The Absolute Absolute Beginners Guide to Pixel and Traditional Animation Part 1- Dots | Parker Pierce | Skillshare

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The Absolute Absolute Beginners Guide to Pixel and Traditional Animation Part 1- Dots

teacher avatar Parker Pierce, Animator

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

Watch this class and thousands more

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

Lessons in This Class

17 Lessons (2h 39m)
    • 1. Animation Class Introduction

      2:00
    • 2. Animation Class Overview

      12:25
    • 3. Assignment 1- Wandering Dot

      9:25
    • 4. Assignment 2- Looping Dot

      8:11
    • 5. Assignment 3- Arcs

      15:05
    • 6. Assignment 4- Traveling and Pausing Dots

      9:10
    • 7. Assignment 5- Key framed dots

      6:54
    • 8. Assignment 6- Ease in Dots

      9:07
    • 9. Assignment 7- Multi Dot Trails

      10:38
    • 10. Assignment 8- Timing Chart Dots

      8:38
    • 11. Assignment 9 Roller coaster Dots

      11:18
    • 12. Assignment 10- Hard Knocking Dots

      8:57
    • 13. Assignment 11- Infinite Bouncing Dot

      11:40
    • 14. Assignment 12- Descending Bouncing Dot

      11:28
    • 15. Assignment 13- The Character Dot

      12:52
    • 16. Assignment 14- Dashing Dot

      9:57
    • 17. Animation Class Outro

      0:49
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About This Class

Welcome to Part One of The Absolute Absolute Beginners Guide to Pixel and Traditional Animation! In this first part of my animation series we are going to start at the very beginners level of animation, animating dots. In this class you will learn to animate dots in various different movements from simply creating a wandering dot that moves around the screen to a dot with advanced movements such as dashing and bouncing and how these principles apply to both pixel and traditional animation. In every lesson there is a clear exercise for you do follow along with and then repeat on your own to develop the skill in the same way athletes run drills to perfect their technique in their sport. 

This class uses Aseprite as its animation program, its a very affordable and user friendly program and offers a trial version of the program with restrictions. If you are afraid of jumping into a new program then look no further than Irving Brews class "The Beginners Guide to Aseprite" to learn all of the ins and outs of this wonderful program. Click the link below to go to "The Beginners Guide to Aseprite"

https://skl.sh/2QRml29

Meet Your Teacher

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Parker Pierce

Animator

Teacher

2d Animator (classic/pixel/flash)

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Transcripts

1. Animation Class Introduction: I I'm Parker Pierce, and this is the absolute Absolute Beginner's Guide to pixel on traditional animation. Part one. I am a professional freelance animator. I've been in the business for a good six years. Some of my more recent projects include music videos for Star Bomb. I've done work on the Star Bomb Overwatch Music Video. I've also done the Ninja Sex Party video Heart Boehner. This class is going to be a large set of Jim style exercises, and you will repeat them the same way that you do moves, techniques and conditioning in a sport meeting. They're going to be very quick, and they're going to be very high. Rep. So a lot of the animation concepts will become more natural lot quicker, a lot smoother and easier. Every assignment is planned out in a way that you should be able to complete them in about five minutes from the earlier ones you'll be able to do in probably a minute or less once you get a few reps down with later ones might take an extra few minutes for the first time , but hello probably be about five minutes. That's the general goal, because five minutes is the time it takes for you to boil water and steep your team. It's the time it takes for a quick bathroom break. It's the time it takes to quickly browse your Twitter. Answer emails. It's a short of time that allows you to do multiple goes at these exercises without having to worry about carving out several hours of your day or if you can fit in. You know, this time chunk, because it's not time chunk time shaving. It's a little bit. So the ease of access for these assignments should help with getting you a lot more results a lot quicker. That being said, I think that about covers the intro and I'll see in the first class. 2. Animation Class Overview: So the very first thing we're gonna work on in the part one of the Siri's is going to be dots because there's gonna be lots of varied skilled folks coming in. There's gonna be the people that can draw superbly well, but they want to start at the very, very basics. There's gonna be people that they dropped pretty well, and they just want to get their animation up to a certain point. And then there's probably gonna be people that would love to learn at an enemy. But although jokingly say, I can't even draw a stick, figure or dots doesn't even matter if you can't draw a stick figure to dot everyone contrived I. So dots allow us to do lots of focus on how motion works without having to worry about the hurdle of how well you can draw. We're setting draftsmanship side so that we can learn motions and then we'll reintroduce it later on and more challenging stuff. So also dots really help with getting a lot of animation done in a very short amount time. It's a lot of these five minute animations that you dio you can get a lot, a lot of die animation in. So I guess a lot of the animation helps you get them done in five minutes instead of five hours. And so this class, this class being more of a hands on type, I don't want to no look fancy and make big noises at you meeting. I don't want to just front load this with a whole bunch of Lech shares and then have you take a bunch of notes and feel good about taking a bunch of notes and watching a bunch of good classes. I want you to almost immediately be thrown in animation and lots of simple ones that if you goof up, it doesn't matter to die, you know it's will be doing. Lines will be doing shapes later on. But all of them are just gonna be something that regardless of if it was good or not, you'll be to do another one really easy and not not feel worried about the quality. You know, because every success and every failure gets you a little bit more wisdom, and this is where the mileage is going to get you the most results in your animation. So these classes are going to be a demonstration of the exercise with some commentary by me and then some things to think about, and and then we'll move on to the next one. So if you still are looking for more of that thorough academic approach with lots of things to read and consider most any one on one classes will have you read Richard Williams Animator Survival Kit, which is an absolutely great book. It's like, Ah, third history, 1/3 formulas and like 1/3 is like general theory of animation. I guess I'm kind of no paraphrasing, but it's a really good book, and I would highly recommend it. 2nd 1 is a 12 principles of animation, which you'll probably start picking up on just as you do assignments, although at some point I'll probably be during them in there as we work, you know, in either this part or the next part of the Siri's. But they're not something that you need to like. Get all of them and memorize them immediately. It's more of you learn things as you need them, and then later on, if you want to go the extra mile, then yeah, 12 principles of great they're important, but you're gonna learn them. You're gonna absorb them without even knowing them. Generally speaking, and the last one will be Mike Mattei's ease force figured Wrong book because he is an ex Disney animator and he knows how to draw characters with really good shape, design, appeal and motion that really lend towards animation itself. Because there are certain types of drawing that work really well with animation a lot more than other types. So those the three sources of the three reads that I would recommend if you'd like to get those. And this is an absolute beginner's course, but I'm not gonna be making any false promises about. You'll emerge some master of animation and be the best. At the end of this. You'll probably have a lot more questions, a lot more curiosity and hopefully a lot more motivation once you get through these first, uh, once you get through this first chunk of assignments, the animation world has so many unique challenges and, uh, puzzles and things to sort out that No, no class, no Siris of classes is going to make you perfectly able to tackle everything. You're at some point you're always gonna be flying by the seat of your pants. The goal of this class is to help you get started and know what to look for. How do go through the start and finish of an animation and not be so afraid of it, and to be more limber and relaxed about animation in general, in the more fluent and familiar with it. And then, as you go to the beginner ones, you'll be able to manage more challenging things. So the later part of the series will be introducing that more difficult, more challenging but still quick exercises. You want to go and do your own more prestigious animations that require a lot more, and that's fantastic. And I would absolutely encourage you to do that. One of the most important things about this course is that you need to fall in love with the process, not just the end product, and that also kind of lends towards dots because even if you make you know dot animation or line animation or anything like that, it's not like that An animation is gonna be some crowning achievement. It's gonna be really fun, because you're gonna make dot zip around and do all that sort of a thing, and later on, we'll be doing fans your stuff. People that are really obsessed with the end product are the people that they'll rush. They'll do the minimum, they'll not pay attention because I just want to get through and have the checklist done of . Yeah, I went through this entire, um, this tire course, so I should be good now. But just like being in shape and doing sports and what not just doing more is what's going to make you better at it. So once again, this course is about doing a lot, doing a lot of very quick, simple stuff so that you can animate, starting, finish a lot, get a lot out of it. Also, if we're doing simple animations like Dots, you will be able to very quickly learn. If animation is something the super charges you and gets you hooked and you love it or you'll be able to find out if it's not quite your cup of tea, I will be animating in a sprite that's a S E P R I T E. It's a very affordable animation program. I have a separate course on the basics of a sprite. If you feel like picking up an entirely new program is tough, I would highly recommend checking that out. However well, mostly just be using the brush tool and the animation timeline, maybe a few lasso tools to select a move things around and the shortcuts and whatnot that I use. I will be generally, uh, saying them out loud as I use them. So it's not something I would necessarily say is a requirement cause a Sprite. It's a very intuitive program to pick up. But I am letting you know that the option is available if you need some additional teaching and I'll see you in the first class. I'll see in the bumps the court. I'll see you in the first class, see in the first class. There we go. That's a good one. Yeah, me Just scroll through. Make sure didn't actually skipping these paragraphs. I think that about covers it. Yeah, I'm gonna according yes, it didn't record it recorded. Yeah, I don't know. To do for the outro at the intro dupe 3. Assignment 1- Wandering Dot: So the first thing we're gonna dio is open a new file and we'll pick with anybody. 7 20 We'll make the background. Wait, we'll make the color rgb a I'll explain these two later if they become important. But for the most part, RGB a is the one we'll stick with because you can pick any color on it. These two have some limitations. So we start off, we have a background there gonna dio shift n to make a new layer. We're gonna press Oh, and to just make a whole bunch of new frames They were going to go up to 36. We're gonna press be for brush. We're gonna pick up your black brush. Your default size is whatever you want, you know, one pixel, five. I'm going to stick with three. The very first thing we're gonna do is just make a wandering dot We're gonna make a mark here, gonna go down to these two squares to put onion skin. And that means when I go the next frame in the timeline, you're gonna see an after image, and we're just going to make a new dot on his frame. It's just gonna want around. If you use the greater than and less thank ease this timeline, you can move it really quickly. So if you want to fingers on these buttons while your other hand is drawing, that's gonna be an ideal set up. And this is it not gonna have anything super complicated yet. You're just gonna start laying around thoughts Makesem Super wide space makes some really short spaced. Makesem gradually, farther away. Once you get to the end, go ahead and press play. He turned the onions going off first and congratulations. You've made your first animation A lot of the exercises we dio are gonna be based on this. This concept of moving dots, the dots not very scary, is it? So once we've done that, let's do it a few more times and then think a bit about what kind of things we can do with a floating dot So you can dio shift in, make a new later and then right click on the old one and delete it so that we have a fresh , clean slate. So we're also gonna go down to these three dots here just so that we can make the onion skin a little bit nicer. Red blue tent helps you identify which images are behind in which images are in front of the timeline. We're gonna make it in front of Sprite so that we can more clearly see it that make it don't and that when I go to the next one with the onion skin on 01 thing we want to do, um, current layer otherwise is gonna onion, skin everything. You'll notice that there's a color here. It's not a pure black after image. And then if I make another dot notice how that one's blue So blue is the future. Red is the past. Onion skin allows you to figure out where you want to move the middle drawing, but we're getting ahead of ourselves. So we're gonna take our time and just make very minute little changes. Notice how these dots are practically overlapping each other. And once we kicked down Teoh very end. What is the effect of having all these dots so close together? Things move slow and the onion skin gives you a good guide off that the foreign after you already starting to figure out that spacing, as in how far away. Each dot is affects the perception of what's going on in the animation. Let's go ahead and go back to here. Make a new layer. Delete the old one. Make sure that we're on the new layer because we don't want the onion skin projecting the background. That's why you get the weird color. And then now let's try making our dots. Ah, nice. Captain him. And then we're just gonna do this. He can go ahead and progressively make the dots even wider, apart, and then we're back to the beginning. So then I click play. You notice that the bigger the space, the faster things appear to G. O. So then we could delete this one and one more time going to go back to very first exercise . We're just gonna do fast and slow dots with her 19 skin on. So this will be more or less. Your very first assignment is to do. We'll say 10 of these 10 save files dot moving around and you're just gonna be playing around with spacing. Maybe you want to make something swirl. That's pretty fun. This would be one, and then maybe you'll want to experiment around and make one where you try and dio sharp returns. Maybe we'll stop and then go out here. The whole point of this is mostly to get you used to making a lot of frames, just getting your feet wet with animating anything you're not. You don't have any pass or fail goal like trying to make something balancer flow around or anything like that. This is just Hey, this is how you started finishing animation and how to play around with it a little bit. So our next assignments are going to be using dots with mawr intention mawr of a target goal. But for now, just have fun, do a few rounds and, uh, if you feel like you have the hang of it may be tens Good enough. But if you if you feel like you still need more practice than go ahead and do another 10 15 because all these air very easy, it takes like what? A second to draw a dot at most, probably half a second. So no 36 of these you know, it should very easily be done in a minute or two. That's gonna be assignment one 4. Assignment 2- Looping Dot: Welcome back to assignment to today. We're going to be working with loops, so open a new file 12. 80 by 7 20 or whatever file size you prefer. RGB a white background just end to make a new animation timeline layer well, in to make a bunch of empty frames today, our first goal is to make a dot return toe where it started. This is the introduction two loops. Because for making any video game or any economic animation, we're going to want things that cycle themselves so that you don't have to manually draw everything over and over and over again, So gonna make it got. And then we're gonna go over this spot. We're gonna cut it. We're gonna pasted to the very end. Man. This and frame rumor done, we're going to lead it. Just kind of a foreshadowing. So we go to these three dots over here ren blue, 10 for the onion skin we're gonna put in front of Sprite, and then we're gonna turn on the onion skin, which is these two squares. Make sure you have the currently only so that you don't have the background combined in your onion skin. Now we're going to the same thing as we did for our first assignment, which is Let's go play around with the dots. The big thing is you see how the onion skin shows on 32. That frame where we started. That means when I click play now it's gonna start over there and then it's gonna come to the end and it's gonna pop because this animation isn't properly looping. So we're going to go over here, turn on our onion skin, and we're just gonna use the box tool and just move that dot closer so that it feels like it's going to move right to this spot again when it starts back at one men. Obviously, we still have a gap now because we just moved that. So we go to frame 30 and we scoot that a little bit and you see how they're still gap here . But it's a little bit less. We're gonna go down here. Let's skip that out. And every time I'm just kind of spacing this gap. Oh, over all the drawings. Now these gaps look practically like the rest of the animation. Now when I click play, it feels like it goes the same spot, it starts over again. So that's going to be our assignment. We're gonna try to make it loop seamlessly. So we're gonna go shift in to make a new layer. We're going to right click delete to make sure that we're not in the background layer that were on that one. And we're gonna make a dot Copy that and paste it to the end, which is a placeholder because we don't want this frame playing twice. Men with union skin on got do mawr of that first assignment because when you're just starting off any experiences, good experience. So just getting used to moving dot around is going to be just fine. And then we see in three to the blue. We're gonna move that there, you notice that the initial movement for this is up. So if you want to make this feel like it's looping, gonna try and match the ark of the animation, then we go back. We'll pull this one down. That looks like it's following between all those drawings, and we're just kind of scooting them around to make the Marx look smoother because the more soft the curve is the more elegant It's going to anime. And here's where I introduced a new concept, which is expanding the onion skin range. Now you can see faded image of all the previous one. As a result, you can kind of see the curvature, because if I have this trying out here, suddenly this curve is going. Teoh get really bent out of shape. So we use the greater than and less than keys, and we use Q, which is the shortcut for the lasso, and we're just going toe. Get these long make very elegant dots. And this is one of those things that can be really enjoyable just for the sake of oh, CD and tidiness like it just feels good to take slightly bent out of shape parks and make them all tidy. Then we're gonna go back here and just delete 32 or whatever your dream is just because we don't want that duplicate drawing playing twice, then turn off the onion skin. And when it's playing at for loops a few times, it's almost like you can't even tell where it started, right? Well, this is what animators do for walk cycles and my candles and fires clouds. There's lots of things the animation in TV shows, movies, games and what not that benefit from the concept of looping. This is just very quick intro to that concept, because in pixel art it's very, very common. It is a bread and butter. It's it's just a really big deal. So just like last time, I want you to dio maybe 10 of these. And if you feel like you need more experience, do 20. But the's your scare, ranging some of them. But it's not gonna take too long. If you draw them tight in advance, you won't have to scoot much. You're just going to the very end frame and making sure that everything lines up. So these, once again should be very easy to do. In just a few minutes, you should be able deal good, 10 of them or 20 you know, if you want to go really crazy on it and then we'll move on to the next assignment 5. Assignment 3- Arcs: Welcome back. We're going to be doing a Simon on arcs. So we're going to make a new file 12. 80 by 7 20 rgb a white. Okay, have that background Lear shift in all 10. Make a bunch of frames. Now, this one, we'll keep it simple and do 10 frames. There were gonna work mawr on arcs this time. And for this, we're going to make circular arcs, figure eight arcs s curves and no maybe seekers. Then again, Cesaire basically just circles. So what we'll mix those in together on, I guess ask curves are more like figure aids. So I guess that boils down to, well, do circles and figure eights. But just know that the figure eight in the circle our seekers nest curbs and this is just because a lot of movements look more elegant. So we're gonna mix. We're going to mix the idea of looping with a particular arc that has a assigned purpose to it. So instead of having a movement that's kind of sporadic, it's going to be these two. Instead of just working with thoughts moving along you want, you can kind of extend them out. Is Donald Lines to kind of sell that park idea. So let's start by making and 11th frame that we're going to duplicate the first trying, and then we're gonna dispose off once again. We copy the first to the last, just so that we have an onion skin that will tell us where we started. So we're going to draw any arbitrary line and then look on these three dots Britain flu earlier only in front of spray and on that onion skin, and you can see the outline and copy frame one to frame. 11. That's control. Seen Control V and once again will be to tell how well your arcs planned. How close were they to the initial repeat and then to introduce another technique? Simply, You're a little rotation, uh, can save your redraw, although you can always just delete and redraw. Because thes are just simple lines and dots, the type of fixes, no problem at all. And then you can go back with the onion skin and try and get a good idea of how nice is your ark is. This, for example, looks kind of like a crooked egger bean. It's got a circular pattern to it, but you can always do better. So this is an elaboration on the dots and the arcs. But now, along with the intent of what kind of art we want, we're practicing. Doing minor edits make for a more appealing shape and a lot of animators. We'll keep a copy left. We'll be keeping these curves in mind when they are making all sorts of animation. Will put guidelines down for hands, feet faces because mawr pristine, these cars are generally speaking, the more nice your animation is going to be. That's something a little better. And right now you'll notice that I have a few short ones and a few long ones for this exercise. Feel free to add whichever type you like. Then, once again, remember that if you do any adjustments to frame one or 11 they aren't duplicates. So you will want to copy and paste just because if I were to do something different, like move something. Three. Do you select and copy the frame itself? Actually, 11 seems to be the correct one. With that, back or not, one is the one click play. You see it move. The point is that slight skew. You noticed when I was trying to figure out which one was the right one. If you make a modification to one of them and then don't update the other one when it plays , you get a weird hitch. Just remember to do do updates of that when you're when you're making your and copies. And then at the end, we're going to be deleting that frame so that it doesn't pause right there because of a double frame duplication type of thing. But we still need that 11th frame just for now because we're going to be making multiple arcs. We'll go back to frame one and pictures the same. We're gonna go over here and we're gonna make a mark. We're gonna do that same thing onion skin. You notice I've already overshot. We had our start somewhere around here, and I've overshot by two friends. We'll copy that 1st 1 again. Just we know where it ends, will delete, and we'll scoot, scoot or will redraw. And so this is where you get to consider what's the best approach. They have already made a mistake of having an empty frame here, and then this one skittered up and even professional animators will come across this type of stuff all the time. You're usually not gonna have some pristine perfect animation first time in a row. And this is a great place to find out about that because once again, we're all just We're dealing with lines and dots and things like that. And I know a lot of animators that draw very detailed things that they have a character that's fully fleshed out and has all their limbs and what not. It could be more heartbreaking when they have toe scrap a frame because it wasn't right where they had to redraw limb because it didn't match emotion. But we don't have to worry about that because quick exercises, let's get that one down and damn two arcs. So each one of these arcs only took a few minutes to Dio, and they did it while I was lecturing a little bit on where the tools were in things like that. But each one of these will say, is one one repetition of the exercise. And so your assignment is just make 10 or 20 maybe five of them being circular, maybe five, and being figure eight, and doing this will once again, it will remind you How did you smooth arcs? It will remind you out he's a timeline. It will reinforce the idea of looping. Reinforce the idea that when you make 11 frame, remember to delete it so it doesn't have that pause. And then maybe you'll want to make certain versions of it where these lines over here might be fast moving, and then the ones over here will be clumped together. So as a quick example, I'll go ahead and make a new layer with control and show you what that might look like. So I might have I accidentally went to the wrong tool, B for brush. I might have fast moving over here, then clumped them up really short over here and then, once again, riding from Frank one. Oh, no, we're actually in a copy frame 10 and paste that frame itself because I deleted it. Then we're going to go and copy Frame one, paste it to 11. Just we have that ghost image. Point is, you'll see that I'm completing it, that I'm deleting that. And now, even though both of these air figure eights you notice how their properties are a little bit different from has slow on this side. No one s low on that side. This one has a bit more of a large loop in that part. This one this loop seems to be a little bit bigger, so you can do the same exercise and you'll have just slightly different variations to it and just a sneak peek of what we're going to be building up to. Eventually we will start doing things like making a pixel art of I'll just drop quick apple just to illustrate a point. Or maybe you will say Apple. Yes, I'm like that. I'm like that so picky about colors, even though these air throwaway colors I want to make it good Apple Point is this loose, manually drawn sketch work will eventually turn into guides for your animation. So I know that doing the pixel art stuff is definitely the really fun part. But just know that what you're doing right now is not necessarily sneaking your way into traditional using pixel art, although that's definitely a personal come with it. What we're going to dio will be a practical tool that will benefit you and then I will go ahead and do just a few. These are rough cut sheets, so don't necessarily think that this is a perfect Polish technique, more or less making he smear frame or after image type effect. I'm doing it very quickly because I don't want to bore you with all the Polish right now, but you'll see in a little bit exactly what this kind of stuff is going to dio. I'm sure if you watching cartoons or see enough animations, you'll be able to tell very quickly found me even finishing this what it's gonna look like . But for those that haven't seen this type of fact, it's a few more seconds and we'll start to see it. All right, so now that we're here, e g o a head and hide that arc layer. And even though it's a very rough cut, the idea is that the pixel art stuff that we do will be able to use a manly sketched planning underneath for various types of fix, whether you want to punches or slides or lasers or explosions that really cute dancing animals, things of that nature, we're gonna be building up that But we're just going to be starting off with the quick and simple stuff that we know that we can all dio regardless of our drawing level. And that is a Simon three. So once again do te Nitties or 20 of them. If you want to get more practicing after feeling courageous, go ahead and mess around with it in this aspect with, like, little little pixel pieces. But it's not part of the assignment that's going extra mile and, uh, have fun. 6. Assignment 4- Traveling and Pausing Dots: So for this next assignment, we're gonna practice making it dot stop and go. Because not all elements of animation are going to be moving 24 7 And the art making things stop strategically is something definitely worth practicing, even if it's not as glamorous. So open up a new file motivated by 7 20 rgb a white default in the rest of these. Okay, so for this background, we're going to make three circles. Before we start adding duplicate frames, you can place those circles wherever we're gonna dio shift in to make a new layer. We're gonna dio en to duplicate out maybe 50 to 60. You could even go 70 if you wanted just arbitrary amount that's going to last more than a few seconds. And so the reason why we do the circles before we did the shit in all N is that, um, the all tend shortcut that makes new frames doesn't make a clean slate new frame. It actually duplicates whatever it had last. So if I were to make a mark here, you'll notice my go. The next frame hasn't duplicated that. But if I do hope end in that spot, these two frames. Both have that change, and the rest of them don't. So we just want to make sure that our three locations were made before we start doing duplication. So now we got the first frame. We make sure that the three food dot settings brought onion skins on Britain blue, currently only in front of Sprite. And then we turn on the engine skin and now gonna sit down dot But instead of making the dot just gi oh, and ping pong between all these spots, we're gonna make sure that the dot weights in one spot for a good while. And that's where the practice comes in. Because when you're starting off doing animation, making things move is it's exciting. And who could blame him for being excited about making things move sporadically? But slow movements and stops and pauses make things feel more organic. So we're going, Teoh, actually draw to die in the same place for good. 10 to 15 frames. I'm gonna go 12 and men. We're gonna make it move over to here and then have it stopped there. Move over here and stop there. So now that I've placed that dot there for a few frames. I'm just gonna playfully make a wander over here and then hold it for a few frames. It feels like enough over here, plus a few frames. And if we scroll for this timeline, you'll notice them already practically at the end. Now one extend out more frames, just liken. Bring it back. Even though this isn't a looping assignment is just good. Good habit to do that whenever whenever you're doing these just to reinforce that thought process. But if I were to make this frame here and then use and to duplicate it, well, I'm gonna duplicate Oh, that frame over and over and over again, which is, actually, it's fine if you want to hold it perfectly still, but we're gonna want it to wonder over here. So I would have to go back and manually clear out every one of these frames. So the general gist is before you start duplicating, if you want to have a blank frame or if you wanna have a clean slate than just make sure that there's no Phil dot down here before you. I had a few more friends, so then we go back here and trace back beginning, and then we can do a little eyeballing to just make sure that's roughly in the same spot. So when I click play, you see that's waiting there and then it moves. No weights there it moves. That last one, you know. So I was kind of abrupt leave. That's just because I didn't spend as many frames making your way. And the amount of pause that things have can kind of determine a lot of the personality, like the difference between deeply thinking about something and abruptly decided to do something. And so the art of timing is what it's referred to. When you have a certain time link for each, um, bit of your animation, we'll get more into that in depth later. But just for now, getting the idea of making things move and stop is a good It's a good oh, exercise. We're gonna try this one other way, so we're gonna delete it, make a new one and go back to the beginning frame. Don't wanna be anywhere down in the middle, and so instead of drawing this a whole bunch because that's gonna look a certain way, it's gonna have like it's mostly staying in place, but is gonna have kind of an organic wiggled to it, depending up depending on what you're animating, that could be a good thing or bad thing. I tend to like it personally, but it's always good to know your tills. So we're gonna do is now. We have a frame where we've drawn that Iraq is going to use that and shortcut to duplicate how many frames staying there? So now frame one through 18 is the exact same drawing. You notice that I'm scrolling through it, but there's no change. Now I can go over here, put on the onion skin and we'll just do a Sam exercise where yeah, moves over here. And then, instead of drawing a whole bunch of that in the same spot, we're gonna make sure we're on the right frame people in. And then over here, man in and this sort of a thing because you're making duplicate frames, you're not really using up your entire timeline, so it may get the point where you'll have extra frames that you might wanna scrap, which is totally fine because they're empty frames and then I can click on 70 to 90 delete it and then scroll back beginning. And now when I click play, it's gonna have the same moving pause. But you'll notice a bit of a different qualities. Let's check that out. I could play perfectly static. Then it moves over here perfectly static over there. Perfectly static. So this is the exercise. I'd like you to dio, you know, 10 to 20 times, because once again, just knowing what it is and doing it once knowing how the process works is not enough. If you want to be a fully professional, experienced animator, this the same way that learning the eight keys on a piano does not mean you'll be to play everything articulately learning how to do the four punches. You know, Jab Cross Africa hook on a punching bag doesn't mean you'll be able to know at a box perfectly. And so exercises like these, even though you already know what it is and you're doing it again. It's very important to go through several reps of this to really instill the ideas into your abbots because you want this to be instinct, so go ahead and do it be half of them using manually drawing the dots in the same spot, then half of them doing the cutting pace process. And if you're feeling particularly adventurous, do a little bit of both. 7. Assignment 5- Key framed dots: our next exercise is going to be practicing something called posed, oppose or, in our case, key, the key. So go to new file of A by seven Tony rgb a white Everything else be fall. You could we're gonna do shift in as usual and we're going to do off end to make three empty frames. We're gonna make one dot in one spot, and we're gonna call it that. Okay, do another dot another spot call that be, do another dot another spot. And that's called C. And so we're simply going to move from one location to a next. But the destination has been preplanned, and this is called Keep framing. This is where, instead of having something wand around and hopefully getting to somewhere that you want to go, eventually you have a destination so that your approach can be guaranteed to that spot. So we're going to do a wandering dot exercise, but with key frames. So now you help end, and it's gonna duplicate that frame. A. So we'll delete that, and we'll just draw middle daughter right here or with a friend, be both in. They're drawing Don't right there. So it's gonna move lightning fast because it's only five frames, but I'll click play anyways. Then you can take the onion skin off if you want Toe Seymour the representation of it. So now with your skin on, you could do more drawings. So I'll Ken Duke. OK, clear it. You another dot Well now dot and delete next. One 10 clear it delete and delete. Now we're up to nine frames. One thing to notice. It looks smoother and also move slower because the more frames and animation has, the more time it takes for it to play. So this is messing around with both timing and Spacey, which we'll get to a little bit more in depth. But just for now, you'll start to pick up on these things, and you don't know their names just by going through these exercises. So now we can turn on our onion skin and extend out the frames so that we can see farther. How much the ghost images we have, where we can see farther with the ghost image we have, I should say, Yeah, we're gonna do. I'll pen delete. We're gonna send another dot and we'll just do this for a little while until we start getting pretty smooth looking information off in Fleet 0 10 Delete So in Oh, delete. So the more times that I'm putting in passes of these dots, more dot seems to be flowing in a smooth manner instead of a choppy manner. And now that we have emotion, one of the nice things about key frames is that the in betweens, which are the drawings there in between spot and be that's why they're called between. They could be messed around with if you want to get different motion qualities. So if I want to use the lasso tool, I can start scooting some of these out. Just mess around with how they get from A to B. So maybe I want This came over here to pinch, so it's always gonna hit the same beat the same locations. But now my click play notice how the path feels different. It arrives the same spot, slightly different. So now let's go ahead and tinker around with that again. Let's try scoot knees really close for the first few, then maybe it's a great big detour up high and maybe continue years off in this direction. So I'm almost doing a straight ahead process now because I know where it ends. But I still gonna play around with how it gets there now when I click play still going to the three same spots. This is when the charming things about animation is there are many, many different ways to get to the same locations, and the key frames allow you to hit the certain points that you needed an animation. So for now, try doing 10 wandering dots where you move from A to B to C. Yeah, this is an exercise, and you can probably dio 22 50 to 100 because there's so many different ways you can mess around with this. But this is going to be a primer for when we get into greater depth later on, with key framing it in between 8. Assignment 6- Ease in Dots: this next assignment is going to cover an introduction to seasons and he's outs, which is the animation jargon for making things slow down and speed up. We've briefly done a little bit of this earlier in something lofty dot animations, but now we're going to very intentionally go over how this works. So open a new file two already by 7 20 rgb a white background. Okay, shift in to make a new layer, and we're going to make two dogs. Then we're gonna do hope end to duplicate it, and we're going to use a lasso tool. I'm holding shit. So move it. It looks so I don't accidentally skew it upwards or downwards. And now we'll set our onion skin. Richard on you basically see the A and the B, And so you probably be wondering why Why do we have to duplicates? Well, because we're going to use one of them as a default, and then we're gonna mess around with the other one to show the differences. So we're going Teoh do all 10 duplicate. We're gonna move this to the middle, and then we're gonna do the same thing. But before we should probably clear out these letters that we don't have to do that again every time and move this one halfway on that 1st 1 to another, all in. Scoot that halfway. So when I click play, it moves evenly spaced. You know it's going from a to B because we did the key frame exercise last class. But this could be very predictable. Very mechanical. How do we customize the quality of emotion to make it more appealing? We'll weaken, mess around spacing. So this 1st 1 this top animation. We're just gonna leave alone just so that we have a default to compare to. But on this one, it's go ahead and scoot this frame in really close on the last frame for B. Well, scoot that one in really close. And so we know that on frame five, they both end the exact same spot we know at frame one. They both start at the exact same spot, but click play. You see how this one feels like it speeds up, and then it slows down. So this is easing in and easing out. Easing in is when something is easing, it's going into the next drawing. It's very much. Just just getting close than easing out is when it's leaving a drawing, but just just little bits. And a lot of animators kind of used them lazily interchangeably like it's not that important, which one you call easy and out, because the idea something easing is pretty much the thing that everyone gets. So then this middle trying well, do something called favoring. Favoring is when one drawing is closer to another one, because this strong that's eased into B is a drawing that favors meaning It's closer to be . And then the same goes with this drawing is favoring Hey, so what we can dio is to make it even Mawr unique is drawings don't always have to be dead center, so I wanted to feel like it's speeding up a little more than song down. I could make it favor the B side, and then we'll see what that looks like. So it feels like it shoots out, and then it slows down compared to that top or if I want to, I could make it favor the a side. So when I click, play easier, see what the onion skin off. You see how it feels like it's building up momentum and then it pops, then slows down. Well, that's another. It's another thing you can dio. And there's evening the ideas over shooting where even though a drawing ends at B, if you want things to feel like they have impact, you can actually punch them just slightly over the key frame. Let's go ahead and see what that looks like. You see how it feels like it builds up like hits really hard. This is often used in fighting animations for punches. So if you have a buildup and then it hits, though, just shoot out just a little bit more to feel like that punch really pops. But anyways, this is easing in and easing out. So the assignment is to make something like this, make a default one and start playing around by pulling the drawings out. And if five frames is not quite enough for you, you can go ahead and go in and make more duplicates. The reason I went with five is that it's pretty easy to demonstrate. And so right on this one, I could dio and this one and this one Okay, then and if I want. I can clear these bottom ones just to get a fresh, fresh start. So I put the top one there just so that you have something to compare to but in your default assignment. So if you have a layer with your 9 10 dots, 12 15 whatever you want, some evenly spaced like this, you can always keep a default and then right click and duplicate. And then you'll have an extra that you can go back Teoh, so that you can start playing around with slowing things in. And you can even do something where all the drawings at the end have a lot of acceleration to them. Like maybe we want that to be really far. So now when I click, play feels like it's speeding up. Right now, I'm just kind of manually fudging around with them. Usually, there's some more playing that goes with these, but this is solid enough for getting your feet wet. I wanted to the skin off you see it speed up. You can do the same thing and make it slow down trying Teoh 10 of these. But I would highly recommend doing more than 10 because this is a very, very vital element, and that's about it. So have some fun 9. Assignment 7- Multi Dot Trails: So for this assignment, we're gonna play around with using multiple dots on one animation layer and for something a little bit more playful and effects animation type technique. So file total of 80 by 7 20 are to be a white background. Okay. Do you ship 10 we're gonna make We'll say 30 30 frames a good one, and then we're gonna take a spot. You were just going to slowly make a dot go up. And for this you don't actually have to use up all 30 frames. You'll see why, in a little bit. So I made about 12 frames of die and watch happens in a quick play. That's pretty pretty, you know, standard, right? We've done this enough times. Now let's go back. And soon as it moves up to, let's start a dot again right here. And let's make it want around different path. This one, and I'm gonna make it end at the same spot. I'm gonna end at 10. And now when I click, play two of them. Well, then let's do this 1/3 time, though, in that doctors Now put another one right here. We'll make this one speed up and maybe go to 14 and we'll click play and we'll do it again . So the more dots that we build up here mawr that this is going to come to life. This could be like a camp fire, like sparkles of various types. I'm gonna wait a little bit another one. And you know what? This exercise Will this go down 20 frames? Because we all need to go all the way to 30. Unless you want Teoh. You definitely most certainly can. Then we'll go out here and we'll drop in another one. So you're exercise is to kind of build up something, and if you want, this is a perfect time to play out different colors. If you want, he's a red dot It probably help you differentiate, which starts moving where that's another interesting thing. That this exercise will kind of get you aware of is how certain emotions come kind of snap in, get confused, not confused. There they can get lost in each other if you don't have things to differentiate them. So clarity in motion is definitely an important thing. Grab Sum's yellow ones, maybe some blue ones. Then, if you want you can always let's do some scribbles at the start, just kind of sporadically in the same spot that could almost make it feel like the particles are coming from fire of sorts. Oops. You, I guess I have toe bring that in frame back in. So then I click play most of these You're not gonna need Teoh. Drag him out 10 to 20 frames. Just drag him out a couple and then have them disappear. And this exercise is to kind of give you the general idea that you can have multiple animations with their own, their own thing going on, but still on the same animation lier. Because in the future, how the supplies to other animation is that you'll have character where they're gonna have something going on with their legs that might be walking, but the same time they might be doing something with their hands. They also might be looking at it in direction, changing. Instead of having every single one of these on their own layer, you're going to be instinctively combining them together. But you know, that gets into very drawing heavy, very complex, more challenging type of animation. Plus, it's just fun to play around particles. So for your assignment, I'd say Do maybe three of these is because there's a lot ducks that go with him. You're practically doing, like 10 to 20 dot exercise very quickly in here as well. So still three of these and just kind of get the feel you might even find yourself making certain dots a group together. There's a lot of ways to play around with this. You even have, like, a dives, move in a certain path and then have other particles fall off of it. For example, I could have dot move crust screen and have bunch of God's fall off of it. That's gonna make it feel like it's kind of I see looking particle. What? I can even drop between the lines where I know that smoothing from here to here. I can make a dot start falling right here, like right here. I could do two dots, so I'm just using the greater than less thing keys to kind of foot through the animation as I go. So when I click play, you see how it could be fire. It could be ice. You could even haven't go off in different directions like lightning, for example. I want maybe, uh, we'll give it horns just that we can see it a little better. So we got this crazy, erratic moving yellow line orange, yellow, and then we'll make lions shoot off of it. May be the only go three frames or two frames. They're not falling. They're going up and down. So a lot of the properties of an animation do you come from the motion? Not just how you draw things. Someone, a click play. It feels like there's sparks flying off of this. Your assignment is just play around various ways of making dots move off of a source. So maybe you want to do three of them that walked up like members from a flame. Maybe three of, um, breathe dots fall like snowflakes. And maybe you want to do three or four of them where lions shootout end very quickly, like sparks or bolts from something electric. A lot of these animations, when they get more complex, have a lot more repeat value to them. They're they're more ingredients. There's more ways to mix them, so you'll definitely get the point where these exercises are always something you can come back to. So, yeah, have fun 10. Assignment 8- Timing Chart Dots: Hello. This next assignment, we're going to be trying out timing charts open a new file 12 80 by 7 20 rgb a white. Okay, now, timing charts are a way of preemptively planning how we want our motions to behave. So instead of making a whole bunch of layers and trying to kind of guess where we want to g o, we will actually grid out it line will say that this is the start. I will say that this is the end and then whatever line we'll want and then along this line , we will start marking out of spots where we want our dot to g o. Now you can make a whole bunch really close. You can make them very far away. The general point of a timing chart is that you will know before you start animating where things were gonna be because the father part, they are, the faster it's gonna feel the closer together with slower it's gonna feel, and the more drugs you have together like this, being six frames versus four frames is obviously a very shorter time than six frames. So I'll go ahead and use this chart, for example, on this layer from a double click. Bring that down to a lower rapacity just so that we can very easily identify what it is. And then I'm gonna do shift in to make a new layer. And just for the sake of naming conventions, weaken, double click on it and call it dot Not a requirement, though. And then we will do the all end to make a large number of empty frames, and we will put our dots on each marking. We'll start here using the greater than less than keys. We just plot this out and then we can click play after we delete the empty frames that we don't need press play. Then we can hide the under sketches. See out, Behaves. One thing you may notice that is that even though we have an entire layer, some of the sharper movements like from right here to hear it feels like it jumps down to this spot in a straight line doesn't feel like it moves around. So the way that we would remedy that is making a new frame, using all to end, to make a duplicate and then deleting. And we put one right here, which you will notice that we didn't originally have in the timing chart. So the more you play around these time and charts, the more you're going to be familiar with how they behave. So go ahead and play with this few times because there's a lot of complexity that comes along with timing charts. They're often used to plan out separate motions, separate limbs, oven animation. You might have a character that as their arms might be waving, and someone will say, Here is the timing chart and they'll give you, like, even spacing. And they'll say that this is a This is B. So make everything even up to that point and they might say, with legs, gonna be kicking, But we'll want that to be. Maybe we want all the frames compressive beginning so it feels like it shoots off. So then you'll have the leg move little bit by bit. Obviously, this is way more ahead of what we're going to be doing. But time and charged with dots are your very light introduction to timing charts in a format that's very easy to repeat and not get too concerned about how detailed it is I would recommend do some timing charts that are loopy. Do you? Sometimes charts that are straight lined. Do some timing charts where you have long gaps between the dots. Do you sometime in charge, where you have very compressed spots. Now what's the difference between something that has compressed on the end versus compression in the middle, and then long gaps on the end? These will actually significantly change emotion qualities. There's even some terminology for these different types of motions. Like for example, um, we could have halves used for spacing. That is exactly the same between. And then we have the quarters. But you often have very compressed drawings that animators who often call accenting, which means that they all emphasize this corner just to make a another quick example of an action step, is drawing out. Timing charts would go ahead and show you we'll do 1/2 here Well, dio a whole bunch up here because it's gonna really slow down. We'll do one right here to kind of ease into it, and then we'll do a slow use out over here, and then it will put one more one more on this side. Jess it feels like it's gaining acceleration. But then I dropped the time or not the time the I dropped the Alfa or the timing chart shift end to make a new layer off and to make a bunch of frames go back through, a lot of it is about ratios. Gonna click play. I hide the timing chart, take off union skin. You see how it feels like it takes off and then right at this point slows down. Sometimes it's pretty easy to do this just by improv, and you definitely should practice frame by frame because you want to have an intuition built in. But other times when you have some motion specifically in mind that you can't just stumble into time in charge to the way to go. So I would recommend doing this, Uh, you good 10 20 times. Um, you can't do this to little because there's just there's so many different variants, even if, like the same one, that you could have a short compression here fall by medium one, followed by no big gap and then, like one on the end. In fact, you could probably find timing charts that you like and then save them. If you want to refer to them back like another project later on, it's just a really good idea to get a lot of reps in with this, although throughout your animation career you will definitely be using this lot. So if you don't get all of the experience right this exercise, you will certainly be using it and later practices and what not so have fun. 11. Assignment 9 Roller coaster Dots: Hello. Welcome back to another assignment. This one's going to be based off of the previous one. But we're going to go a step further, and we're going to use MAWR intention in our timing charts instead of wild, varied, extravagant type moment movements. So go to new file. Go 12 80 by 7 20 rgb a white background. Okay, we're going to press shift in to make a new layer. So before we start making duplicates, we are going to make our timing chart. But this time in charge is going to be a roller coaster. So we're going to have small up big up loop the loop. It's gonna turn around and come right back, and we're going to have a start in an end. So to best express all the movements of roller coaster, we need to start off by marking the maximum arcs of each curve and for loops. We need to have enough drawings in here that we can describe the curvature because every drawing is going to have to an extent, depending on how you draw it. But for dot's, at least it's going to have a very straight line feel to it. So in order to get things to feel like they're curving, we're going to have to draw in where they intersect but also make drawing so that it goes more or less across the approximation of the curve instead of just dad going to the next spot in a straight manner. A better example would be if I didn't put a drawing the top of this curve and I just decided, will put some right here. Well, then, if the dots coming up and it goes right there and it continues, it's going to feel like it shoots over here and completely ignores this top. So first step to this roller coaster is to get those maximums, those maximums, our key frames, because there the moment where something dramatically changes to the next part of the animation. So we'll throw in a few over here, you over there and some parts of the animation, like the Straits. It's kind of whatever you feel fits. So then the next part is how does the speed change on a roller coaster? So as you're moving up, you hear the clanking of the cart you're in and it slowly goes up right. It takes a while. And then when it gets to the top, it goes down, right? So that means if it takes a while to go up, it's not going to take the same number of frames is not gonna be, like three frames up and three frames down. It's probably gonna be twice, four times eight times as long. But this is where you get to experiment a bit more just for the sake of s demo. I'm going to kind of improv. So I'm gonna throw on roughly this many. Then it's going to speed down a little bit, and then it's gonna decell, right, cause it's making that climb. And you may even think, Oh, this is probably too many frames but it's probably gonna take quite a lot of frames to get up to the very top in a slow motion. And part of being a beginner is that it often feels like you need to have larger, more motions over a shorter time. But in fact, getting used to just patiently placing a large number of spaces in your timing charts is a good habit to get into. So then acceleration down. You notice that I'm making these really big spaces because it's gonna pop. It's gonna accelerate. I'm a throw one right down here. Gonna come right over here. Up here. We're gonna have a little bit of deceleration because of gravity. So we're probably going to put in a few more frames here, and then it's going to speed up again. So I'll put one right in here, one right in here, just to make sure that it reads. And then this is a tricky part because we want to appear fast. But if you put one drawing in here, then these spaces there going to be shorter. So this is a part where you may actually want to cut out a marking for your timing chart and replace it. We might want to have a big acceleration and we'll go ahead and scoot to get that maximum mark right there and then we'll cut this one out. It's OK if these drawings look a little bit scrappy because they are timing charts, they're not going to be you permanent fixture to the animation. And then right here we might find that if we had this much speed will probably want Willow more, so we'll put one right here. That's gonna make us need to adjust another one, so we'll drop him right here. We know that the animation has to come to a stop now. If it's going this fast, it may need a lot more length to go before it can properly decelerate. Kind of like a plane, you know, plain needs a good amount of runway. It's not going to just suddenly slam on the brakes and come to perfect stop. So you may come to a point where you'll put out a little extra time in chart just so that you can get it to nicely come down to a stop. That's probably good. So now that we have our timing chart, we get to make a new layer shift in and all end to make a whole bunch of duplicates, and we get to find out how are time and chart stacks up. Because time he charged are not always going to be perfect. They're not always going to be. Whatever you planned out is perfectly executed. There's gonna be flaws. For example, I didn't erase the heroin here, and obviously that's going to carry on with the duplicates and That's all right. So we'll go down to the timing chart layer and we'll lower the opacity. We'll go back up to the top. We'll start placing in our dots, using the greater than and less thanki to go through the timeline. The more that you are familiar with the type of motion you want, the more that your intuition will help you plan out your timing charts. Because a lot of new emotions that you haven't practiced too rehearsed yet you're intuitions, which it looks like my intuitions on the number of frames was not quite on point. I already got down to 46. Without realizing it. I need to make some more frames. Oh, I'm backtracking a bit. I know where that is again. The point is, these type of exercises are not only helpful for the practice of timing charts, but you can actually memorize different motions. And once again, I using up all of my frames. I underestimated the length of this roller coaster. Yours may not come out this long. L depends on how you plot out your roller coaster. Hopefully, this one will get properly to the end. One more, one more frame Okay, so it's right there and there. There we go. So now I can use Tab to hide, get a good angle, have to show the timeline again, and I'll press play now Press tab so I can see it slowly Go up, speed up, go through the loop, Go all the way down that I compress tab again Hide that timing chart and there we have it. So I did a lot of talking through how I did this timing chart, But once you start rehearsing these, they should go pretty fast because they are just a dot moving along a line, more or less that you've plotted out. I just want to make sure that you understood a little bit more of the intent behind it. And once again, this type of animation has lots of variants to it. You may want to have animation that maybe maybe your roller coaster dot has a booster on the back. And so it goes up the top really quick, and maybe it's floatie You're late. Waiter has balloons on the top of it so that it's gonna descend really slowly, and maybe you'll want loop the loop with a loop in the middle but won't try something crazy . But whatever the case, there's. There's many options toe work, with many ways to do this exercise, and I would highly recommend doing a good 10 to 20 of them. It should only take about a minute. They might take a little bit longer when you're just starting out. But once you start getting into the groove, these you can really quickly a start and complete them. So yeah, onto the next lesson and have fun. 12. Assignment 10- Hard Knocking Dots: Hello. So our next project is going to be testing out mawr of a bitey more of a hard hitting type of motion because everything we've done to this point has been very flowy, very elegant. What do you do for animations that require more of a pop to them? So let's open up a new file. Well, very by 7 20 standard rgb A white background. Then we're going to use shift in to make a new layer, and we're going to briefly go over overshoots, which is to say, if you have and a and A B. If you have a dot go all the way to be, then shoot out just a little bit beyond be and then return. That's called an overshoot. Lot of it has an impact field tow. It feels very strong versus something that slowly approaches it. So let's make line just simply as a wall. In fact, if you want to use a straight line tool can very easily make a very tidy wall that way. So we're going to make a wall shift in to make our dot layer, and then, if you want to improv this or if you want a timing. Chart it Whatever you're comfortable with. If you want to do both, I recommend that to cause once again, it's good to balance your improv skills versus your planning skills, using the timing chart proposed, oppose or the single dots to do a straight ahead. And we're going to use off N to make a good number of frames. Maybe about 12 will say 12. I mean, if you want to 10 or 15 that's up to you. But I'm going to do 12 so we'll make a first Stott and it's basically going to hit this wall and bounce back. But we're going to focus on what technique makes this feel like it's a hard hit versus a soft touch. And since we're just using dots, you don't have to worry too much about you know how well do you draw? Can you draw a stick figure? Yada yada you? No, no, no. That's a big concern. It's just dots so we can go ahead and turn on our onion skin using the red blue tent currently only in front of Sprite, using the two boxes, and I'm gonna make mine accelerate by making those spaces bigger once again. And then if we put three frames here, then pull back out, We're gonna have a very good framework or a pre finished animation. I guess you could say a starting place and then I'm going to roughly put it into the right spot. If you need to copy the first frame to the end frame to make sure their sink Tup go for it . But if you congest click back and forth and roughly get them into the same spot, that works, too. So with how anything fancy. Yet when I click play, you know it feels like it hits the wall. Doesn't feel like it's really hitting the wall, though, you know, like a contacts it. So how do we make it feel strong? Well, on this first drawing, where it comes in contact, which for me is going to be framed. Five. We're going to hold it beyond, and then we're going to go to the wall layer itself. Oops. The lasso tool in a spray is a little sensitive. You may find yourself flying off screen when you select things occasionally. Anyways, with our selection, we drag it out just a little bit, so Then let's go ahead and click Play. You already feel it hasn't of a pop there. So what happens when things they hit really hard? They usually no. I usually and well depends on what the object is, but very often for have a rattle, though. They'll go back, no bounce forward, and then those settle. So we're going to do that with our three frames. So we have that hit that we pushed out. We're gonna use onion skin just so that we can tell. The spacing is cause we had that drawing shoot over. So we want this one to shoot back just a little bit. You want the wall to follow with it. So we're going to go ahead and grab that wall and pull it out, and then we're gonna have it settle, and then it's going to return. So let's see how that looks. Yeah, so now we got bit of a hard hit, and that's going to be your exercise is what kind of variants are there on this? Because if you wanted to, we could do a version of this where that wall really gets knocked out because maybe this is a very hard hitting dot like it's got some power behind it. And then when it shoots forward, maybe it's got more of an exaggerated shoot to it. Enough that we might actually have to duplicate a few friends because we want to do multiple rattles. Maybe it's going to Oops. I did a double right there. It's good forward and then scoot back. Oops. Make sure I got this right. Uh, okay. Hello. Well, tricky there. You didn't do that. That goes back. It goes forward. This frame, it goes back. The dot goes back. This does not look good on recording me, losing my own timing. There we go. Any home fiddling around with things is pretty natural. Even a lot of people with experience or still bumbling around and getting a feel for it. It's never something that you're perfectly going to instantly know exactly how everything is going to behave. Even when you're an expert. That is going to be lots off. Does this work? I don't know where I am. I Where's the frame? What am I doing? So don't ever feel like any stumble you do is something that you know, it's it's not a bad thing, and it's not necessarily something that's going to go away with experience as well. Some of it well. But some of it's still always going to be a very improvisational thing. It's natural. Anyways. I'd recommend doing a few variants of this. If you want to do something more complex, maybe try having it ricochet at an angle order, have it Lupin buildup and then shoot it. Bounce off when, If you had it, bounce and then come back and hit again and then go way off. Once again, this scrolling in a sprite is pretty wild, but there's a lot of different versions to do. This is well, and you'll even find this in a lot of animal fights where they really want to sell those exaggerated hits. You'll find it in fighting games to street fighter and tech in all that stuff. So, yeah, go ahead and give it a shot. And when you feel ready, let's go ahead and move on to the next project. 13. Assignment 11- Infinite Bouncing Dot : welcome back. So our next assignment is going to be a bouncing dot file new 12 80 by 7 20 rgb a white. Okay, shift in. We're going to draw in a floor and then we're going to use shift in to make a new layer. And what we're going to have is essentially a bouncing ball that infinitely goes back up and down. But instead of being a ball shape that stretches and squashes and goes back up to the top, we still want to keep things simple. I know that a lot of you watching you're gonna have all the drawing skills to where this is a piece of cake. But for a lot of people, that's still very stressful because there's things like volume control. You know how wide, versus, then is this going to shrink compared to the ball, the top, things like that. There's a lot more aspects to keep in mind doing a proper bouncing ball, and I've always felt that bouncing ball is still ah, love information taken when you start your any one on one classes. But the bouncing ball, it's usually your first or one of your first assignments in any 101 But I like to keep things dots of first just to make sure that we can sell a lot of the ideas and get those rolling before we get on the more complex stuff. So anyways, we're going to do dots, and if you want, you can do squashes and stretches with kind of, ah, you know, improv pseudo ball. But it's still more of a dot sort of a thing. Don't worry too much about volumes and whatnot. We're just gonna be playing it loose Control Z all the way to the end. Okay, back to the floors. So we're gonna make a floor, we're gonna make a new layer, and we're going to do a timing chart. So we're gonna have a top and we'll call that a and we're gonna drop that all the way down the floor is gonna be be You can draw through like that school in the top or bottom doesn't really matter. Timing charts are always different For every animator, there's no strict rules or etiquette about it. There is just some general consensus like key frames. Ah, lot of animals. A lot of animators like to circle them just so that they know that there more important. So we're just going to stick with something very simple. So we you will put in a lot of drawings of the top because we all know that gravity slows things as they get to the top and they speed up at the bottom. So there is going to be a lot more frames because there's a lot more time try to make a quick hourglass a lot more time at the top, so that means we're going to ease into it. The very top put a lot of little drawings and then we'll have a little bit of a deceleration. You'll notice that it goes from that to that. That and I know that a lot of animators like to make sure that there's a contact before an object squishes when it hits the ground. So this bouncing ball is also a bit of an introduction to squash and stretch. But once again because we're doing dots, we won't concern itself too hard about it. But if you want to go that extra mile to do that, I would absolutely say go for it. So we will say that this is our time chart going up and down? And this is not necessarily the most perfect timing chart, and I will explain to you a little bit after once we use it because it's easier just to go through the process once or twice and then explain some more things. So we have this time in chart. We'll call of these laters chart and we'll call this floor just because when we start getting Mawr more stuff going on, we want to make sure that we use our naming conventions because no one wants toe close a project and then come back to it and had to scramble to remember what things on which layer and what does that mean and what not. So, yo, you'll appreciate having this habit once you get it going. So then we could make a layer called dot and then we'll go ahead and make a few frames and we'll put it on the top. Gonna scoot, scoot, scoot, scoot, scooped, scoot and then you can have one stretch out and compress. Or if you want, you can have it just go straight to a squash because forces of gravity are going to force out the shape of an object. It's a dot, but it's still good. Good thing to start. And then when it goes back up, you're gonna have a lot of stretching. So the violence, they're going to go in weird, and then we're going to follow a backup. Now, any veteran animators watching or people that have a little bit of experience are going to already know one thing that I'm doing wrong with this and they're gonna say, Ah ha, But I would just say, Hold on a minute, we'll get to that in a little bit and we're going to leave these frames and click play. So first of all, it bounces pretty good. You know, it's it's got that hang time. It's got that whip. It's got that squish at the end. Now, the one thing that timing charts it's important to do when you do. Bouncing balls and things in that regard is you never want to use the exact same spacing returning because the human eye, for whatever reason, you can tell when something starts here and then goes there and then goes immediately back to the same spot. So the important take away is that you're going to want a timing chart for going down and timing chart for going up in the up. Even if it's just minor. You want to do just a little bit of an offset like instead of having it go right here. You want drop it a little bit lower. Maybe you want to drop us on a little higher. Just give some texture. Keep in mind that if I do make this on lower and that one higher, it's obviously gonna change that distance. That means that this one's gonna feel more springy, So you still want to keep in mind how your organically changing that timing, but you just want to make sure that it doesn't line up perfectly. But once again, that's kind of Ah, it's an advanced stage. So if you want to start off doing just a single timing chart where you have compression at the top and expansion of the timing at the end, and then you want to use that same thing going back up, I would definitely recommend doing that a good five or 10 times. And then when you're feeling a little more bold, let's go ahead and roughly go back to the start, we're going to make a new duplicate, and this chart will go ahead and cut that. We'll keep that top just so we have it sink. And then we can use onion skin to tell where are frames were before. And then we can make that timing chart going back up just a little bit different. The spot up here because everything is so compressed. It's a little more forgiving in the similarity of the motions. It's more so down here that the human Aiken tell when you're reusing the same locations. So don't be. Don't be too concerned about the top part. So once we have that, we can go to this one and we'll just call this frame Hey and be just so that when we duplicate weaken, tell which one we're duplicating, you know, so off end and we'll go ahead and place those dots, which, yea, we get to do another rep of this exercise together, hasam awesome. And then I will probably need one more frame just for the squash and then on here. We have that new timing chart that it's similar, but it's not exactly the same O n to make a bunch of duplicates. We had what, 69 frames. So six nine actually will go eight because obviously, it's going to be sharing that first frame for the recycling, so we will scoot up. Also, I forgot to consider that we had the squash and stretch going down. So we're gonna have that frame 17 as duplicate anyways, So we'll go ahead and delete it, and then we'll click play. And then let's get rid of that timing chart and the onion skin, and it might be just a subtle difference. But just having a slight different exit towards going up it does make a difference, especially when you get into more complex animations. If you recycle everything, reverse, it just it looks very sterile. It looks unnatural. So this is a good spot to rehearse that and get this habit ingrained into your mind before you get on to the more complex animations. So go ahead and do some of these bouncing dots A good I mean, I obviously say 10 to 20 because the more I think about what these exercise, it's just the more you do them, the more you're really gonna benefit from them. But I would just say do 10 to 20 if you want, But just do enough room to wear. You're familiar with it. You're not stumbling over. It comes to you. Naturally. You don't pause and have for wind because you want thes built into your brain. You don't want them to just be something that you knew once and then Oh, you forgot. I like a day later and things like that. We want these to be built into your instincts. So do as many as you need, but yeah, have fun. 14. Assignment 12- Descending Bouncing Dot : Hello. Welcome back to another exciting episode of drawing dots and making the move. So for today's lesson, we're going to be doing that bouncing ball. But we're gonna add a little bit more to it. We're going to make that ball or bouncing Dodge, I should say, because it's not a ball by doing dot starts or simpler, we're going to make it come to a stop because obviously when things bounce don't bounce forever, they eventually have inertia. Bring them to the ground. That's with our next projects going to be so 12. 80 by 7 20 rgb a white background and we're going to use shift and make a new layer Madrid in a floor. Now you can just go ahead and free hand that or if you're not really drawn to well, you can always use the line tool. That is a perfect line. I did not intend to do that, but I will take that. So we're gonna use shift in and we're going to draw out descending timing chart we're going to use for the bouncing ball and we're gonna have the tops and the bottoms are going to be your key frames. They're gonna be so that the motion will, no matter what you dio, they will at least get the maximum curvature. Then we're going to start planning out how we're going to speed up and slow down over these arcs. Now, one thing to keep in mind is, no matter what the bounce is doing, the UAE access meaning vertical does not affect how fast the X axis goes. So the X axis, like even if things are really fast up here and they're slowing down here, if you dot line traced them up to the X, this'll slow down and this slowdown are not natural. The X axis being horizontal, it's actually going to be quite steady. So if you need Teoh, you can go ahead and draw out a second line. Or you can use copy paste to just bring the floor up to the ceiling. And then you can draw out just evenly spaced marks just so that you condone outline and bring them down. Now, this is a bit of a sterile mathematical type process that it does get you reliable results , but it does remove some of your artistic creativity of sorts. But whatever you choose to get things done. I you know, I'd recommend trying both ways, but the point is you want to make sure that whatever your motions are, they still follow generally how physics air going to be behaving on our animation. I think you get what I mean now and this one. Soon as it hits the ground, though, this up here may not apply because it's rolling. So it actually might decelerate. This whole steady timing up here is all due to just kind of what things air floating through the air. That's how things behave. So this one should probably right here. Now we have our timing chart, which I accidentally put all on multiple layers. I should probably just cut those control a control X control. The Now you're things in one layer. Sometimes you make mistakes, and sometimes it's still pretty easy to roll with it. So we have lo opacity may go back up here and we'll call this dot and we'll call this, um, guide because it's the floor. And it's also the timing charts. Gyude guide Spelling things wrong is great, so we will all to end to make a bunch of empty frames I'm gonna be safe. And I'm just gonna put up to 30 just so that I don't accidentally have to keep duplicating . So back to the top, we will plot these dots just like the past assignments. Keep in mind that as I'm going, I'm not doing the stretch and squash, but I will be going back to do that. Once I get all these dots in, I just want to roughly get the animation in place that we can get a good preview of it. I say this is I accidentally make two dots on one line, just like that. Then right over here, we're gonna be eyeballing it because I didn't put in the timing chart and we'll put one more. What do you know? Got right to 30. So let's click play and see where this goes. Looks pretty good. I can drop the guideline. And, hey, it looks like a bouncing ball or a bouncing dot in her case, keep saying bouncing ball because it pretty much you get what I mean. It's the same exercise. I'm just simplifying it so we'll have it stay hard bouncing dot You'll see that it has. The arcs has a deceleration in the Pops, and then we can go back and modify it some more so we can find that frame where it hits the ground and we can do all tend to make a duplicate. Make sure you go back a frame, and on this one we can stretch it out, and then on the bottom one, we can squash it, and then we could do the same thing on frame 16 off N Go back and make a stretch frame. Make a squash frame. Same thing over here. It's probably not going to be as apparent because this ark was pretty pretty tame. So the amount of stretch and squash or stretching squash a lot of it's gonna be eyeballing . It's gonna be your personal preference or whenever the scene calls for or just how much force is in the the Ark. Because if this ball is dot or to be like a bowling ball versus you, like, uh, a beach ball or baseball or something, you know some materials are going to be mawr stretching more squashing than others. So because we're doing a dot, you don't have to worry too much about that. But it is something that you can keep in mind as a foreshadowing of future work. And then, since this timing chart was pretty loosely placed down, you may even find yourself wanting to go back and just manually scoot around some of the frames like Maybe maybe you want this to have a little more spring to it so we can hide the guide turn on our onion skin. I had to make sure that it's currently wrongly, I swear it. Click that. Anyways, you may want to pull up the acceleration, and then maybe on here, it might be a good idea to show it following this arc so it might be stretching but a little bit at an angle. And then right here because I was scooting stuff you can see there's an odd little dip. Sometimes when you're fiddling around with things manually, when you try and solve problems, you may create more problems. But that's all part of the fun. Let's see if I can at a pool Higher will hire and this one right here I might want to scoot up a little more. This one might even wanna drag down a little more. In fact, this one because it's such a small arc, it might do better that way. So it's a mixture once again of planning but also improvising. So your assignment is to Dio Well, say 10 of these. I'm always like food. What number should I pick? I'm gonna pick 10. Should have 2050. I mean, you could just made you want, but you once again get as many in as you need so that you instinctively understand it. You can dio a bouncing ball that maybe it's a rubber bone that's gonna have a lot of bounces before it goes down. Or maybe it's a bowling ball, like I mentioned earlier where it's going to hit. It's gonna have only a few bounces before it drags out. Maybe it's, ah, volleyball where when it bounces, it goes really high for a long time because a lot of different materials are going to affect how these are exchange. For now. That's still getting really far into Mawr complex versions. But if you want to challenge yourself, I'd say go for it, Yeah, just do, ah, do enough bouncing balls that you feel confident in them. They should only take a few minutes, you should be able to just go. Bam, bam, bam! Bland, bland glam Drawing your timing charts Stretch, squash dot, dot dot You should be to get them pretty quick After a while first ones, they'll be slow. But every generation of it's gonna make you faster Gonna make you a little better So have at it and have fun 15. Assignment 13- The Character Dot: Hey, welcome back. We're gonna jump into another project. So new file 12. 80 by 7 20 rgb a white background and this is going to be the exploring dot assignment, which is to say, we're going to treat a dot as if it were a character. If you want to say it's a fly or a flea or I don't know, little micros up microscopic person, that's fine. So what we're going to Dio is draw out just a small Siris of guess, obstacles. So we can have, like, a hill, have a platform. You have a little bored with some stairs is not to be pretty, and then maybe we'll have. We'll slide at the end, then maybe like a wall. And so this is going to be where the dot is going to go across it. You know, it's gonna act like, ah, thinking character. So we're going to use timing and spacing and arcs and all the past stuff just to kind of give the feel this die is more than just a dot. So this is certainly going to be more of a free range assignment, but it's a hopefully gonna help you with your thought process moving forward once we get to character animations and things of that sort. So we'll call this bomb layer BG background will probably want to drop it just so that we can differentiate are dot and then dot off n and remember that 24 frames a second is the standard animation time. So you may wanna have 72 frames, just that we have a good you know, three seconds. So let's have our dot move from mob schooled obstacle. Now, if you want, you can place down timing charts. However, another thing to keep in mind is that you d charts immediately, your dots just going to fly down there and do all the things. And it's not gonna have that slow inefficiency that comes with organic thoughts. You know, like we're not all machines. We don't just immediately fly down to do whatever we're doing, and we stopped and we think, and we plan and things like that. So I would highly recommend, at least for the first few goes, do this assignment doing straight ahead. Just do one frame after another and just kind of think like you're moving and slow, more like you're moving underwater in a pool. Just try and think yourself into the dot Even if a sound silly, Just think yourself into it as you're doing it. This is the essence of character acting. So I'm just going to the assignment and I'm going to kind of narrate how I think while I'm doing it. And that should give you a good idea where to start with yours. So we have a dot here, we'll put on onion skin just so that we have easier way of tracking with the dot is to the dot. First of all, he's gonna be sitting there for a little while. He's thinking, you know, he exists here like, Whoa, I'm here. And is he going to just immediately go down? No, he's probably going to anticipate is gonna go backwards, you know, kind of like I'm getting ready, I'm winding up and I'm gonna shoot down. So then scooting down and notice how, like I'm kind of keeping the contact point, not making the dot slide off down because settle motions are important and I want to make sure that it feels like the stock is standing and preparing in the same spot But once again , that's just how I'm interpreting it. You can do, however you please. So then it's gonna squash down cause it's it's getting Rada lift off and then we'll do a stretch. And then if you want to do a timing chart, this would be a good place to do it because you got perfect arcs and you know that you want your character to land on another spot. I'm probably going to be using character and dot interchangeably during this lesson because it is both a character and a dot. There's also that horizontal slice, which you won't have to specifically granted out to make sure that everything's specifically in the proper location. But it's still something that you'll want to keep in the back your head. So it's going to smash stretch, and then maybe it's gonna have a stylized thing where it's kind of a happy hop. It's cartoony. It's not gonna be perfectly realistic, but it's gonna have some hang time, and then it's gonna stretch down and squash and then be back up here and maybe as I'm doing this because I haven't even click play, I don't even know if this is good or not, I'm running off of the intuition that I've built up after doing lots and lots of animations . But it's totally okay to just have a first run through and then click play and then see where you're at because you all these their five minute exercises. They're very easy to start over to do another one to explore different stuff. Don't Don't feel afraid. Just just try new things and learn from it. Be like that worked. That didn't work. You know, I'll try this next time we'll try that next time. I won't do this next time. You just you definitely wanna have fun And you don't want to get yourself too afraid to try new things. So I'm doing this up down thing where I'm thinking maybe this dot is a bug. Maybe it's crawling. So once again, I don't really know how well is gonna work. I think it's gonna work, but it's gonna get to the edge. Then it's gonna puts a little flea but up cause its gonna like, leap over again. Maybe it could exaggerate that, like cartoonishly for a little bit. Then it's got squished down and shoot up. We'll have a jump over and then because there's gonna be stairs, I don't really think I want him to stop again. To think I just want to follow through with this. So stretch squash, jump, squash, bump squash. And it looks like we already have it starting over because I did not put in enough frames. So you may find yourself using up your frames pretty quick and having to duplicated a lot more empty frames that say, Okay, you might even find yourself only going to 50 only 2 25 This assignments very flexible. It's mostly just getting you to, I think, a little more about more characterization, using the tools that you've practiced to make something that has a little bit of a personality. So ah, once again, back to the original, I underestimate the number of frames this takes. Sometimes let's just go down to on 16 is probably good. So then we all know that when you go down slides, usually you kind of sit there at the top. You're preparing yourself, you're getting yourself settled. You don't just instantly go down well, being some people dio, but I am just going to have a little pause at the top, just for the sake of drawing things out a little bit, having a little more personality. So that's sitting there for a good little while and then slowly accelerates. And then I'm noticing how much distance does that dot have compared to the previous one? And I'm taking that distance and I'm adding a little bit to it. And then I'm taking that distance and adding a little bit to it and then wash almost almost . I thought I had enough frames. Okay, okay, okay, so we'll go back and we'll do a fume or stuff you more. That's not a bad thing either. Like if you Unless you have strict deadlines to this number, frames must be the maximum for this project. You adding more frames is usually, I would say it's probably better thing for a lot of actions just because most things are not done. Lightning quick. I am granted their love examples where that's not the case, but it's not bad for a beginner to start with, and then we'll duplicate this and frame just a few times so that it has a little sit time before it starts. So let's see what this looks like without the onion skin on, and let's cross our fingers and hope it looks good. So it thinks topping up, sliding down. For the most part, I think it's pretty good, but you will notice that that part over there with a little exaggerated bounce No, not quite working for me. But that's why I animations an iterative process. You're not always gonna have everything per perfectly done the first time around, so it's totally okay to go back and do some adjustments like delete out dot and put in another one. Or, if you want tone down some of your squash and stretch is sometimes it's even handy to have people that you know be a second pair of eyes for you because you may find things in your animation that you know need to be fixed. But you're never gonna have ah, holistic idea of what's working, what isn't so Community is also a great place to to run your animations by especially veteran animators like they have so much inside on this stuff. So any feedback that you can get is well worth chasing. So this assignment, it's probably going to take you a little more than a minute. It might take you five minutes. It might take you 10 on your first time. But once you start doing these over and over again, I mean, if you wanna have, you know, just three pieces instead of four or if you just want to start off with, you know, hopping from one side to another and feel like it's a character that's fine. Scale it to whatever works for you. I mean, we once again we want to keep these in the essence of five minute exercises because that just helps with repetition. It helps with, you know, not being concerned about starting over. It helps with, um, feeling like you can do new things without worrying about how expensive the repercussions are if you goof up so scale this to whatever works for you. But once again, I definitely do 10 of them more of them, if you can. And, ah, as always, have fun 16. Assignment 14- Dashing Dot: Hello. Hello. We're going to be doing another project. It's going to be Yeah, she zigzag cooler dot stuff New file 12 80 by 7 20 Surprise surprise RGB A white background . So we're going to mix a lot of our past exercises, but we're going to do hard, dashing dots. It could be an inanimate dot It could be whatever you want, but we really want Teoh exaggerate the sharp turns and the mobility of the start, and we wanna have a perspective background that kind of shows it gradually getting closer and seen. This is kind of a introduction to a lot of special effects. A lot of typical motion blurs, smear frames, things of that nature. So let's place down a line that will use for the Dutch general path and then two lines. That will be the maximum range that's going to zigzag bounce. Now. I'm obviously doing kind of a vanishing point improvised perspective here. If you, ah have difficulty with that, I would definitely recommend making a dot and then using a line tool to drag out a few spots from it. Then go ahead and clear that out. And then here you go you have more of a nice, tidy version. Hello doesn't have to be pretty, because once again, this is kind of an under drawing sort of thing. It's not gonna be for the final product, so you can either do frame by frame and go to the end. Or you can dio timing charts. I am going to be doing straight ahead for this 1st 1 although once again doing these exercises with straight ahead and the timing chart approach are definitely worth exploring . I do both. We will call this lower layer background and we'll drop the opacity down, so that's not distracting up at the top. We got one dot that's going to shoot across their side, and we want to make sure to use a pen to do pick airframes just to be safe. We're going to drag it out, too. It will say 80. Here's a good spot, so we're going to make a dot and then it might ease out just a little bit and then we're going to do is called a smear frame, and that's when if something is going to cross a very large distance, but we want to still show something to show its path. We, instead just having the DOT, fly this great distance and have nothing in between. We're more or less going to show after images so that the eye associates the new spot with the old spot. It's kind of like how, when we were doing that roller coaster thing and the swirls, how we want to make sure that we had a drawing at the top because of the Ark reasons. Well, a smear frame approach lets us cheat some of that where we don't have to do the top. If we make sure that there's a smear frame that guides the eye to the next frame, we can kind of skip drawing an actual new frame in that spot. So we're doing something of that nature, but we're doing it more for straight paths in the zigzag and smear frame. There's a whole lot of variety to it. A lot of different games have a different rules, a lot of different animation styles. There's tumblers and Web sites dedicated to just capturing the vast variety of smear frames . So I'm just going to do one approach, but just know there are many ways to do this, So I'm going to do it by just leaving a trail. And then as soon as it gets to the end, we're going to do kind of a impact. Dust spread just so that it feels like this die is really skidding like it's it's stopping and it's pushing off to go the next spot. So then we will go ahead and leave. We live an after image and the law. This impact is going to be designing, however you see fit. If you want to really draw up, you're designs. You can go on that route as well. If you just want to be a circle of marks, that's okay, too. And this might even be too much of a distance. Maybe we don't want the entire dot to move across in one drawing, so we might go a certain distance. Call it good. Another approach is, you know he's using Eraser and faded out and then, But here we even have the drawing hold for a little bit. And if you want this impact trying to go out a little bit, you can show kind of dissipating just little little dots. Afterwards, you're basically following where these corners are going to end. And this large mass you're not going to replicate the entire master, going to show just the bits and pieces as if it's fading from existence in its own way. And this is another trick that is a affects, animation oriented sort of a thing that will be exploring more when we dio the pixel art specific animations later on. But just know that for now, it's something you can tinker with, and then we'll go ahead and bragged that out to the end. And for this, since we're doing dots, you can go ahead and just scribble out whatever you want for the effects like it doesn't have to be super pretty like, once again, these air quick exercises. They're not challenging your drawing skills. You don't draw the most perfect splashes. Doesn't matter. But notice that I'm drawing multiple multiple little dots on the same one. I don't have a new timeline for each one of these dots. When you do split things apart into their own timeline, it's usually at your own preference for what you find convenient, and I just like to keep all that on as minimal layers as I can. Then I will have this sit down and just kind of pause for a little bit. Yeah, just get the frame 20 just to make sure it's ah, a nice little ending point. It's always nice to end on a a nice, uh, power 10 I guess. And then we'll delete these other ones and let's he have this looks. This exercise could be practiced in a lot of different ways. If you want, you can see how well you can pull off getting a dot to move all across the screen in just one drawing. And if you want, you can do something like it slows down, and then it deceleration rates are sorry. It accelerates, you know, large distances. You can practice having the dot schoo out a little bit and then move back in. You know, there's a lot of different flavors to this, and if you want to look at fighting games, they are a fountain of knowledge of variety. Of how how do you make things Wushan smoosh in hitting, popping all that stuff so you can actually go and grab videos and gifs off line and use them as a cooking book to generate some of this, but this is kind of your introduction to getting them or the sharper personality to your your animation. It should be pretty fun. So once again, do do 10 of them. And, ah, make sure Teoh do good variety and have fun, and we'll move on to the next assignment. 17. Animation Class Outro: This is the end of the first animation class in this Siri's. If you've made it this far, you've probably completed a good number of the exercises. You probably have a good idea of whether you want to progress further or not. Like many other exercises you do in sports and whatnot, you may find yourself coming back to these over and over again just to brush up and reinforce the ideas. You also may have had some Ah ha moments are leading you to make your own personal animations, using some of the techniques you've learned just through trial and error. Doing these exercises in Part two will be introducing the mechanics of single lines and will probably be using the occasional dot in a support. Role or technical will make sense once we get to that point. Thanks for sticking through this class, and I hope to see in the next