars. Goto layer hit layer again and I'll pop up right where you left it. So here's the foreground. If you draw in the foreground and you go to the mid groaned, it's not gonna affect each other. So if I race on the foreground, it's not gonna mess with the mid ground and vice versa. So just keep that in mind and be mindful where you're drawing because you don't want to animate the face on the foreground and then animate the body on the mid ground. Just be very careful and mindful of what you do. So for the background. You need to be very mindful of that, because if I'm to draw in the foreground, I draw a circle here. Don't say I draw circle there. All right, so you get some movement there. The background doesn't change. Background is the background. It's not ah, frame of any kind. It's just the background. So unless you're animating on a background, make sure unless make sure that you don't accidentally draw any of your frames on the background. You know you only want the background unless it's a background you want Teoh lay behind your animation, so just just be mindful of that. That's all you really need to know. For the mid ground and backgrounds, I will show you about the background color. So this little circle down here, we'll make a color will pop up, and that will allow you to do just the background color How you would like it. I just keep it at a solid white. I find that to be the most useful. I'll just keep it there. Another thing you can Dio is high Delaire, and I'll go straight to a checker background that's just getting rid of your colored background. It's turning into a checkered background, basically making you're drawings transparent. So that's all you really need to know for the layer box. It's very simple, not much to it, but that's the way you want it. So that's around with a little bit, and I'll see you guys in the next video 7. Getting Things Back: Okay, so the last thing I'm going to share with you is how to get things back. And I've kind of gone over this throughout these little videos here. But I'm just gonna go over it one more time just to show you. So if you're messing with things and you accidentally cut out of something like the toolbar , which I'm gonna go over this real quick what you could do to say you're messing with it accidentally tap out. What's to say you slip a little more any actually tab out of your animation bar? So you tap out of everything, all right? And you're gonna think to yourself, What the heck do ideo Well, here's what you do. Goto window up here, Hit that. Hears all your windows right here. This is where all your bars are gonna be. So I'm going to a bar. So now that I got my toolbar back, the rest of it's pretty simple. You could go back up the window and you could hit all this stuff here and get back. Otherwise, you can just go here, get your colors back, get your brush palette back and get your layer box back and now you're back to where you want to be. But you can't do that with the animation timeline. Animation timeline Just goto window. Everything will be in windows, by the way. Just to be clear, Goto go to the Windows bar and all this will open up and you can hit animation timeline right down here at the bottom and that will pop right back up. That's just a quick tip. Uh, just for when you peas, you will eventually accidentally hit out of things that will kind of get you back on track so you don't feel lost. That happens a lot when you're learning a new software, you totally get lost doing that. So that's how you can find your way back. So that is the end of the introduction of sketchbook. Hope that simplifies everything for you. And now we're gonna go onto animation and we're gonna go over some basics and we're gonna help you apply those basics. Teoh. Pretty much anything you want to enemy. So for now, mess around the software a little bit more and then I will see you in the next video. Good luck. 8. Follow Along! : Hello. I just wanted to let you guys know that you can follow along. I have a couple of files attached to this class. They're sketchbook files, and they're of the animation that we finish. It's one of them is the, um completely finished animation and the other is blank. It's only got the beginning, drawing and end drawing, so it would be up to you to follow along with the class and to draw all of the in between poses and just the rest of the animation by yourself. I just kind of made a little template that you can use, so you can either use the template or you can just do the whole thing yourself. It's totally up to you. The reason I put the Finnish animation in there is if you're just a little confused and you want to get a better idea of what I did exactly, you could just actually go in there and look at each drawing where it's at, go through the timeline yourself and dissect everything. So I wanted to make it as useful as possible for you guys. So that said, good luck with your learning. I hope that you keep on pursuing animation and good luck. See you in the videos 9. #1 Poses: Okay, so I'm gonna go see this animation with you real quick. This isn't finished. I've just done the poses and I'm gonna show you how I did that. So what I did is I started off with strong here, frame one, and then the next thing I did was this one. So none of these drawings in between existed. I just did these two drawings first, which would have looked like this. Just been these two just like that. I have my lightbox on that can sri that. So that's how it would have looked originally. Just those two drawings. So what I did after that Because I took this drawing and I brought it over. I made some space in between just like that, and I started drawing all of the poses in between which and I started drawing all the poses in between, which is post oppose animation and straightforward are animating straight ahead animation kind of mixed. So I drew my poses, my two main poses, and then I just kind of filled in the blanks with what I wanted to happen. So let's go through this. So I have him bending down and anticipating a jump right here. It's getting ready to go on here. I have him in the air and it comes down here, hits the ground, squishes a little bit and pops up on Lens right back there at the second frame, we actually drew, so it's really easy. That's all you gotta. That's what I like to do. I think that's one of the best place to go. It's just starting off with your first initial pose, where he starts off at and then drawing what he is, where he's gonna be or what he's gonna be doing, you know? So it's like it is here. Now he's here. What do I do in between those two drawings that get him from Point A to point B? So we'll go through these poses together. So here I have him standing, and here I have been bending, and it's important that when your character is about to do something that you make that change, you really want to notice change in your drawings. You don't just want him barely bending. You want him really looks like he's about to jump. So that's what I've done here and that cold anticipation. So make sure you get that in place before you make it character jump. And what I did here is I just have him where he's gonna be here, where he's gonna be from here to here, you know, cover this distance between here and there is what I'm trying to say is covered that just so I know what direction he's gonna be heading in as kind of a marker. It's basically the same thing as I did for hearing here. And then I will just animate straight ahead from this point to this point. So from here to here, I'm gonna be animating straight ahead, so I'll have no more poses. I'll just be animating. And then I essentially did the same thing here. But what I did is I had another anticipation pose. He's about to squash, and he stretched right here and he's falling hard. That's what I did right there. And now I have him squashing it there, and I'll probably have him squash a little bit more when I add in betweens. And then I had him pop back up. We squashed. And then he reacted to that. He pops right back up and that he is at the final post. We we drew. So that's all you really got to do for this? First step is first drawing second drawing, then draw everything in between. And if you need to, you can just kind of put place Market drawings, you know, poses. Really? You know, same thing we did here. I did my first drawing in my end, drawing well, if I have him about to jump word I want him to be, I want to be right here. And now I know that also I got to do when I animate is just animate from here to there. So just remember that you can do stuff like that. Cover a big amount of distance when you want your character to go somewhere he's performing an action like jumping. You know, that's a perfect example, you know? So now we could just animate straight ahead and then do the same thing here. You know, I'm going from pose to pose, but at the same time animating straight ahead from each of those poses. That's what I'm doing here. So what I've done here is I drew an arch, and this way you can keep track of your character and how he's moving along. That arch is when you move, you want to move along an arch. Most movement has arches in it, and we'll talk about that in the next video. But just go ahead and do that for yourself just so you can know where to place your character as he as he moves. So that's it for this video. Uh, you can draw whatever kind of character you want. It doesn't have to be him. It could be anything. But we're gonna be practicing with a jump, so we'll start off with that and you can follow along with each of the drawings that I've done. So good luck. Have fun and just use your imagination when it comes to the character, I'll see you in the next video. 10. #2 Arches!: Okay, so now I'm gonna talk a little bit about arches. So when I made him jump, I gave him a nice arch. Actually, that red line indicates the Archie's jumping on. And it's nice to make your character move in arches when you can, because it makes everything just flow nicely. You know, just makes the whole thing just seem believable. And I think that's the most important thing is you want your animation to be believable. We'll get rid of the arch. Uh, lying won't display without that, and you can see that he's moving in an arch. We don't got the got any in betweens in there yet, and you know, but you can still see that he's going in arch. You know, that's important. Arches are important whether your characters walking or you know, someone throwing something. Something's always going to be moving in an arch, and that's something you just always want to keep an eye out for. Just find those arches in your animation. Your character moves. Make sure you find the arches. That's very important, you know, Even right here, I can even show you. See how he squishes right here? There's even the slightest little arch from the top of his head. It's going to this background here. There's even that tiny little arch that you might not even notice. But it's subtle, but it'll make the animation that much, you know, more believable by having that small arch goes from the top of his head and down. You know, I don't have any of the in between drawings and there yet, but, you know, there's, ah, impression of an arch there, right? Seeing how he pops back up and follows that arch. So look for the tiny arches in your animation. Very important, even the way his legs move apart. Watch this. I bet you there's an arch that his legs move on. See, just like that, he made an arch, swung his legs apart. Just like that. I bet you as it goes down his legs, following Archer as well, tiny little arches and all the movement. And it just seems like such a simple character, and you want to think of their being really any arches there. But there are so just keep an eye out for the arches and the movement your character makes . It's very important because it makes again. It makes your animation mawr believable. And that's what you want. You don't need a super realistic character or really anything like that. It's It's all about the movement, you know. It's all about the timing and whatnot, and we'll get on to those other things. But just archers are an important part of that. So keep an eye on that. And that's something that even I forget. They keep an eye out for. It was arches. So really focus on the arch, the arch of your animation. Make sure it just, you know, it makes sense. Everything's in the correct place. All Ah, show you what this playback would look like if everything was just, you know, not placed right. So let's take him and we'll who's wrong drawing. Here we go. So let's take him and put him down here. We'll take him. No, Make him a little bit higher. Just a little bit out of place. Take him. Put him right there. Leave him there. Right there. I see it just now. It looks weird. You know, he's just floating straight across. He's falling straight down. It just not really making much sense. You know. That's why you want everything to be cohesive and land in the right place. And you get a nice, nice arch just like that and makes the whole thing more believable. And it's nice. You can see the result as you go when you keep an eye on those things. This isn't a complete animation, but you get the idea because everything is in its place and where you want it to be, you know, you know, very important. So play around with it, keep an eye on your arches and I will see you in the next video. Good luck. 11. #3 Stretch & Squash & In betweens: Okay, so now I'm going to talk about stretch and squash and in betweens, so we'll go over stretch and squash. Or quite, it's in the name. So when your characters making, ah, quick movement will stretch and when he hit something salad Hill squash. So or if you know, makes a sudden stop or something like that. So, uh, show you what we've done here? I'll play this through. It's gonna be really quick because we haven't done on the timing yet. But as you can see, he's moving through the air and he's making some poses that are a little more stretched out . We'll zoom in here. I'll show you be a little bit easier to show you just going through one by one. So as it goes down, I made him structure a little bit because he's going quicker. And then he hits the bottom like that and goes back in the shape needs a little bit squashed. But as I add in betweens, and that's when I've kind of done here is you can see there's no more filled in gaps, I add. I've added in betweens. You know, I'll get a little more into that as we go, but I'll just show these real quick. So he makes a sudden movement and stretches just a little bit. He squashes in a little bit, and then as he jumps, he's stretching and he's still following that arch line. Keep that in mind, but he's jumping any stretching. That's because he's moving very quickly and then he pops back in the shape A Z. We go a little more, he starts to stretch and he it starts to go right back into shape. I think it's a little closer and he hits the ground. The squashes that's your squash over here is your stretch. Just how he interacts with the environment as we go on will slowly go back into shape and he's gonna bounce back up. You pop in the shape, gonna fall down a little bit, squish a little balance up a little again, this time with no stretch and then back into his place. So that's how obstruction squash works and I will go over in between. So before, I just had thes two drawings here, no up and then down in between is completing that action, and we want to complete that action by adding more movement in between our two poses. So, like I said before, I can animate straight ahead and create any kind of movement I want between the two poses. So it's a mixture of both opposed, oppose and animating straight ahead. That's what we talked about a little bit before. Um, but we'll go over these in betweens here. So what I've done here made him come down and I'll add more in betweens after this. Uh, when we talk about timing, but have ended in in between here and he comes down added in in between right here as it goes up another in between here, new in between right there and they're bounces up there all in betweens, all the gaps that have been filled. So that's kind of how that works. Um, that's really all you need to know. Really. You know, you just wanna make your character interact with his actions and the environment. So right here he's interacting with his actions. He's jumping very quickly. Any stretching over here on C here? Find that frame there we go over here, he's really interacting with his environment, and that is the floor. Let's just say it's, Ah, solid concrete floor and he's interacting with that. So keep that in mind when you're animating a character, how whole react Teoh, different environments and how his actions will make him, you know, move and flow. You know, keep that in mind as you're animating. That's very important, because that also makes our animation very believable. So that's all you really need to know about this. I would suggest that you just play around with it. You can watch the animation place through. I'll go through each frame one by one, just like this. You can kind of get an idea of what was going on. And when I was talking about arches earlier, I'll actually kind of point something out that I did wrong here, See how he comes down like this. It doesn't follow a clean art. She kind of pops in like that. And if I wanted to fix that, I bring him out just a little bit more. That fixes the arch, actually makes it more complete arch. So, like I said, keep an eye in your arteries as well. So it's kind of play through all these and look at all the drawings get 90 of how that works. So take your time with that, um, and just focus on what's important. It's, you know, getting your arches right. You know, make your poses clear and make it toward they communicate what he's doing and make sure that your character interacts with what he's doing in the right way. And that's where stretch and squash comes in. Stretching Squatch. You know, it's a really awesome thing to use. So, yeah, good luck and have fun. We'll see you in the next video. 12. #4 Timing!: Okay, so I'm gonna talk about Tiny Timing is super, super, super important when it comes to animation, timing and spacing. Very important pieces of animation. And this animation is not finished. I'll actually play it through so you can see we have everything we worked on. We have poses our method of animation. We have arches, stretch and squash, and now we're gonna talk about timing, which is very important. So what I've done here, As you can see, there's a lot more frames. There's a lot going on, but don't be overwhelmed. It's just like I said, I've added in betweens between each pose and when I've done is I time them. So as you could see, there's empty gaps here. Just what I've done is I've inserted an empty frame where I've wanted it to slow down. So instead of instead of it, you know, going by one that's going by choose. So it's two of the same frame instead of one of the same frame, and that's slowing it up. Tim. Into action, look clear. You could actually tell what's going on. So let's go through this together. So here he's gonna be kneeling down. It's coming down and as you can see is I've created spacing between each drawing, see how he was here. Now he's here important to have that spacing because that space and indicates change right and see how stretched So not only has he stretched, but he's moved from there to there. That's very important. I want to have that change, to indicate movement. That's very important. So that's what we've done there. It comes down, and when I've done is I separating these frames is animated by two is here. So he has that anticipation place you that see how he just sits there just for the slightest moment? Not forever. Just very subtle, very subtle anticipation. So that's why I put extra frames in there and it's going by two instead of one. And now he's looking up, push himself off. Here he moves quickly. This is when he stretches and this is him reacting. Um, this is him changing because of the actions he's making. He's stretching now because he's made in action. He's is moving very quickly, so he comes up like this. Stretches starts to go back into shape because he's slowing down and right here It's in your heart animated by twos Gonna float there just slightly for a little bit and he's gonna start bending his legs. It's gonna move his body forward. He started stretch going by. Ones here is falling down quickly and then he splats It starts to come up. I'm anime. My tools I don't want to be super fast year. Let the spring up pops up, um, enemy ones here. How we don't have any spacing. Gonna wiggle his legs. You can see that Wiggles legs And I only needed a few frames toe Communicate that. I just wanted to be really quick through here. Some more hits. The ground again pops up. I wanted it to be a little bit slower because it doesn't have as much force going through. So remember that he's reacting to his actions and he's reacting to his environment. So depending on how hard he falls already hit something, it's gonna affect the way he pops back up. If he's not hitting with so much force, he's not gonna pop up and move so quickly, you know, just keep those things in mind, you know, he moves, his legs falls down and he didn't even bounce that time. See how he came down the second time and notice how he stretches just ever so slightly. Sometimes subtlety is what makes all the difference. You know, just small, small troops that we just pops, right? And I like that we'll play that through. I see. I got like, a nice little double, poppet that at the end there, that kind of gives it some character you can see, like one structures And what not, you know. So watch your timing. You know when to put your animations together. You know, no one to go buy ones, no one to go by twos. You can even go by threes. If you want your character to be up in the air for a little bit longer. Let's don't even show that So see how he's up here. I could even go by threes here and just make him float just a little bit longer. I don't think that looks quite right. If I wanted to make it look a little bit better, I'd probably ADM or in between there I can move a little bit more. Imply it. I really elected with twos, but just for example. See how he just flips or just a little bit longer comes down. Maybe if I added that and it to their make it look more natural. See that just like that actually does look a little bit better when I ended to there. But that's just for example, and it's all at your discretion. You just, you know, really gotta look at it, analyze it and see what looks best timing and spacing. And I'll just go over the spacing here a little bit because I didn't really do much with that. Um, you know, again, All right, that spacing. And this is where in some stretches, squash comes in. See, look at the amount of spacing I have between him. Here, in him, their these these two drawings look at the amount of spacing. I have their instructions. Squash can cover a lot of range. It can cover a lot of area you haven't drawn yet. That's also another thing that starts in squash is useful, for It covers a lot of distance, but it also gives the illusion that he's covering that distance in more than just one frame . But it's actually just one friend. He's just right there, but he's covering that. I'm on a distant, so stretching squash is super useful for that, um, actually stretch really and squash that could actually show you, Um, let's see. See how he comes down right here. Come down that there we got us and drawing before I'll see how he's up here and then Boom, he's just right there. And that actually gives the illusion of him really hitting hard because there's really no other frame between here and here. But because of the size of his body, you would automatically think that he would be here. But everything just happened so quick, and he's hitting so hard. He's just down here already. See that? So it creates the illusion. So stretching squash is absolutely one of the most useful things. You could use an animation up. You don't want to over use it. You know where it takes over animation. You know, you got to think of one thing that you know when it's appropriate. You know, you can do something a little more realistic to something a little more cartoony. You keep those things in mind, but also keep in mind just because it's making things stretch doesn't mean you can't apply it to realistic looking animation. And as effect, as a matter of fact, you can, uh, absolutely can. You can apply that to anything and you should, because it covers a lot of distance when you're making fast movement, you know, so we'll just play over this again. That's everything together. And that's what your animation should look like by the time you're done. Should have that feel to it. And then after you're done doing everything that you've done, you can just take this and apply it to everything. Ah, walk, cycle, run cycle your character dancing, doing a back flip front flip driving a car. Everything that you learned here, you can apply toe anything you anime. You know these are just basic principles that can be applied to anything. It's just up to your own imagination in your own creativity and how you can use those tools in animation. So that is it for the whole class. So good luck with everything. I hope you learned something, and I hope to see your guys this animation. I hope to see you guys take something from this class, so no good luck and I'll see you in another class. Thanks for watching 13. Congratulations!!: holy smokes. I just want to say congratulations. You did it. You made it through all the videos. And what did you get? Some free knowledge? Hopefully, hopefully. Hopefully you got something useful. So congratulations. You did it. Now apply what you learned and become the best animator in the entire world that might be pushing it. But I hope you learned something. And good luck. If you like this class, let me know what you think. If you want more, let me know and I will put together more. But for now, congratulations. And thank you very much for sticking through the course. I appreciate it. And it was fun to make. And I hope I was able to teach you guys something useful. So thank you very much. Maybe I'll see you in the next class.