The Fundamentals of 2D Character Animation (Updated 10/10/2020) | Rob Mcleay | Skillshare

The Fundamentals of 2D Character Animation (Updated 10/10/2020)

Rob Mcleay, Chief Tutorial Designer

The Fundamentals of 2D Character Animation (Updated 10/10/2020)

Rob Mcleay, Chief Tutorial Designer

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20 Lessons (2h 32m)
    • 1. Introduction - What You Will Learn

      1:04
    • 2. Software Animation Desk 7 Sketchbook Pro

      4:50
    • 3. Hardware Tablet and Pen

      1:55
    • 4. Worksheets How to make the most of them

      1:19
    • 5. Introducing The Main Character Basketball Bill

      1:10
    • 6. What is Squash and Stretch?

      0:44
    • 7. Squash and Stretch Tutorial

      18:52
    • 8. Squash and Stretch Worksheet

      1:44
    • 9. Introduction to Key Frames What is it and how to use them

      3:03
    • 10. Key Frames Worksheet

      15:40
    • 11. Intro to Inbetweening What is it and to use it in animation

      2:56
    • 12. Inbetweens Worksheet

      16:09
    • 13. Project Key Frame Animation

      20:23
    • 14. Anticipation What is it and how to use it

      3:18
    • 15. Anticipation Tutorial

      14:37
    • 16. Anticipation Animation Desk Tutorial

      19:40
    • 17. Staging What is it an how to use it

      1:57
    • 18. Examples of Staging Good and Bad

      4:32
    • 19. Staging in Animation Desk

      15:59
    • 20. Staging Project

      2:15
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About This Class

***************Update log ********* 10/10/2020 *******

Added 4 more lectures for Staging!

***************Update log ********* 01/04/2020 *******

Added 3 more lectures for Anticipation + Animation Desk tutorial

***************Update log ********* 23/03/2020 *******

Added 3 minor lectures (Hardware, Software & Worksheets)

******************************

If you love to draw characters and would like to see them move across the screen, then you will love this course!

Welcome!

I'm pretty excited to kick off this mammoth course in 2D animation. I'll walk you through 12 Principles of Animation and then show you practical and actionable ideas and tips to help move your characters across the screen.

Software/Hardware required: Animation Desk (Free) + Tablet -You can also do this course without a tablet if you like

This is an ever-evolving course covering the 12 principles of animation:

Over the next 3 months I will be updating this course to cover the following:

  1. Squash and stretch (Uploaded)
  2. Anticipation (Uploaded)
  3. Staging - (Uploaded)
  4. Straight ahead and pose to pose - Coming soon
  5. Follow through and overlapping action
  6. Slow in and slow out
  7. Arc
  8. Secondary action
  9. Timing
  10. Exaggeration
  11. Solid drawing
  12. Appeal

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What you will learn:

  • What hardware and software that you need to create your animated characters with
  • Learn about basic animation concepts such as squash and stretch; anticipation and staging
  • Understand how timing and volume can add life to your character's movements
  • Learn all about key frames and how they can help plan your sequence of drawing

Please remember to rate and comment as this helps with visibility in Skill Share.

take care

Rob

Meet Your Teacher

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Rob Mcleay

Chief Tutorial Designer

Teacher

You are a prodigy cartoonist/designer that doodles and designs relentlessly late into the night and always that few minutes in the morning just before heading out the door to work, on the bus, at lunch, on the way home on the bus, on the toilet…

 

Hello, my name is Rob Mcleay,  founder of Mcleay Workshops, an online art and design school for people that can’t stop doodling.

 

Hey Rob, why should we invest our time and energy with you?

The solution to all your problems is right here!


I have brought my project making skills from the classroom to an online environment, giving students the chance to flex their drawing chops with over 100 studio-style projects to complete. 

For YEARS I studied the... See full profile

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Transcripts

1. Introduction - What You Will Learn: Hey, everybody, It's Rob here from the Roma que drawing show. Thanks for joining me today. Denies Course I'll be covering a few animation principles. Principle one will be squashing stretch principle to will be key frames and in between. All right, this course is made for intermediate style drawers. You do need at least a year's worth of drawing practice to understand and learn these animation concepts. Right? And at the end, off this course, you will have a pretty good understanding on what are what is squashing stretch. What are key friends and in betweens and how to use them. Uh, in your animation Quist. Right. I look forward to catching up with you on the inside. Cheers. 2. Software Animation Desk 7 Sketchbook Pro: okay. Software. So what? What software will I be using today? I've got to applications that I gene reuse number one a sketchbook pro number two is animation disk. So throughout this course will be covering both sort of both applications. So let's move on to sketchbook pro and talk about benefits and why it's such a great piece of software. So, first of all, that sketchbook Pro is a really great toll full during quickly. I guess if you want to go from a draft right through to a color sketch and exported out where it's gonna go sketchbook pro doesn't really, really well, I guess I've been using this application for about five years now, So that has changed about. But now it's actually free on the IOS and Google play play. All right, so I recommend downloading it. I'm just showing you some examples off what it can do on, so give me a bit of inspiration and ideas on how you could approach sure drawings. It's also got some really great brushes, and I don't use all of them, but the ones the one that I do use is the one that I've got Holland here and it gets a really great sort of flat egx like so, uh is opposed to, say, a peen, uh, a brush and so forth. So when you are sketching and drawing in the sketchbook pro this apartment here, that just highlight is the business because you can change the fed the thickness off peen. So to suit the type of line that you want to create was fantastic. It was hard being getting us fat and imitates in hk slash b slash two b top paint. So right, And it's also great for exporting photo high resolution. So when you do say, create a a new skitch, you can a to moment does it the largest, actually propagate large that you can you can do it super light show. You get a high resolution picture when you do. Um, when you did, you did you drawing and what else is? Basically It's just it's my go to drawing piece of application that I use all the time. It's my it's it completes me. All right, so I recommend downloading it. Now if you have a template, so you go to the I always store or Google play and they will have a Yes. I just search sketchbook price. Right now, the second piece of software that I use is animation dio the way Enjoy using animation in my enjoying animation. Why don't But not now. The great thing about animation disk is that you can draw your character moving great frames and looked down the bottom there. Um, you see, I'm changing. I conflict froze in draw on each friend. Screw Now you will see this quite often. In this course, I'll be going back from sketchbook pro, uh, beckoned to animation. Diskin invites piercer. So that's one of the benefits of using animation. Signally, uh, it's got the sink. Would onion skinning see about three characters right there? Um and these are the previous frames now that I've drawn. So it just helps you to see if you are if your character is moving smoothly. So super amazing being a bit there, and it's also free to use. It does have a premium version, you know, if you want to pay for it, great. You don't need Teoh spend money on this. People stop with. So that's a huge bonus. Right? Um so there it is. Software that I use, um you don't have to use what I'm using. You can do What if there will ever suffered that you want to use? I have them accents to, um download what I'm teaching you to correct courts in the next episode. 3. Hardware Tablet and Pen: cut hardware. Okay, So in order to draw well, the only thing that you really need is a disk with pencils and a piece of paper that's for you really need. However, if you want to take it to the next level having a drink book which you see right here thistles, my dreamboat actually make them. And it's basically a piece of acrylic that you put a lot behind, so it helps you. You can draw a picture, and then you can put a piece about the top of it, and you can trace over it and make it look really, really good. It's like bring your drawing upon on a window and tablets and paper over and tracing over the drawing. So that's what that drawing board is all about. Other during boards weren't may not have that acrylic base, so you can put a lot behind it, but this one does, really, Rico. And to be seeing more of it over throughout this course and last is having a template so it could be a new iPad or Android temp. Doesn't really matter. Um, but you want to get a tablet that's got is quite responsive. That's this When you when you push on it with a pencil? I had pencil dress gonna bay it picks up the, um Hey, venous. All right, so if it doesn't mean don't don't bother, but so you've got a disk. That's the main thing that help you got during board. And you've also got a tablet the end of the day having a disc piece paper and Pittle is all you really need because you want to be able to draw well, first, before you take it to that next stage next ages. Drawing board. Next age after that is template. He doesn't have a drawer properly drawing board and tablet. It's not gonna really help you too much. Okay, So great. There you go. Pieces of hardware that I use. I'll see in the next episode. 4. Worksheets How to make the most of them: worksheets, right? Super important. At the end of each episode, uh, you'll be asked to complete a project or a challenge. Toby worksheets in the folder underground for them. You need to print out complete, and then submit back to May, and I will map them for you. If you don't submit them back. I can't matter for you. So you just so he didn't do that. Um, yeah, pretty simple. So here in friendly is an example of a book shape. This is part of my Frankie Stein's our project, where we put together a commitments match off animal pots. Uh, and this is part of an animation sequence that was with this particular project. There's the worksheet. So you find it, you printed out and you played a prospect is different levels as well. So I'll be saying you've got an easy level immediately higher level, depending on what you want to achieve. You choose which label that you want to start out, try all three, but that's a work shape. Don't forget to do them. That's gonna make you a bit of drawer court 5. Introducing The Main Character Basketball Bill: when you go to to do draw your basketball bill, uh, use reference and I used this possible as reference just gave me a spark of energy. No idea on how to construct my character in wrist. It's basically just heading in your facial features in your arms and legs. All right, so we're gonna be using basketball. Bill is the main character throughout this course, and you'll see that his arms and legs quite wiry, and I did that on purpose. They're wire frames because they're easier to move around and pose and do all sorts of cool things with when you start adding clothes and thicknesses for arms links. Uh, that's when it starts to get a lot of a more truck. Yes, so I've reduced to write down tow, wire frame, arms and legs in Ladder on. You can change around thicknesses 6. What is Squash and Stretch?: Well, hello. You've reached the squash and stretch tutorial. So what is scores and stretch? Squash and stretch is an animation principle has been used the last 100 years to animate all sorts of cool. Thanks primarily. It's all about white transfer in, Mr Turo. I'm gonna show you squash and stretch concept and hell, you can apply it to your very own character. Let's gettinto. 7. Squash and Stretch Tutorial: Hey, welcome back in this demonstration, we're gonna be taking basketball Bill, and we're gonna be using the squash and stretch principal. So it's gonna be starting from the top, flying through the year, heading the ground, squashing I'm popping off the ground again and stretching and then ending back up into its normal self. Got that greatness Gettinto. Okay, so he is basketball build. You see him in the bottom lifting corner cubicle fellow there. Know what? Your worksheet. One of your work sheets of being the folder. And the capacity is Lawrence, you can just see the boar shapes. And the reason why I'm going to be drawing on top off these bulls is because I want you to do exactly the same thing. This is how you going, toe loon. And once you understand the concept around squash and stretch and volume, then you can copy this work shaped as opposed to tracing over. You could have to go through a series of steps. But if you think if you if you quite a Ventress and you want to take it on straight away, just copy everything. However, this is a really great way to start. Okay? I'm going to make sure that my character is ways in range. Your gonna waste See the character. And this will help me to keep basketball bill on model. So we were right there. Perfect. Make sure I'm using sketchbook Pro for now. However, in the Knicks and the one of the future lectures of using animation disk, um, to animate basketball bill, however, you do not need to have animation software. Um, you can do this all with pencil and paper. Well, perhaps some background music gun on the no more eight. Something saying each bull here represents frame. You'll be will be covering key frames in between the following elections. So I don't get to write about, if not too short I'm talking about like, uh, no, I'm not gonna make it perfect. It's a low about making it believable. No, but I also want to spend too long on each picture on destroying because you understand what I'm talking about. If I spent 20 minutes and each drawing don't get quite tedious, so I'm gonna just quickly go over and then you considered dedicate my style. No. Start off with this and basic facial features on a pizza. We're gonna keep it quick. I was only trying to achieve here is to make it believable and me and I'll go over still. Do you think I want to change the pencil? We're going to go over and future drawings and make it look pretty little. Make it look nice with cleaner, cleaner online. Not so. These are the main drawing here. That's a key frame. Okay, if the key frame and these ones here in between frames okay, are will be covering that next election. So what I want you to do it is to trace over the work shape you notice. Unless one here he's starting to stretch. Oh, yeah. This When you start to elongate the features a little bit to the eyes will stretch just to touch. Maybe even looking down is just about hit the ground. What would you do if you're falling? And just about the ground We would your eyes be realize landing? No, this one here. Super elongated, super stretched So you can really exaggerate Its was another principle. The fetches. No, I haven't drawn the arms and legs yet, but I won't very shortly. No, This bottom part here where the basketball, though. Clans? That is a key frame. Once again, check out the next lecture. And what What would you do if you're Landers? If you smacked on the ground, would you keep your eyes open? Would you squeeze in tight? Squeeze in time. This is where you got the dough. Oh, are you okay? So we got in between frame in between in between, in between. In between. Key frame. And then these next ones here I was in between. No, he's be stretching. He said the ground. He squashed knees stretched. Guinea's basically Oh, we would exaggerating that because you wanna and you have to graduate this part to make it believable. No might bring its eyes up like so I'm gonna have it looking up. It could be Smalling who could be her. Doesn't remain. It's gonna happen pretty fast space everyone seeking. So imagine you won't really see too much or you really sings the transfer of white. See how right? Fun drawing right now I'm I'm not bothered about making look good. Transmit Houston, this pointless right now. Now we're getting to the yak to the top and you're starting to the body is starting to even out back to its normal shape. Do you want to set making it look like that? That is continue the process that way. I don't think I need to show you any more about how to do the next packs is basically just dedicating this we're in. So if you're feeling adventurous, then I would recommend can take away the we can copy. I've got I've got more work shape, you know, the work sheet in front of you side by side and a piece of paper and just copy it directly . I care rather entrancing over the next lecture is gonna be all eyes. Gonna have a work shapes on how to practice your questions straight. So I'd recommend what she net as well. And that will help you to, um, practice during what I'm doing right here. Co So I'm going to head to the arms and legs and the head, uh, to this squash illustrates tutorial. It's going to adds more complexity to the animation, so it's quite advanced on you can give it a go. It's not really part of squashing stretches, part of like, ah, floor principal, The arms, legs flow bounce and move around. So just have a look at it, Mike, around that trot yourself some part of the squashing streets tutorial. But it's gonna make things a little but more believable when we go to animate the character and animation disk. Uh, then you can you get to see the flowing of fix or when the character moves in the arms, following through and bouncing and moving. So start now and enjoy the process. Any questions? Just ask on my Facebook patch. Cool. You remember back? I waas um, I talked about basketball bill on his arms and lakes, and I I wanted them to be wire frames simply because it's easier to animate an easy to understand. So when basketball built is coming and to the into the Ark and come down to bounce, you gotta forget where's arms and legs and going to bait. So sometimes it's bit of a guessing game, or you can just, um, watch actual body of someone jumping and bouncing whatever. So I don't have that in front me right now, so I'm just gonna do it from memory. But really, you should have lots of visual reference off someone jumping and bouncing. Probably have a bit of a guess. We're gonna start off for the arms and they go through to the legs. No flying for the air. Well, maybe I'm just under strange. Let us. There's going to be a bit of a cross over here, but if you're animating it in animation disk, that's gonna make sense. Um, what we should do in different color, we consider say, which we'll just go that his arms. I sort of got them stretching, sort of following the floor, get to a certain point where they weren't sort of change an angle. And remember, exaggeration. More exaggeration. You have, the more believable it will look. Now you have the groom. So you're gonna think what happens when your character hits the ground? It's a key frame, so it's It's the it's the main drawings is you think, Oh, taste. Probably done this. He's really jotted are no. When you when you go to animate it an animation Diskin. See whether it makes sense or not a bit of experimentation, but you have visual reference. You can sort of use that as your guideline. No, he's come back up, so your arms will not be like this, but they'll be following the shape following the volume that shape the movement. What? That So I would have something like that. And always Like that says I am No. Maybe with a couple of those with arms or just following. But when you get into the top off the ark, um, I'm gonna do this. You can start to sort of pull them up. Um, about the stage. All right, You look at the merchant. Let's have a look at that emotion, legs. Now this Put your legs and Montel directions. It's just about experimenting. Some is going to give it a shot. See what happens. I might do it under different color, so it's easier toe stunned. Well, the first couple of, uh, frames, this looks like perhaps when he's coming down to land, they're gonna come in straight shots. That's what I would do. Anyway, I would, uh, I just start to stretch mint this frame, do it straight castration. But this frame I'm going to have him getting ready to land and that that friendly is gonna be interesting. I'm not too sure how What Approach things. It'll be about just I'll draw something and see what happens. Maybe he's He's hit the ground and it's probably Quandt Bint, This is not that. And then the next one Ah, I would have possibly has Yeah, but heaven so fast you won't even see it. So we'll just league Z. We would just do something like would even even just did this haven't moved even more being It's gonna happen pretty quickly so you won't see that imperfections the next one up, um, they will be. That's gonna hard to sort of see this goes. Send ogle lips. I would bring it over here. I am going to just hip sort of being pushed up like a spring, but that both fate will be on the grounds That's a leading. That's a foot on the bottom there for their So to be both feet flat pushed off. And this next 123 um, his legs were started becoming, we'll start to pull up. So let's this hem stand to pull up and then so poor for that. No. Well, missy, right now. But you can sort of understand the process. If it was done individually in each frame, you wouldn't be so messy. But it's a good way to see the start now on the fun. But the hash now they hit you could be quite a lot with you can have it just stuck ing the same height or the way Dad or you could do some really cool inhabit a misc over blow. Um, can hang your head sort of sticking in the same place. But when it gets to a student frame, it actually jumps off. Hit it, comes off the hitter, but you stretch it. So this is a distance from the top from the top of the head to the bottom of the head. And you, you sort of just leave it next frame to this character, This part frame here, your hat hasn't really moved. It'll so I threw it. Just left. You know, when Wiley coyote runs off the the, um top of the hill and its whole body falls down, but is hit stays at the top. This is what the head start. So, really, you could have you. It's all about experimenting. You can have a strict to the head of the one. You could do some of this and it gets to the ground and head there. And then perhaps the head stays on. There's no more place. Okay, so, So crazy. Just hard everything. Um but it's a fun of animation. You can just experiment and try different things and see what works. And it looks good. Great. If it doesn't no problem. That's what rough and just experiment and try a little different things. We try to make a perfect straight away. You have been a long time on something that may not. Look, I look good. Excuse me. So that's why I draw a rough at the beginning. If you're really like what you've drawn, then you would trace over those key frames or those those frames and you is what we call a cleanup drawing when you make it nice and pretty. OK, so that's that's later on. All right. So I hope you enjoyed that tutorial. Um, you might want to watch it a few times. Is another election coming up with your worksheet? So check it out. But we'll see you next time 8. Squash and Stretch Worksheet: howdy. Glad to see that you've made it this far. It's now time to practice what you've been taught. Now, here you can see three different shapes, but they had the same amount of volume. Okay, so just go back to one of my lectures and in learned a little bit about volume. But it's all about squashing. Stretchered this. These are just the shapes. And I'm gonna show you the character basketball bill using these shapes. No, to hear three different types of basketball bull in different states of motion. The 1st 1 he's Lovat stretch going up and down. The 1st 1 has sequences normal state. In the 3rd 1 he's been stretched left and right, but you're still looks and feels like basketball, Bill. So your mission is to print out this worksheet that looks like this, and it will be slightly lower capacity, so it will be so great out of it. And you can draw on top, sits super easy. Next level up this quote medium, you want to try and copy those shapes and the next level as we're beginning a very own character and stretching the mount exactly like you say them here so easy Level is just to trace over the shapes. Head basketball, bilk sick and level up is will you be Coppinger Shapes and drawing basketball bill. Fair level is where you'll be doing your very own character and put him into these types. 9. Introduction to Key Frames What is it and how to use them: Okay. Okay. So this is basketball building enemy crystal. If you don't have a tablet or, um any sort of animation software or a computer or anything like that to do animations on its OK? Because in this tutorial in this lecture, I'm gonna be show you how Teoh animates worth software. And without software is there's a couple ways we can do that. So well, it's gonna be fun. But I do recommend downloading animation desk, which is on the IOS platform, or I believe it beyond the Google enjoyed paper was, well, so tried digging around with it. It's a good piece of software. It's pretty basic. I'm gonna slow. That's right down there are some pretty cool mm, no and privacy's Oh, a man. Okay, so it's a real basic version of basketball, Bill. It's a raft drawer. It's not perfect. It's not going to be perfect. For now, it's all about, um, creating realistic bounce. No worried about the final look that's way down the trick all about getting that natural. Um, that naturalness of a bounce off that squash and stretch coming through, the character jumping off the page. Let's just play that one more time bomb home by him. Okay, So the first thing that we need to understand is how to use key friends. An animation. So the definition of a key frame instead of read off her butt up a piece of paper that I wrote on earlier. Is it a drawing that defines that starts in in points off any smooth transition? If you look in the steamer, we stopped from frame one. That's a start point beef BK frame one if we keep going through when he hits the ground, that's key frame to. And we need a top of his AK there. Key frame three. A drawing that defines the start aim points off any smelly transition. Right? I understand. So we're gonna be learning how to unpick that. And how to, um, get that onto give that into your animation groupie. 10. Key Frames Worksheet: in the previous election. I spoke about key frames in this lecture. We're going to be putting them into action. I'm going to be drawing. My key frames will be using basketball built in your worksheet. You're gonna be doing pretty much the same. Okay, so, um, you can use the the work shape from squash and stretch to replicate what I'm trying to achieve today. So in front of you, that is the, um my from the tutorial I did earlier. Course question Stretch. Someone's gonna get rid of stuff that we don't need. We don't need you a little cold. We're gonna leave basketball. Bo there, too. How past? Keep the character of model. Cool. So the only drawings gonna be doing here, the key frames that can you remember what the key frames are and where they I mean, today I'll show you shut up. My favorite color, which is black. It's a key frame. Yeah, the, uh here, there, there, there, you know, go away there and there. So pretty much at the peak of the ark. And when it hits the ground. So in order to have great smooth animation, you must have great key frames. So we're gonna draw the key frames and only the K frames, and you're going to duplicated with your basketball bill or put the suit. If you got that super hard challenge, you on a duplicate, you gonna use your own care, cope can. It's getting to it. I'm going to focus on three key frames here, and then you can duplicate it throughout the rest of the sequence. Users can say it bounces one, 12344 times have dances. So I only really need to draw the 1st 3 key frames and just duplicate the rest. That is drawer number one. All right. Right here. Now, on the corny see basketball boat keeping them, keeping him there to keep him on model. We're ready. I'm going to rough. You're going to clean him up. - So the first key frame is gonna solid strong pose, all right. So it can stand alone by itself. So if you weren't animating the character annals by itself, you think that's a pretty good pose? Usually the in between drawings are the ones that look a little bit weaker. They I couldn't stand by themselves. Okay, but the key frame poses now the solid ones, the other ones that you would use and a storybook or a storyboard or I stand alone drawer. You gonna have to think what the character would look like in the media. The vory top of the hack. What would they look like? And what's a really good strong pies that you could poppingly So I tried toe have, ah, strong silhouette. So, um, I don't like to hide the league within the body. This is what I mean about Harding and leg within the body that its head on, Um, it's not wrong, but it's not great, so I'll just get rid of that. It's bidder tohave the league sort of popping out of the body. So when you draw the line, when you look in your eye around the character, you can tell what the character is doing. Sometimes Just bring the link down just a touch my so in and have the foot doing some your letter. But different then iava like just to break it up about Go ahead. There you can experiment. Were to put the heads, um, you want to know what it looks like until you've drawn in an intimate. So that's a rough drawing. Its K frame number one, um now little key frame number two or the next major key frame. It's gonna be the one at the bottom right down here. I'm gonna move my Mr Possible fella. Basketball bowed down to the bottom here. So when I'm drawing him, I can make sure that looks reasonably a model. So a key frame Number two. He's hitting the ground. Solid, strong pose. Now remember, I'm in the squash and stretch tutorial that's going to quite similar to that before I briefly covered it. This is more in depth. So what would your face looks like if you hit the ground? Quite heart. Would you have your eyes open or closed? Obviously close. U b u b anticipating a French. He's gonna be squashed because he's hit the ground. Remember the tennis ball that we saw at the beginning catch the ground so stretches out a bit squashes and and then comes back up and forms back and towards normal self again. Same deal. Now the atoms knowing is gonna be tricky. So it's a little bit experimenting. I'm envisioning that his arms are gonna probably Oh, just here do this. So let's just say, hey, he does something like this. Oh, okay. Um however, it's good to propagate. Look at other examples online, off someone doing the same thing. And use that as your reference. His legs. Um, if you remember from thes question straight tutorial, I sort of had him like this. Now you sort of running out of room, and but, um so you doing the best that you can, But to me, this is what the character like. It hits the ground me so fast that you won't notice that And the imperfections and the heads I would say that we can have it sort of touching the touching the head slightly the heavy. If you have a look at the main character here, it's always a little bit higher. I have designed it that way because that's how the car has been to look back. He has the ground. It's going t. Then you've got the the details of the basketball that lining, um, that the lines The Stretch Marks Co. That's a key frame number two. Que friend number three is gonna be quite similar to key frame number one you can make it a little bit different just to break it up. But you're not gonna notice it too much. So weaken. Just pretty much get this drawing K for number one in duplicate it. It was important to I use your god lines and it helps place the eyes, the nose in the mouth. You were using wire frames for the arms legs to help us intimate. It makes it easier. Once you get better at your craft, you can start adding thicknesses for the arms and legs. Remember what I said about silhouettes? So rather than drawing you a leak inside the character having just popping out about C, it was a little blank. You consider tell what the character was doing in the hit? You could have the head in the same place. Rika means experimenting with a head goes from here. This is when you do, you clean up, so I'm gonna do one clean up, but you'll get the idea you could do the same thing with your own drawings. Um hmm. Well, sir, this can be done. Pencil on papers. You don't need software as you can get a four piece of paper and just trace over the work shaped on the next lecture coming up, we're gonna be doing in an animation disk. So then we could make a note. But you can still you still learn the basics this way, so don't worry about it. Don't go. Don't be software Run into a quick cleanup. Why? She might yet didn't one up there. I will. Mike, bring my little fella. It's going to bring up here so I could just make sure I've got a model and I was going to imitate my light box by reducing the capacity. Ah, no. When you do, you clean up. It's important that you pencil is reasonably shop raising lee shop. Gonna bring that forever more cleanup is quite a skill. Not a big fan of clean up its goods against my personality, but I'll get it to the stage to the stage here is gonna make sure about the right people size, so you can imagine a full featured animated moving how many drawings are required, how long it's gonna take. But that go usually a team, a team of hundreds, doing all sorts of different cold things when we just throw in a couple of spots in there. No, I don't. And too many spots. Because the more spots here, the more things need animate. And you can add a couple of motion marks if you want. Not too many. Okay. Cool. You got Mm. So your job is to just duplicate what I've just drawn. So you got easy, medium hot, but it's always door hard, but you're easy. Heart, ese is to get your print out off the work shape with the balls bouncing. You all right? That woman's were You can trace over it, and I want you to copy what I've just drawn. Just copy it and trace over those circles. Understand the process. Once you understand the process, you can go to medium. Medium is, we're you've got you your work shades, and next to it, you're gonna copy those K frames. Hood, You want to use your own character and are the trace over those circles. We'll just copy it completely. So you might have possible John What? He was gonna bay and may have clothes. Or maybe a superhero hope. But what it was gonna make side easy meeting heart cope. It's a tricky one. it's only gonna get hotter, but it's good fun. Um, mine thing is to keep practicing and you'll be fun seeing the next like show. 11. Intro to Inbetweening What is it and to use it in animation: closely associated with key frames in between frames, the calm intimations caught in between and is the process of generating intermediate frames between two images. So when I say two images, it could be the key frames. So in this little demo here, there's example, we've got I key frames. I want to just scratch mint One, 23 for 567 Well, eight key friends. Um, but another definition for between ng is that s officiating animation context is the in betweens are the drawings which create the illusion off motion so that in between drawings , it's quite jumping. But once we ed out in between, during which these fellows right here is going to create the illusion off motion. Now, with hand drawn animation, generally it's over a period of 24 frames. You do 12 drawings. 24 joint frames tends to be one second. Where is one second? So I have one seconds with of movement, you had 12 drawings. All right, so we will get into timing and a little bit later, but for now, we'll just focus on between drugs. So we've covered key frames and now we're looking at in between drugs which help to create the illusion of motion. Interesting stuff, right? Uh, something show you gonna revert back to the animation that I created earlier through animation desk, and you're gonna save the in between drawings. Now? If it wasn't for those in between drawings, you would lose that illusion of motion off emotion. No, I just saw that right down and key frame in between in between. Keep praying. I'm doing between in between between keeper groups, we get so you get the idea. So when it comes to your worksheets in your project, I'm going to be getting you to duplicate what I have just created. I'm going to try and keep it simple as possible. His animation can be but overwhelming, especially if you're learning how to draw in animates at the same time. It's very, very hard. So let's keep it simple. 12. Inbetweens Worksheet: Okay. Okay. You welcome back. It's time for your in between ng worksheet Lecture, Clancy. You make it so you can use your squash and stretch work shape that we used previously in front of you. You can see the worksheet from the key frame lecture I did previously. So it's just a continuation from the other two elections. We're going to be heaven a crack it. These fellas right here weren't 2345 blah, blah, blah cool. They are the in between drawings, the other ones that don't have to be perfect. I just have to makes sense. And what I mean by that is that they have to fly. And what I mean by that What's that that's going on here? That's ball. That's if I That's, um they have to. The arms and legs have to follow flow through the sequence. You don't want your little love the place like that in your legs flipping around and doing what they what they want to do. You want them to follow some sort of plan? I'm gonna show you this coming up. Very sub. Now, if you don't have a tablet to do your animation work that's fine, because it should be all about drawing on paper, sketching over those lighter circles and practicing the technique. And once you understand the technique, then we can take it into animation disc. Which is that software that we're gonna be using in the next election. Okay, let's get into it. I'm excited. Cool. Okay, so here we are. We've got our work shade in front of us. These three key drawings there. We've also got also got now character there so we can look at him and make sure we keep him on model. That's just day AnAnd Imation tomb To make sure that your character looks the same all the time. Just above that, we've got no reference to help us belts, Mr. Basketball Bill, it's gonna go. No. We are going to be attempting the in between drawings, which are these lighter balls right here. I'm gonna show you couple of Nate tricks that you can use. Help make your animations look good. No. Start off. Probably in the middle. Why not? Is you want to? What I want you to think about first is keeping your character on model to keep a character on model you need to make sure that you've got that character in front of you one time. All right, so we got a more model. Now we're gonna be drawing now. We're gonna be sketching the in between drawings more in front of us, and we will utilize these circles that we had in front of us so important to remember that these in between drawings do not need to look amazing. They just need to make sense not And what I mean by that, by having your arms and legs blowing through the action. Now, if you think about it logically, if you, uh, pulling out of a tree and you about to hit the ground, your legs will be paint part. Your legs will be facing towards the earth. That's what we're gonna be doing here. I would envision that. They're gonna be straight. Another thing to remember is that the sequence is only one second. I was gonna happen pretty fast. Don't get too worried. Um, how these limbs will be looking because that would disappear very quickly. Now the arms. Okay, so you can you can experiment with the arms, So you gonna head them? Sort of we'll weaken heaven sitting like the are in the first key frame. So I'm not really too sure what I'm gonna be doing. Um, but I think it be quite need to happen. Sort of following the but so he's gone from here, here and back down to here again. And it lasts in this second key frame. So once you've decided on the flow of your character and then it's sort of following the ark, there are MIA. Then you must continue the action through the wrist of that pace. I haven't drawn the eyes and you don't really need to. I will problem later. No, I think it's more important to get that that flow happening, Lord limbs. Because if it doesn't work, then yams the eyes and then the rest of face or a face in the risk the face might make sense. Either Something's going to, um, use different layers on sketchbook pro for this so you can see what's going on. No, I would recommend to start thinking about that bull stretching. Then you're gonna stretch everything else as well. So when we go to add the eyes, that gonna be let up more E long gated. A little bit more stretched, a little bit more exaggerated. But for now, listen. Smokes on the legs. Now, it's gonna be quite similar to that first in between. I did here. We're gonna follow that action and try and keep the legs the same length as the previous one. Um, it's not gonna make it. Too much is gonna happen pretty quickly. So just yes, tonight. And they would have thrown the arms again. So it's literally the same drawing that we drew, Ilya. But the body is a little bit more stretched. Okay? That's seeking them between drawing and we're gonna just produce that capacity. Just get rid of that one there. And, Granular, this next story character is stretched quite considerably, and so will the eyes. We'll get to the eyes once again a little later. It's all about linens for this one here. Now I'm thinking that his arms are still gonna be a here. How we the when we do the tests an animation disk, then we can see if it works. But for now, would a bit of a guess in the more you drawer, the more you you do. These types of sketches of these little animations. The quicker you will become and you go Yes, I know that will work. That's all about practice. Now the league's okay, so it's pretty close to the ground. So I am going to just give her the fella the bottom here. There's a little bit confusing, and I'm gonna have his legs actually touching the ground. You might need to just muck around about with the look and feel, but if you think logically the legs, they're just gonna come down there and they're gonna follow a path. And we have one foot here. I'd draw the thick first and one for the it, but they're not going to be straight out. They're gonna beat when you hit the ground. Think about pulling out of tree laying on the ground. He links event if you know, Sure. Guy film you might jumping out of treat might not be good or bad either. Okay? No, just get rid off previous one and then we imagine it goes through to the next one which is on there. But confusing bangs down Crouch. Let's go back and draw the eyes. Once again. It's really important tohave your character in front of you. So what? They see Morley, If you don't have him in front of you, your character is gonna look a funny each time you draw him. So it's just he's just good just having the Iraq. No, I'm not gonna end too much detail to this sequence. It's not about the detail. It's about making it look realistic, making look believable. He's gonna be looking down. It's good. He's gonna be going home. Look at the ground. Of course, that's what you do unless she closing your eyes, Which might be that's what you do as well. But let's keep it. Might know him as our BeOS up because he's he's anticipating head in the ground. Isn't it, um good? And is het okay? Um did I draw his head? And the other ones? I remember Michael issue with sketching his head for the key friends. There it is. So here's gonna He has a hat. So I'm gonna leave those key frames there, and I'm just going to keep that Hatton Jimmy this generally the same place as it is in the fears. Keep right, The ones again. You can experiment. You can hear their head sitting here for two or three frames and then come down, but like, wall acuity jumping off, um, Cliff and it's hit Will just stays it for a second and then follows his body afterwards so we could do the same thing. That but that's Ah, that's another one. Okay, so that's in between drawing one. Let's have a go at seeking one. No, I've kept that first in between drawing there so I can see. Um helps me to visualize in the I went in this particular when his eyes is gonna be just slightly stretched, Still looking them. And I'm just joining in the room course, if I don't haven't, actually. And so we're gonna be just stretching the eyeballs. Just a touch. Try and keep the eyes in the same place. That's what I'm drawing the construction lines that just to help me to place my labels and we'll put the mountain in het, remember? But remember about the hat keep it the same shape in the same volume. They went in any problems and the liberals. So why back to the third in between drawing? Yeah. Stretch the eyes even more. Don't be afraid to just go for it to what happens. And he's just about at the ground guy. Yeah, we go and was hence over here. Oh, where we go? Very good. Just bring us in. They can sort of see the actually Looks pretty cold, isn't it? And we'll just bring the capacity up there as well, and I'm gonna hide. May circle shouldn't worry here. And we're gonna put them other ones in there as well, Miss, But yes, but it is. When you go to do, will you clean up? Um, you won't see all those meats. Okay, so but you need Teoh. You need to be able to quickly sketch your key friends and in betweens roughly. Look, it's a line test basically, and you need to see if it makes sense. What's it? Make something. You go do the cleanup. You make it nice to make it tidy. Make it pretty. And you put the color or non afterwards. That's that's another lecture. A little later on. Right. So I've drawn in those key frames Easy mode. Just trace over the work shaped, pretty straightforward, popping all basketball building. Make sure he's in front of you and just copy what I've just done. Maybe, um, right. The medium head and the other end between drawings that I haven't done And imagine where the arms will go and the legs will go And what the eyes will be doing What the head will be doing hard. Okay, take it all away and copy Put side by side Or just watch me draw Enjoy your own sequence Muck around with the bounce Super high and super light maybes banging into a wall Ho knows Just go hard out Cool All right. And that's it. Basically. So we'll see you in the next lecture. Can't wait. 13. Project Key Frame Animation: do you? Okay, Rob? Here. Welcome back in this lecture will be covering how to use animation disk. Ah, few functions of animation disk and a couple of tips on how to move your character and how to slow and speed them up. Okay, so let's get into it. This is coming from the main page. That's the main page we want to do on the bottom. The use of the word sequence. Just take that. And on the bottom right hand corner will be a blow. Plus in my face is on the way there. But this press plus what you got slaked new sequence. Very easy. Go tonight. Basket one. Well, basketball bull one when he was gonna bake people, that sitting is the same. Uh, you've got duration. Keep it a two, Which means to sickens frames, 24 frames and friends. Poor second. So 12 friend person will go there little later. It's like, get let's not get too worried about it right now. Right? Just a couple of covering just a couple of functions off animation disk Baltimore In corn bottom, left hand corner, you'll see 0001 line and 00 24. That's frame one off 24 frames. If you take on that, get to this. All right. We're gonna working with this quite a lot if we go across into the middle, you'll see is a 001 line and also, um, 00 24 in some errors that don't both sides. These will help you go through each frame. All right, Now, about 24 friends of work would. So we'll get this soon. Um, the first thing that I want to do is teach you about last because you're gonna be drawing quick background. So our Balkan bounce, she tipping last year, I won right there. You tip on that and you've got a whole bunch of different, lazy gonna choose tip background, Okay. And for this, I'm going to be drawing the ground and also the direction off the ball bouncing just to help out, Um, you condone Get rid of it a little bit later on, but I just leave them there, Just help out. Okay, so we're gonna take that step out of it, And this is your background laugh. So you just draw a line across their easy, and they're gonna add another line or sort of the direction off the ball bouncing just to help out. Now it's always a good idea to have your squash and stretch worksheet in front of you so you can make sure that your ball, um, is bouncing the right way. Book some direction marks on there. What you got? Right? So, animation, make sure that you are on land 01 by tapping on background in tip Lazzeri. One that means that, you know, animating on the background like you don't want to do that. But we could get rid of the background land quite easy by just tipping on little eyeball next to, uh, the actual drawing itself. That tape on tip off. We're gonna leave it on for now. Make sure on lately, make sure on loud 01 take out of it back into here again. Go. All right. Next thing you want to do you want to think about key frames, so make it nice and easy for you. We got three key frame See that we're gonna be using. It's gonna be on frame one frame for frame and leaving frame one up. A little weird, but but of my there, and I'll go down to the bottom by and next to the 24 you'll see an error. Just tip on that 12 three times into you to frame for this is going to be a key friend. A little bit of a mark there, lovely. And then once again, keeps going through until you had frame living a little bit of a mark there. So I'll start back from the very beginning by just taking on the arrow with the line next to it. And I'll just step through. 1234 uh, family when you have that. So those are key frames, and between those K frames are the in between frames that will work on. So so one frame one, we're gonna be drawing a basic circle, then scroll through to frame to keep frame to. But that's framed forcing at one 23 x there, and we're gonna add the ball. But it's not gonna be a bull. A normal board from your squash ball. They were for back to allow the tutorials that I've been teaching you about, especially around squash and stretch. All right now, scroll through to frame and leaving, and it's Ah Kee friend three. And your character is going to be back to normal again. Let's make sure that our character now bull, is on model and it's the volume is still correct. So when 1234 5678 19 lemon, right, those are key friends. Now, here's a little tough. If you want to make your character well, circle or your ball move quicker, you draw less in between. If you wanted to move slower, you're add more drawings or more in between frames. I'm gonna show you how to do this. That's why the second part there's more of a get this seven as opposed to four friends, right next pot in between. So when it and a few shapes to the first part that is coming down now, about half way you want to put, I want to go to frame number two. Make sure mainframe number two, yet more good. Gonna put it out of circle there. 20. Keep the same size as the for a circle. Now frame number three. We want to get how fly between frame to frame pool so this is framed for this rain. Three spring took 234 has gone from three. And we're gonna stretch Mr Basketball Bill. Now, you can add more if you want to. You can. If you plant it differently, you can add maybe another one right here. Right. So we've got this recap frame one, bring to three cream four. Now, let's have a gut frame. 5678 19 Frame five. So you take the error halfway to the character you'll be drawing your circle there is tipped prime. Six a way. Imagine You know where your character sort of settings. You just get the money in a moment. Um, I'm six seven, and they could get real close now. All right. Making sure. Right line, teen. And then Uh huh. So that lost drawings, but out it was adjusted. Yeah, it's quick and in slow. Quick, Kinsler. Pretty quiet. So now that we've got our motion sorted, we can begin to add the arms and legs. Now, just remember back to the previous lecture. Okay, So, uh, begin with your K frames. Key frame one. You know, you on key, everyone by looking at the bar below. And he's the one at the bottom right in the middle. There. Great thing about on a mission Discuss that you can do you men about, which is very handy. Now, don't forget to have your basketball in front of you. Um, here. So you when you're drawing, you're looking at a guy. Oh, yeah. It was always gotta here, Mom's gonna These things go there rough in your guidelines. Super meaty. At the moment, we're not too worried about the clean means with all about the flow in the Martian. My bulls eye bulls. All right, let's get a free number two. But tipping on the arrow, he's moved. But for that mark, you want to delete a mistake this by hand with inside at the bar. Medical errors just tipped them and it gets It gets rid of the mistake that you just made. Make sure you can see both drawings sketching room free number two years, Edgell guidelines. And then your eyes. Remember, he's looking down and it's going to find with three. Cool. Now you can see the previous frame nest because it's on onion skin. I find that little bit light about for now. Just work with it in this frame here. We're going to be a stretching the eyes, but we're exaggerating. Okay? And in frame four. When you hit the ground, what do you think you're gonna do? You don't keep your eyes open. Are you gonna close? So let's just but Macy. But it just do that Canadian sort of get an idea. What? It was gonna happen pretty fast. So, you know, it's gonna be a fraction a fraction off. Um, a second. You don't have a look too perfect. All right. Next frame from five. Remember to keep looking back. It your original drawing. Repeat from frame six and frame seven. Frame eight. No, no. Is squeezing any man brain nine. So I'm just rushing a little bit here. I shouldn't really slow it down, but, um, if I go to slowed, nothing will get done. Rain, teen and frame I live in, which is slowly us. I'm just going to Mm. Should I do Mr Lincoln, Ill? She might just take out frame, believing it's not. It's not a big deal, so there's no worry about it. Too much talk. Play. Oh, then, no, this is This is the time when you want to see if your character stays on model. It's not getting fat, it's not getting thin. Stop picking up frames where it doesn't do that. So I can't really see too much to me at the moment, Quite possibly, and make it but smaller. The end of the sequence. So just a little bit. But I'm not gonna get too worried about it. We're not trying to go. Perfect decision pulls that I remember. Ah, tricked you back to the very beginning is you'll see a little rubbish bin next to that there are inside is an arrow with a line next to attempt. It takes Arabic beginning but is a right, Let's edge. The rest of the body were gonna end the mouth, arms and legs So we'll start with a key frames first just to happen through the process. Oh, here we go. Didn't we do that? Trying to get that about the way big smile on his face. I have to get to refer back to the previous lecture and you know what's going on here? I'm not gonna get to talkative about it. Good. When I read the other arm, the problem is also got his hat. I knew. Really? You don't really give myself much room? Deny. No problem. Okay, frame one key frame. One. They want to go to key frame four. Because we know that frame for which is a key frame number. That is good. Yeah. Hits We'll be touching. Hid his arms and legs while he's put on this with his arms. His legs are pretty stretched out like that. Its key frame number two No, we're gonna go to the last key frame. What you would pay somewhere. I am one of the number of leaving, but I might just used between for now I'm just running out of room. Then replant every well did I, Rob? He's literally going to the same drawing is K from number one. Run out of room months again. No problem with that. He was gonna happen so far. So you know anyone see it? Well, it's so you met First light. Cool. Right in betweens Victor from one. And it's gonna frame took. Remember back referring makes the previous lecture as leagues are going to be aiming for the ground in his arms are going to be following the flow. The motion big smile Hit Great brain number three. Now you can see all handy having the onion skin. Let is going to help you to draw each leg because you can see what's happening previously. Super handy. Don't be afraid to exaggerate the hatch. No going for four perfection right now that we know I'm for frame four Key from two. And interesting. All right. And we're getting to this stage. It's pretty much gone back to the original pose. You can experiment with how the leagues have flown for the years. You could just sort of change afoot there if you wanted to. Next layer, it's getting squeezed in a bit. Bring them out. Bring that leg up and right there we go. Right now, I'm gonna slow it right down. Little bit of ah, think I'm Abdul leader, the frame name, But you get the idea. The right, they have missed it. So what I'm gonna does, actually Oh, it's a must have related it. No. Well, uh, getting in those just starting things up now, going to get very, very miss. You haven't got a head to head. And as well, it's good. Back hit, hit, hit. And yet and don't worry about that. Oh, well, it going right. So now you've got the idea. It's not as easy as it looks, but as hates of fun. So I head to go this and then exports your movie poster to review and see how it goes. Coat. I'll see you in the next lecture going knowing. 14. Anticipation What is it and how to use it: anticipation. What is it? Thanks for asking. Anticipation has been a character prepares to do an action appears to do in action. Got that in front of me Right now. I've got an old work sheep from my character design course. You may recognize it. If you have done that particular program, you haven't done it. Recommend doing it. You should have done it before you come to this one. And in this work shape, it gives you a really good gives it to solid examples of what anticipation is. Okay, so the first example is off my basic shape guy preparing to do in action the action earns. He's getting his floor type Emma smashing onto the ground, okay, smashing under the ground. Then for an order for him to smash it on the ground. He needs to prepare. He needs to anticipate he needs to lean back and its mission. Two. Leaning back and preparing Net's anticipation movement. The second example is off my cute little fluffy low. Um, tvb, right, he's saying his peller, he's gone. My God! Well, it power Italy's own grabs. It does. He's preparing back. He's anticipating any grabs. Appellate Lawson. That's the action Anticipation action, right? It's too solid examples of anticipation. So what I want you to do is to have a bit of look on Google where whatever is that years and search for anticipation examples and get your head around how other illustrators and how other animators through their characters and use a news anticipation in the movements. It's a really effective way off generating energy until carrot, right? So in the next few lectures, I'm going to be drawing basketball bill. Um, he's going to I'm going to put him into some anticipation movements and you're just going to follow May and copy what I dough. I'll be the first example will be just imitating pencil on paper So you don't if you don't have animation disk and do this with a piece of paper in, Just use K Friends. Remember K frames in the previous example in the previous elections. Go back to that if you forgot him and then we're gonna be moving into animation disc, which where are we using key frames and actually animating possible boat and doing anticipation and doing his movements? All right, cool. So that's it. Seeing the next. Besides 15. Anticipation Tutorial: but it's time. Two days and drawings. And I have been looking forward to this brought in front of me. Right now, I have, um my worksheet from, um, old character design course that I don't know well, again, which is currently live. So make sure you check that out. And what we're gonna be doing today is firstly, I'll be, um, putting my character basketball, Bill, The guy right there. I'm going to be putting me into a few poses. Your anticipation posers. All right, I'm going to copy. Um, the character that's in front of you writing and a copy has movements. It's a basketball boby holding a, uh, four type Emma on is gonna be smash it down to the ground. So I'm gonna be drawing it using layers when sketchbook pro to imitates, um que frames that you would use an animation disk if you just got pencil and paper. You can just have a new piece of paper and you pay suburban new piece of paper side by side . All right, you'll figure out a way how to do it. Uh, so let's get into it, right. Make sure you've got your pencil on paper. really to go, right? That's my hi pencil. And I'm using my iPad running me right today. Andi, It was going to get into it. Reduce that run down, right? First things first. We need to sort of plan in our heads How many poses we're going to draw. I know how many and when to do it. It's gonna be three three poses before, During and after. So before is, um, standing there doing nothing Looking at something going See? Composes the anticipation post, agree Basketball Bill's gonna learn Lean back holding us him a and he's about to smash it down. And the third pose is the action. Come down the pose him it has hit the ground. Got it. Three poses Well, three K frames and over three layers. This is my layer One side just hollowed That's right in the middle there between the two when you're that's going to confuse people. Welcome my background laugh and I've got my mainland looking looking the right hand side there. So the first sketches, I mean to be short and sweet, light and rough, hates it, hates lines and was, make sure that you've got your character in front of you see minds in the top right hand corner there, uh, to help keep your character on model my first poses, I just standard standing pose. No. In this instance, he will be holding the Hema. So I'm just gonna sketched in like, a lollipop for now, because I'm not too sure that's the right place is going to bay. And I'm gonna have the bank, um, and hand just pulling up that empty space that negative space puppets Hatton very quickly. And I'm going to have him looking that maybe one character that he's about to, um, get annoyed with, I don't know, that's important here to try and keep your character on model. This is where you would have your arms and legs consistently the same and in proportion to the rest of the body. If you're unfamiliar with these concepts, I recommend stopping this and going back to my character design course or doing both at the same time. Little happy with those call tips, right? So I've drawn a circle for the actual Hemmer head, um, for now, because I want to get an idea of movement. They don't go through in tune into more about three D action. A three day shape. That's pose number one. I'm going to reduce the capacity down. I'm gonna credit New Lion and having my character still there will help me toe plan my second pose. Now I'm going to use my old reference their credit earlier. Top left hand corner. You'll see Action, anticipation. Action is a guy there with the weather with the hammer? I'm going to use that as my reference. It's always good to have reference. Ready two years. Who's gonna isn't a lean back. So there's a bit of a lot of action here. We'll put it in and it's gonna help me to playing with my body is going to end up on my shepherd boy is gonna end up. No, I don't think is gonna lift up me. Hi. He made it. He might He may just lift us to touch, actually. So just bring my Ted just a Ted. All right? Just a ton. Andi, I'm gonna bring the hammer back. I'm using my reference topic. Tin Corner. As a guideline. There's my lollypop save You notice the little repeats. The same is the fierce drawing. Yeah, Now, once I've placed my hammer. I can put my hands in there now. I think I've put in the wrong place what Mike does. I might just take you Bring it out of that Because the woman I'm sort of stretching and the other one they are just just rub out about so you won't get confused. That's why you keep it rough and lighting quick because you're noticing you'll get, uh that doesn't look right, does it? Uh, and then I always would think that if you're just about to hit something really hard, your eyes were closed like that. So, um, with a bit of a the for your eyebrows, I'm going to worry about the method moment. But don't make it too complicated. And then I'm gonna do something with his legs. He's gonna slightly been them a bit, but just sort of change. Change the angle. Now it's here that we may think that maybe the body doesn't need to lift. We could do you want known to you finish the animated sequence and his head. We could just move it up a ted as well. Right? Um, make that the end. That's pose number two parties number three actually reduced the A pass city on posting, but too, and a new lab, and we're going to smash him head down there. I like to draw the object first, so I wanted I wanted to head here. That makes sense. Toe Club, that in first have a look at your reference material. Now. My, my God, I'm on the basic shape guy. He has hit the ground, and as Hemas him handles there, that's is him ahead. And that's where it's going to bay. And then, well, Dr the wrist, my character, how I'm going to pose my character now most are gonna add in a lot of action. The house me to play my drawing and I'm going to bring basketball bowed down to about here . That's his arms. There's a leak, so it's getting a bit complicated that moment, Um, or try and just stocking up the lines that I want you to see. You mean, where are his eyes going to bay so usually guidelines, and he'll be looking at with him ahead Lands now, for exaggeration purposes, you could possibly live het where the second pose waas and on the subsequent frames the head drops down. It's experimented with that. All right? And then both arms. They're now you notice that my hands are just scribbles. I'm not gonna get too worried about intimating. Just forget about that you want. It's all about movement in volume and making sure everything is on model right to those in three parts is so we'll just run through them. Is one number one ours to anticipation for three Action. It's too. It was one all three together. What is, um we want to split them apart. So in seeking sort of see how you should draw if you just got pipe, uh, coat. So you got your rough sketches down? Looks good. Looks raising a good this. The second part is when you start to draw, you do a rough cleaner. Okay, A rough cleanup. So it's It's the next stage in drawing. So I only reduced the A pass city there. If you got a a drawing board, you were just put a pacemaker ever double it. Put a lot behind it here on, make sure I can see my main character and I'm just going to spend alert extra time making it look good This is the rough before the cleaner. But I'm not gonna go down that trick now. That long gun you get way, you This is where you start toe refined your line work. You'll see things that could be drawn bitter. Well, maybe a line is not in the right place. Well, maybe you've missed. Suddenly, this is the chance now to just work on and improve in any mistakes that you may have made, Or add any further additions that you might want to. And you would repeat this. Prices for the other two drawings, the other two frames. Now it is here. I would just convert it into a move. A three d object. The hammerhead legs. Semen. Great. That's our rough cleanup. It's no clean up. It's half Clampetts more rough and clean up. But now, if I do the same process for the other two drawings, you'll get a much cleaner looking animated sequence. No, I'm gonna pull him apart, as you can see what it should look like if you're just drawing on paper. Her playing, it's right. Gonna ruin my, um, volumes poster and purse number three. Right. The You have it, um, making time just in the ground. Do you have a anticipation and all its glory? Now this is just to kick things off. So in the next episode, I'm going to be challenging you with a few projects. But give this a guy and remember to keep it light on rough. Don't get too precious about your line work. For now, it's all about a smooth movement coat see in the next one. 16. Anticipation Animation Desk Tutorial: Hi, everybody. And welcome to the anticipation of Lecture in front of me and you. Right now we have animation disk, and what we're gonna be doing today is we're going to be animating basketball bill through in anticipation sequence. Okay, let's get into it. Okay, so now we're going to create a new scene tape on the plus button and create new sequence. Give it an appropriate title. So I want to call it, um, anti trump anticipation basketball bill. Easy. Keep where you're sitting is the same duration. Two minutes frames 24 frames per 2nd 12 Doesn't really matter for this. For this lecture and just tap start or what you go, you should be familiar with some of the tools that I am going to be using today. If you're not too sure, just go back to the previous fantastic. Great. Now we've reached animation disc. First thing we need to do is me to create a background layer at the bottom off your software. You'll see the word background. Just step on that and make sure that you've kept on background itself. Jump out of that by tapping outside off those boxes and it should go back to this. It is here. You will draw the ground. Just draw a simple line. Doesn't have to be in vain to fancy. Next step is to go back into the background layer and choose layer 01 Now, this is going to be your animation layer. So tape on that in the inter pets are step outside the box. Cool. So we're gonna stand off by drawing three key frames which had the main posers, and then turn between drawings. A key frame Number one will be the standard standing pose key free number two will be the anticipation that lean back. They're getting ready to head something in key frame Number three will be the action bank on the cramblett and then on Julian between drawings. So that's gonna be a little bit of experiments I was gonna make around a bit, would do a couple of coal technics there, so I make sure that you're in frame one that's gonna be a frisky friend, destroying a light rough circle for the shape off basketball bills body. I'm gonna draw the arms yet, so I'm gonna add those a little bit later. Keep her number two so just go forward. Two frames is an and action. It's getting here, keeping the materials going. Just lean back slightly and under throwing a lot of action there just to help me up. And what he got his body is going to just rise. Just a touch. Aziz legs. We just extend to the touch and then posed number three the key frame number three, the action pose. We're gonna have him, uh, thrown automation thing, the ground with the hem. A So I'm just gonna thrown about the, uh and then I'm going to my legs in, Right. Let's have a look at that action. Keep framing one to and three. So he's down on the ground heading perfect The let's add the lollypop that they can remember back to previous lecture I drew the him a as a lollipop, just a kid just to make sure that the volume, uh, stays the same throughout the sequence. So once again, it's important to have your character in front of you so you can keep him on model key frame. One key frame toe. So he's the entanglement. Gonna bring that Loli pop right back to here. That's the ideal position. No, I haven't drawn the arms first because of Maxine's to draw the lollipop first cause do you want to draw the lollypop in the place that you wanted to be in the in your potentially hums to it. Obviously the hands going to the bottom and the other hand going to the same place. You gotta figure out how you gonna approach us with the arms. What's the angle? That you couldn't do it? It's a bit of an experience station for this bomb is gonna do something like that just to get in the pose looking good and then frame number three Key frame three. Let's drool. Can't even draw a little bit of, ah, emotion. Um, Aliant indicate motion on a shelf by adding the hands and then the amps. No, on the second key frame, which is what we're in a moment. I'm going to have him closing his eyes simply because he's about to anticipate something. Hit me. Que friend. The three he's going to pay looking at what's he is hit Now I'm setting inferior, But some bases just a had a bit of a detail to the character. Now let's have a look from one. Give him two. Give him three. Boom! And we can even add, um, some sort of lines toe. Make a look like it's metta sandals. Hit the ground. Give it that bump sort of feel. Now what? You're happy with those key frames. Then you can go through and start to add deal between firms, and we'll get into that now, right? Let's add the in between drawing now just to understand what I'm trying to achieve when you go back to pull back your lollypop your Hemmer. When you get to that sort of end emotion, Houston to slow down a touch, so to slow down your character in the sequence, we add another drawing that's in between drawing. So if you want your character go faster, it's least drugs if you want your character to go slower. Small drawings. So from one friend to friend. Three. This is frame one that's frame to that's frame three. So we're gonna add another drawing right here. I've just changed it to another onion skin. So you noticed I conflict through Have tech this little, um, icon down here, you know, looking through the onion skins so you choose the middle one that's going to show you both key frames, and that's gonna help me to drool the in between friends. This is fun experiment. It's lots of fun and trust may so draw the body First, try and get it in the middle Had any guidelines And once you sort of got everything right, place will get bread of the other two drawing so you can understand what's going on now. The main thing is to figure out here is we're Do you draw the lollipop? Is it gonna be at the bottom off the emotional at the top of the motion? So I'm gonna add the lollipop at the top of the motion right up here. So key frame one in between. Keep him, too. That's where it's going to bay. So it's just before keep interest is gonna slowed. It's gonna go. That's the the idea that swarm trying to achieve the league's gonna stand the same place pretty much. Um, the head's gonna stand the same place about how were we going to position the arms Now it's pretty straightforward to May, because there's only one place that they can go add in the hands, the hands just just a couple of levels For now. We run to get to worry about detail. Um, we want to get the movement looking good. This might take a couple of attempts, but feel free to experiment into toe Make mistakes. I'm also gonna have his eyes closed in this one here, too, because you got a closing that other open and close allies making clothes because it's just about to the end of that second seeking keep friend drawer. And I'm gonna get rid of the onion skins to help me to save the Pacino. Let's have a look back to key from one. Keep him too. Key frame three. That's quite quick, isn't it? Now, concerts see that the body is a little bit small on the seeking. One changes site changes size and bullying. I'm gonna make him a little bit bigger. It's another look that's bitter. And I'm gonna make the key frame number two a little bit bigger. That's gonna happen pretty quickly. So any imperfections you won't get to see keep everyone keep saying in between during one, a key frame took the great thing about animation. Discus, you conflict back and forth. See what's what's going on. Yep, we're reasonably happy with that. Edgell on onions came back on by just tapping the off like Eric comes right nuts. Here is when you try and figure out whether you need another in between drawing here, hopes keep from one. Keep him too key from three. Doing naves. A drawing here? No, I don't think we don't. But if you want to try and Edwin in, go for it. What it's going to do. Slow down the motion. You want slow at the beginning and fascinated next day just to turn a lollypop into a hem? A. Never had that. The way pop at the moment is a Sephia. It's a circle three dimensional former. It's a Sephia. Now we want to change it to a three dimensional box for each lollypop that you have. War you're going to do is add the shape no shade in the end to help you to see the moment key frame. One key frame to key frame three. Then the in between, so in between his own frame to had your onion skins. There we go, onion, onion skins off so you can see the movement. I just step through on the arrows at the bottom one, 23 for but And before was missing. That's okay. Frame four will just dedicate the last key frame. Make sure we can just delete the last that last frames to go to keep three and four. The late, right? Yes. So what? I just said, there's I deleted that frame member force. You don't need any more. However, in a more complex animation, gonna get wait for years. So this is just to get your He had wrapped around basic animation principles. If you want to go deeper into key frames, that would be you be moving into a more advanced live. We're not teaching that today. Okay, so let's have a look at it one more time. Bring one from two from three. Painful. But Okay, Before I go any further, I was gonna delete the wrist off the scene. So I'm going to go through each individual frame in deleted so it just springs right down. Just those four frames. Um, so we don't have to sort of watch empty blank frame, so it's quickly going do this. So just start off with any friend you want. Don't start between two. No one had the little rubbish, man tipped at once. Good, too late and just go through. And later the cramps. Now, if you said would not have any friends, you're gonna be using your sequence. Then you can choose the amount frames beginning off the new project. But for this particular when I wasn't too sure how many friends I was going to use our head . A few too many extras, which is okay, next time all night. Don't forget you gonna add frames as well if you if you need to. And is that fourth about four frames and you just play that no good on lip. Let's look at this for well, who talked a little. That's good. Just tow. Watch it and look for look for things that Ah, no, quite right. I don't want to slow this sequence down. What you would do is your double up on the frames and I'll show you that on another exercise. But this is looking good pretty good to me and that it's only on the last Keep friend. You see the the him ahead in the ground Got those sort of special fix. Think they come in useful? I also noticed the line. Ah, off the hammer. There's a line of action sort of flying. Three. Concede that you can make a ramble that and experiment with different sort of wind streaks . The next stage is to clean all this up on and government excellent. 17. Staging What is it an how to use it: hi and welcome back to a brand new lecture. This one's called Staging. Okay, stagings really important, Especially if you want to, um, have the best drawing possible presented to your viewers. So it's easy for them to understand, and it is staging. So there's plenty off definitions of floating around full staging. So I found one that was quite relevant to drawing itself. It's going just read it here for you. Staging is the presentation of an idea so that it is completely and unmistakably clear, unmistakably clear. Digest that for a second. So what that means is that when you drawing something that the person who is the viewer who is looking at your drawing understands completely what's happening in that scene, they don't have to really think too hard. It's not abstract. It's easy to follow. All right, So when you were telling stories, being able to stage your characters, um, correctly or stage will seeing correctly can help, uh, the flow of the story. So in this lecture, be covering a few concepts, and that's gonna be it's gonna base the entire lecture around. These three concepts will be put the camera where he put the actor and what do you have them do? So just keep that in the back your mind when we go in free This lecture called Miss Getting Talk. 18. Examples of Staging Good and Bad: here is the environment that you're going to be working with them. The square that have drawn is your environment, and we have to tell that story in the environment. There's good ways of doing it in these bad ways of doing it. But all the pains on what you want your viewer to see and how you want to guard the view if you through the storyline. Okay, so this, too, is one contact cord house in thirds so broken up the screen into three sections. And depending on what you want the viewer to see or understand, that's where you will put your character or your actor. All right, these basketball bill and we all know who bicycle builders testicles in this particular scene. I want the viewer to go straight to basketball built, and I want to see. I want the viewer to understand how basketball bows feeling on weaken. Do that by putting them bang in the middle. We can even make him, but bigger. If you wanted to, Um, well, we just have smaller the rooms. It's just that I had a bit of background noise, so it is maybe some some people in the background. Some heads there. Maybe he's in a crowded stall or crowded market. Or maybe it's a game sports game. Whatever is we're is going to bay. And well, I want the viewer to do is look directly at basketball bill. So that's a good example of staging where you want the viewer to go straight to possible boat. See exactly how he's feeling. No better example of this would be to do this. Just put him right on the corner there. That is a bad example. You know, if you're looking at your story board and the notice to, uh, show how Basket will feel, how basketball was feeling, yes, to show how happy years this is the wrong shot. This is bad staging God that now my next example is splitting the screen into two. No. Once again, if you looking, the story board is going to say, um, show possible bill, uh, anticipating something coming out of a doorway. Get in the corner that automatically. You can tell that boat is waiting for something to come out of that door automatically. You can tell that is a good example. A bad example is this. When the viewer looks at this particular drawing or the same that confused. It takes him a while to forget what's going on. You don't want, uh, that depth, and you want to avoid the situation you want to make it. It is easiest possible. Let's go back to the previous one, and I show you the difference. Here. You can stand what's going to happen clearly. Battle bulls and lift inside. There's a door on the right hand side. He's sort of looking into it, and you get the idea what's gonna happen. However, if we cross over to this new one, you're confused. I'm confused automatically is a big white space to the right. There's something need to be happening. Is a daughter lift? So you see what I mean? Good examples in bed. Examples off staging 19. Staging in Animation Desk: why they were an animation disc. Right now, I'm going to be going over a group basic animated sequence with basketball Bill, and I'll be focusing on staging. Right. Let's get into it. So open up, animation. Dis create a new document by pressing the plus choosing you sequence. Now he can give it a name, so I'm gonna call it staging Bill for now. Could be that he wants leave background as buoyant. Now, we're gonna change the time and frames here. The duration. We're gonna bring it right down to, um, friends in the middle, right down to four. And we're gonna be adding frames in the future. The case anymore. A bit too much about this as just a lot easier for me to work with. Four friends were going to be extending it to probably about 36 to 48 friends because he is for each second of animation. You, um you can have about 12 frames you wouldn't with. So we learned about four seconds of animation here. Right? Stop where we go. No, I've created a background. Um, just found a really nice piece of artwork from a stock imagery website just to um, a bit more sort of, you know, just a low. The capacity a bit. So we could animate Everetts. You conduce whatever background that you want. You can draw directly on animation disk we can import when it's entirely up to you. It's the bottom of tank. Wanna make sure you tap away until you get to this bar? Tip on lower one tip on background and in open up a little button the Knicks to the bin and choose you'll. Camero. So this is the original background that I found. Um and then I've just loved the A pass iti and we're back into animation disk. And then we got It's right there. The next thing I'm going to be doing is this Teoh reducing the aspect ratio off the screen . So bottom writing corneal. See for dot dot three tip on there and you'll get to dashed lines that you can work with them. This is just effectively making it from a more TV screen. Tell more of a movie sort of screen. Fantastic. Now the middle new. You'll see that we've got four frames. We're gonna add four key frames, four key movements and then we're going to just head amounts Teoh to get the flow off the story going well, let's get into it. We're gonna draw the first frame, and the first frame is basketball just sitting there watching TV. A second key frame is when he's a mouse. Pops is hit up from the back of the TV. The third Framers break. It's a fright in the fourth key frame is where we have a little cute monster popping its head up behind the, um, couch because the four key frames and we're gonna pay them out by just duplicating some of those key friends and in prison play and seeing how it all pans out, I've ruled just looking at the staging, looking at how we introduce characters and where we introduce him. Remember the half role in the In the To and the food's wrote heifer with Israel. Remember, those roles came when we started to draw these characters right. Let's get into it right, Let's get into it. Key frame one. Make sure that you are drawing a layer 01 not the background. Otherwise, it's kind of the drawings gonna go right through the very end. So tech on lads Air one and start from the Great. So the first drawing is getting basketball bill. He's gonna sitting down watching TV, just chillin and having a good time. That is important here to not get too worried about detail. It's all about flow in staging at this Tommy wanted. Just get the story. Uh, making sense there is. Chill it out. Having a good time. Its key frame one set in the middle of the You'll see your key frame options, contempt. The little thin arrow pointing right. Take it through the Knicks keep frame the next frame. Never gonna end the second key frames with second main action off the scene. Now this particular one him will have a mouse. Um, just sort of crewing up for that. Getting ready to pop up over the TV? No. Once again, minimal date out, All about to get in that flow happening, game the seem to make sense. And I'm gonna add my, uh, onion frames that's going to show the previous Frank, and that's gonna help me to draw the second key frame. So this one you see here is actually the fist que frame and I've gone through to the 2nd 1 and it's slightly Lauren opacity, but our mouths is still quite strong. So now we're gonna draw a key frame Number two off, um, basketball bow. And he's probably gonna be in the same position that he wasn't Fisk a friend. So they just do that from the You don't really want to take away on the viewer's eye from the mouse because we want the viewer to look at the mouth more than basketball bill so we can draw him. And we can even just duplicate this lab. It will be for another decision. It is a little little function. And here, where you can just add to the same layer going forward that we were worried about that today that keeping number two the same is keeping number one for Bo. One Teoh. But we see a mouth right key frame number three. Once again. Ah, the onion skinning has low the a passage of the previous layer. Just good news. This third Que frame is where we want Bill to jump up with fright. Sorry, sitting on the about. So we're gonna make comfort, but he's probably gonna be jumping. But about that high off that couch. Um, we may get him to Justice. League's about might just, uh, hide. For now, it's getting but confusing those leg movements. All right, recommend just experimenting, but more. Okay, right? So that's key. Frame number three. Um, let's still have the Milson. Yes. So where is that Milson limit? You know that this next, the next part for the mouse's toe walk up the team. They and so I just stand there and guy, let me hear what you gonna do about it. So that's what Bill has seen the mouse. He's freaked out, so it's key. Frame number three. Once again, let's go through and have a look at what's happening. Key frame. One keeping to else appears. Keep him three months. Best book. Bill sees the mouths, and then the last key frame is we'll have basketball bell sitting on back down on the couch , probably still quite terrified on and and they're to be exactly the same spot, probably a little bit more sort of concerned, and the Mills is still sitting in. But what we want to do now is we want to get the viewer, so identify the little monster that's gonna pop up behind the country and to be with you want effectively? We just told a story. Claim 12 from three. Ring for and frame when we want to run to be looking at basketball. Bill having a good time watching Bertelli tell me. Want to run to see that a mouse is coming coming to the stage and from three, We want the months to come up on top of the TV. We want build to be surprised in in frame, for we want another one won't stop popping up as heat. Is this what cartoons do? Right? Good nets the first part off this little animated sequence for staging see in the next one . So this press play. See what it looks like? Quite a lot happening for frames pretty fast for key frames for major posers. So the next step for us is just pet it out a bit and to extend the sequence by any more frames. So we're gonna pet out the key frames with in between tribes, right? So make sure on key frame number one neocon talks that says one out of four go to the rightness e three dots tent. The three dots in Tep duplicate fried, and he got options of going from one to how many you want to do. So let's just start off with four friends For now. Take that. And what you've just done is added 1234 extra frames. And however well, it's now frame. So we just press planet You got a bit of a pool was. Now we're gonna do exactly the same thing with the other three key frames. Find the second keep frame that we drove, which is when he got to the mouse. You headed out with another four extra key friends by tapping on three dots. Duplicate frame. 1234 And take Chris playing. You see weapons. Let's go to the third key frame that we drove by tipping through, and he just he's jumped about that once again. Take the three dots duplicate frame twenties before took place. Place. What happens Your aunt get to the monster frame into exactly the same thing. And for more friends, Chris plane. All right now, it's just a matter of timing that we need to work on, and that's ah, another principle that be working on the future. For now, it's all about stagings, about where we want her eyes to be wearing what the viewers eyes to bay. No, not a pad. Keep petting it out, Touch more, get to frame. Five. Have another portal frames. I'm going to do the same for H nooky friend. Just keep adding formal frames exactly the same process before berm and and another for more frames. Here play you can see at the bottom. It is 36 frames in total encountered out 12 three, three seconds. So remember, L main focus hit is staging guarding the viewers eyes throughout the same first part possible both sitting down watching TV. Second part You see a mouse third part possible bulls freaking out. Fourth part is we see the most of puppets heat up, and that's how staging sequence. So I want to go any further with this because it's probably know in your mind I'm going to , however, give you some homework. See in the next one 20. Staging Project: all right. Homework is you probably know I have different levels off homework. Easy, medium and heart. So depending on what live with your Rhett, you know, the try one or all three. Our recommend trying all three. So, with easy one of when you did do is to download a storyboard template or have looked through. A few ideas are put him up for you right in front of you. Um, and I want you to copy the key frames from animation disk. Alright. So I've got my key frames here, and I want you to draw four key frames into four storyboard boxes. That 1234 and B A. We're off the staging framework that we've been discussing for last 2030 minutes. All right, Well, what I mean by that is, you know, place weird place. Your characters were to pleasure your camera and helping the viewer to understand the same . So when you drawing your storyboards, always keep that in the back. Your mind medium is to do everything is to copy everything I've done here, an animation disk and just copiers. Understanding. Copy it. Highs is when you get your or in character and you replace basketball, Go with your eyes and the mouse can be something different. Could be a kiss. Could be a monster. Could be worth, so that's hard. There's different levels there and depending on your skills, will determine which label you, um, complaint. Trying complaint. Cool or right, See you in the next lecture talks on.