2D animate on IPad for beginners: Callipeg software

1. 01 What you'll learn: Hey. Let's jump right in and see what you'll master in this course. In Chapter one, we'll dive into everything you need to get up and running with Calipe software. We'll break it down nice and easy. So you'll be animating like P in no time. Next, you will learn a secret weapon, a method for animating any kind of movement. We'll need some awesome references for this, so we'll show you exactly where to find the good stuff and how to use it on your iPad pro. As a bonus, we've got a special pack filled with fantastic references just for this course. Consider it your personal cheat sheet for epic animation practice. Now, let's put the knowledge into action. We'll pick one of those cool references and based on it together. Animate a walking cycle frame by frame. Remember the awesome community Skillshare. Well, here's your chance to shine. Once you've mastered all the exercises, it's time to send me a project. I'll be there to guide you with personalized feedback to develop your animate step by step. So are you ready to unleash your inner animation rocket store? Join us on this exciting journey, and let's create something amazing together. 2. 02 What we need to start: Welcome back. Now that you are pumped up and ready to dive in, let's make sure that you have all the tools you need for this journey. First, Pad. Any iPad that supports the Apple pencil will do, so double check that before you start. Speaking of the Apple pencil, you'll need one of those two, since sadly, it's not included with the iPad device. You have to get one. And finally, you'll need the CalPEx software. As you maybe know, it's not free, but there are different plans available. You can choose the one that fits your budget. That was all. Now, just find a quiet spot, grab your iPad, pencil, and let's jump into the first vio listen. 3. 03 The app interface + Tools: Hey, friend, welcome. This is our first video on the Calipa software. The software is mainly for people who have an PAD prove that means it is just available for PDS. Calipe can be used for a wide range of projects from study based assignments to professional ind serial work. In this session, we'll start by taking a look at the Calipa interface. We'll also show you how to set up the software. To start, open up a store and Calpe like this way. As you can see here, once you have found the app, absolutely, you can install it. We already have the app installed, so it is open here instead of t. To use the app, you will need to subscribe to a month sliplan. The current price is $2 per month, and the annual budget is different. You can subscribe from the App store easy just like other apps. Once you have subscribed, you can open the app and see this primary interface. Recently, the app has been updated and some functional features at it. Maybe even you're watching this video, some features change, but always the overall will be the same. Just let's see what's new for now. Well, for one thing, you can now organize your shots into different categories. This is great for keeping track of your work, especially if you're working on a large project. As you can see, I have many shots that I've organized them in some folders. You can also label your shots, which can be helpful for finding a specific shot later. One of the most important new features is the ability to create folders. This is ridiculous that the app didn't have this option up to now, but believe me. This is new. Thanks to developers, we can now organize our shots really better. Like me, you may be working on several different projects at the same time. For example, I have a project called the Bones and a folder for my exercises. In each folder, you can add as many shots and sequences as you like. Let's create a new folder and name it Project one. This is for this course exercises. Every time we want to add a new shot for this course, I'll create it in this folder. Now we can create a new scene. Click the plus sign from here and select new shot. We don't need to create a sequence. Just in bracket, as you know a sequence is a collection shot. We'll back to that in future. We tap on new shot. The app has some presets and you can change them based on your need. Choose a name, choose a resolution, choose the FBS you want, and choose the duration of your shot. That means to set how many seconds do you want this shot to be. We'll call it one. And set the preset to custom. Here you can choose the preset. It has different things for you, for example, 210 AD, standard HT, or if you want to work in S square coordinate, you can select this. But what I usually do is in their these numbers manually. So if I want to work in 12 80 by 720, I double click here, change the numbers and heat. Okay. I do about 90 to 95% of my projects at 90 20 by 1080. One of the most important things which can also be changed during the project is the frame rate. I currently set the frame rate to a limited 12 frame per second by default, and the duration of the shut, which can also be changed. I set it to 5 seconds. It asks you how many shots you want to create with this specification. We only want one, so we click Create. And as you see, the software creates this environment for us. If you've ever used an iPad pro, you know how to rotate the screen, zoom in and out. You can also use this hand gesture to return any part of your screen to full screen so we can see an overview of your shut. Here is something that you need to pay attention to. The first and most important is the brushes. At the top left, you have a few options that all you'll be working with are there. You have a brush, an eraser, a field bucket, selection tool, and transforming, which you can select from here. But it tells us that since nothing has been drawn yet, of course, there's no possibility of moving it. I select a brush, and when I click on it for a second time, you see that different brushes open for me. Pay attention that the second click has an effect on everything in the software. For example, if I select a pencil and click on it for a second time, it will enter the setting for a pencil again, which we don't need to talk about right now. From the top bar, you can choose whether you want to draw a free line, a straight line, a square, a rectangle, an oval, a curve, or a circle. If I click on this, their shape changes. What's the difference? For example, look at this free line brush. When I click on it once again, it becomes like this. Pay attention that from here I can adjust its size. I hold down my pencil and adjust the size by moving the pen up and down. You can see that this line is drawn freely on my screen. And since pressure sensitivity is enabled by default in iPad software, if I draw a line slowly, it will be light. If I apply more pressure like this, it will draw the line thicker. Now, what's the difference here? If I select the brush again and click and it wants more, you can see that it turns into this shape. What does this shape mean? It means that if I draw a line, it will feel it. Let's draw a line anywhere we want. The software will feel it whenever you draw the outline. The same applies to the rest of the tool, except for the straight line tool, which obviously cannot be filled in. Here, we can click and select the tool we want and draw the line. Just let me make the site just a little smaller. Remember, you can also do the second tab and draw field shapes. In this case, if you want to use a different color, click on the colored circle on the top, right corner, and the color palette will open up. From here, you can choose any color you want and draw with the color you've selected. Let's go through an example. I choose blue. Let's make this a big. Blue or any other color that I want, such as red, green, or any other. Let's explain these options briefly while the palette is open here, just very brief and fast. At the bottom, each color you choose is added to your history. You don't need to pick it again based on a color palette again. You can find it in the history here. You know it's almost impossible to remember color specific numbers. But if you know the numbers, you can set them from here. But there's a problem. There's a limited numbers of colors, and after a certain number, it starts to delete the first color you've added. To prevent this from happening, you go to this option, which is your own palette and add a new palette from the button. Double click and rename it. For example, We name it 01 for a project. If I drag the palette to the right, you will see three options. First, export. If you want to work on another device or share the palette with someone else, you can export it and share it with others. Others can easily use the second option that we name it import, and they can import it from here and use it very easily. You can drag this part to the right and click on select. This palette will be selected. He does it go, it comes into this section. You can see from this section that my palette is selected. I can choose any color, for example, this red color. I can click on the plus sign. When I click on the plus sign, the color is added to my palette. For example, I don't always use pure black. I choose a slightly lighter shade of black and add that color as well. Let's choose a color for shading. I want to use the three colors in total in this course. For example, next time, I want to choose a color. I open this palette and click on any of these three colors start drawing with it. I will limit myself for this course to use just three colors. Now let's go on. There is a time when you have an artwork. For example, we use the color here, but we didn't save its numbers or it has been lost and it doesn't exist in the history below. Now, what we can do? We can use this eye dropper icon to select a color from all the colors you have on your cavas. You can see that the current color is red. I select the eye dropper and it becomes active. The color change Lightly when I click on the screen and start moving my pen. You can see that the RGB value of the colors I'm picking up are displayed at the top. Take those three numbers. Right now, 255 is repeated three times for white. When I move over the green color, it picks up the RGB values of that color. Similarly, when I move over the red color, it picks up the RGB values off the red color. As soon as I lift the pen from the screen, the color is selected for me, and I can start drawing with it. I can select another color and start painting with different colors. As you can see, I'm introducing the tools in a floating way rather than going one by one. I want you to learn how to use them. There may be some tools that you don't need right now. You don't need to know all the settings for all the tools in the software. It's better to just learn what you need, and that's what I'm going to focus on. After that, we'll move on to the timeline panel, which is very, very important. The timeline windows show your layers and the frames you've created. As you can see from the top, you have set the frame rate to 12 frames per second. You can change this during the project. Here, each second is divided into 12 frames for us. Frames one to 12, make a 1 second, which is why there's a line here. If you move forward at frame 24, it will become another second. O frame 36, it will be another second. If I zoom out a little bit on this section, you can see that the beginning and end of my project are set to 60 frames. Why is that? Because when we first created the project, we set the duration to 5 seconds. So five times 12 is the total duration of the project. If we set the frame rate to ten frames per second, then we should have 50 frames in total. Why doesn't this happen and why doesn't this red line get shorter? Because the red line that marks the end of our project is measured. According to the frame rate I said at the beginning. The timing happens exactly according to that frame rate. You can see that when you want to export and click on sitting, the frame rate here is the same as what you sit here. But you have to be careful with this division, because it's the same as what you sit at the beginning. Okay. Let's set it back to 12 and zoom in a bit more to explain further. Here I have a layer by default, which I was drawing on. If I start drawing on an empty part of a layer, you can see that an image is created here. As soon as I start drawing a frame or an image is created. I can copy this frame, move it anywhere, or do other things I want. Let's go through a very simple example. We draw a circle here in the middle of the page, and we see that an image is created here. If I move the frame forward, it goes to frame two, and I can draw again. Those who are familiar with the animation know that one of the most important tools of any animation software is onion skin, which means that you can see your other frames, previous frames or upcoming frames. From the section, the onion skin of each layer can be activated. If I go to the next frame, I can't see anything. If onion skin is turned on, you can see that the previous frames is visible to me. I draw frame two here, and then I come here and draw frame number three. You may be wondering why frame one disappeared when I went to frame three. Well, this has its own setting, which we'll discuss later in relation to onion skin part. Let's turn off onion skin. While I move this timeline, we can see a simple movement is created. If I click on the play buttom here, it will start playing at this high speed. To see it better, let's set the frame rate to eight. I'll click Play again and you can see that it's moving like this. Just so you can see how these frames are working. I'll click the stop and go back to my first frame. Now let's describe some tools better. You may want to create one to several more layers. Just consider that there is no limit. Here, I can choose the name of the layer when absolutely, I double click on it. I'll name it B ALL ball and click on this plus sign and choose first option. If you click on information, now you can see that it writes all these information for you. But after a while, when you get more familiar with the software, you don't need them anymore. You just need some icons. When you click on this, it tells you that I'm adding another drawing layer, and the layer that is added is just added above the previous layer. Maybe you can see it right now. If you take this tugle and bring it up a little more, you can see that it shows you more layers. For example, I'll name this one effect. Now I can start drawing on the layer. Let's expand our example a little more just by adding something. Since the layer is on top of the ball layer, if I draw something here, it will naturally be drawn on the ball layer. This is how the layer priority works. You can see that the red lines are on top of the black lines. I'll go one step forward. You can enable N screen or not. You can draw another line, and then another line here. This is the movement we want, just a simple movement. For example, I don't need the effect layer. You can click on the icon, and this will be your animation. If you need the effect layer, you can click on it and see the layer again. You can also disable the ball and see these drawings as an animation. You may want to see each of your layers with lower opacity or transparency. Let's talk a little about it. Here, if you hold down the pen and move it up and down, you can see that the opacity of that layer start to increase and decrease. If you devil click on it, absolutely, like other parts, you can also enter these numbers manually. We set it to 50 and you can see that our opacity is about half. Let's turn it back to full opacity, 100%. Let's expand our example a little more. For example, you may want this effect layer to be under the ball layer. You hold down the pen on the layer. When it looks like this, you bring it under the layer you want. You can move it anywhere you want. As you can see, now the red layer, which is our effect layer is below the ball. Just see the difference. This is how you can add other layers and make your animation more and more and more detailed. After you are done with a layer and you don't need it anymore, you can click on this three dot option. Again, I say if you click on this Tugle light, you can come and do all the things related to that layer with all the information that is next to them. For example, you want to delete your layer or you want to lock it, so there's no longer editable, or you want to activate its alpha lock, which we'll talk about all of this layer. But if you want to delete the layer or lock it or copy it, it is completely possible from the section very easily. For example, I select this effect, click delete, and layer is completely deleted. The number written here is the number of your layers. If I undo, you can see that I have two layers now. When it was deleted, I just had one layer lift. Just let's move on. Let's go to the next part. When you click on add layer, you can create different layer types. Can use a video as a reference or non reference, add a transformation to move your layers or group your layers or import an DO file and any other files you want. We will explain all this in detail in the future. For now, I'm only working with the drawing layer. When you start drawing, if you have a lot of layers, for example, if I add a few more layers, when the numbers of layers reach certain point, your space will get smaller, and your design space will be reduced. You can't keep dragging the tugle up and down and draw. It will be bothering. Here we can use this option to make the entire timeline invisible. If you click on it, it will make the Canvas full screen, so you can draw and then go back to the same section you want and make the various changes you want on the different layers, to not need to go to the next or previous frames like before, like that. For example, now I select this ball to draw, go to another drawing, just enable onion skin to see the previous frames and turn this one off. Now, for example, we want to add another circle with a different color a top here. We add another circle here, but we don't want to turn it on. We have two options here to go to the next frame or previous frame. At next frame, I see it's onion skin, I can draw, and then next frame. You see, my drawings are done. If you want to go to the first frame, click this one, and if you want to go to the last frame, select this. If I want to edit something, turn onion skin on and off, I select the invisible timeline, bottom again and make the necessary revisions. Now, what if I want to work in multiple form? For example, I want to edit my layers all in one. Pay attention that this part and this selection doesn't happen with the pen. If you drag to the right with your finger, you will see a layer color change. If you do the same thing with the next layers, their color will also change. This means that if you want to delete, for example, four layers together, you select them this way. Just turn off this tigle, click lite, and you see that four layers are deleted Now, what if you want to move your frames? For example, you have some frames and you want to move them. To make changes on frames, you should double click on it. You see that a single tap does not select it. Duble tap, select the frame. Now you can use this section to increase or decrease the duration of that frame to any amount you want. You can also enter the number manually. For example, if you set it to ten, you will see that the drawing will remain for ten frames. Let me just turn this off. You'll see one frame, one frame, and the next ten frames are the same design that I did for frame number three. I can bring it back to one frame again. From the section, you can select the frame and absolutely, you can delete it or if you want, you can copy paste and other options. Open the tagle details. You see everything is written for you, and it is very simple. Copy and paste or duplicate with content. For example, you want to make a duplicate of it. I usually do this when I want to copy a frame itself and take it somewhere else. Click and hold the duplicate with content. For example, make a duplicate for me here. If you don't hold it and just click, you will see that this happened from the next frame. But if you want to move it, select it, hold down your pen, bring it down, and release it whenever you want. The frame will be created for you there. Or if you want to copy it, select copy from here, for example, come here and select paste. I will paste for you here. Anywhere you want. Is that the same thing. Now we have explained these tools and we have also given a general explanation about frames and selecting them. I know there are many tools let around our software that we have not mentioned, but we don't need to learn them to start our project. As we go further, we will refer to them one by one in detail when we need them. I think I forgot something y, erasing, how to erase or modify your frames. Well, for drawings, your desired layer should be only active. If you start drawing, you can change it, and the change will be applied on the same frame. But if you want to erase something, you select this eraser. If you click on a second time, like brushes, the seating will be appear. Here, the side of the eraser is exactly like the brush that you can change and erase any part you want. I go to the previous frame. For example, I want to erase here a little bit, the next frame here, and the next frame, this part. Now that you have done this, let's just make the ball layer visible, how to move the whole drawing or a part of it. For example, this is not in the right place. We want to move it. The frame and layer are selected. I click on the transform tool, and I can move it all together anywhere I want. For example, I bring it here and if I deactivate it, you see that its place has changed. Again, I select it in the next design and move it at bit, and you see that its place has changed again. I do the same for the next. And you see this displacement has been done. Now, what if you don't want to move the whole drawing? For example, I want to move half of the circle. Let's do this just simply. I select the ball layer. Instead of transform tool, I'll use the selection tool. I select the part, I want to move. You see this part is active because it determines the type of selection I want. For example, if I select this, I can select a square or rectangular shape. If I select this, I can select spheral shapes, This is a free line. I select the free line, and then I select the transform tool. For example, I select this part again and bring it down a little bit because the ball layer is active, only the ball layer will be selected when I select this part. I do the same thing with the next free. This is how my limited this animation just the movement turned out. The last thing is flip. If you want to see your scene flip, you can flip it from here for a moment. Do your drawing and flip it back to the original state. Was it? This was just a general explanation of the software interface so that you know how to use the software. I said multiple times that there are other tools left, but we don't need them all. If we need them in the next videos, we will go through them one by one and explain them as much as we need them for this project. In the next videos, we will start to create a very basic animation step by step with the software and export it to see what's happened. Satium. 4. 04 Where to start what to improve : In the previous video, we covered everything you need to know to get started with the software in about 20 to 30 minutes. If you practice yourself, what we talked about, now you're ready to start animating. But here maybe you will be a question, and that is where should we start? If you want to know where to start animating, even with pe or any other software, you'll always hear the same thing. You need to 12 principles of animation. There are a lot of videos out there that says you don't need to learn principle. Let's do it with simple things. Say, you can just start animating and learn as you go. Absolutely, you can animate with these methods, but you will never be a professional. You can never understand how to analyze an animation. This is really important. The 12 principles of animation are a foundation. It is a base. They will help you understand how animation works and how to create flod believable movements. There is one thing you always need to remember about animation. Sometimes you use software such as Maya th DS MAX or cut out softwares like Harmony or Moho and any other software. You may know that character animation usually goes on with a k in the softwares and that limits you in some cases. I'm not talking about overall. I'm talking about foundation. It will limit you just in the foundation, in the movements. When you want to animate in a traditional way, like the simple project we're doing together, your limit will be your mind and drawing a skill. Frame by free manuation is a more challenging way to animate, but it gives you more freedom. This way of animate is a foundation of all other animation styles, such as 2d3d and stop motion, and the foundation of me by free manuation is principle. If you want to understand animate better, if you want to analyze the movements better, you need to learn the principles of animation. Right now, I'm developing a complete course for just animation principles on this channel, which will lead you to a correct way on your career in animation industry. You should start from a correct spot. You just want to learn animation and go based on the courses, you will get lost. There are lots of ways to animate, and I just tried this. I tried lots of ways before I learned 12 principles, and I really regret that's why I didn't start it at the beginning of my career. As an advice, just don't make my mistake. Nick simple and straight advice is you need to get better at drawing. If you want to be a good animator, it is essential. To get better and better. Maybe you can only draw a circle now. There is no problem at all, but you need to be able to draw your designs in more detail. You need to learn the principles of design and gradually learn perspective and other things. In general, you need to learn everything about design step by step. You should grow step by step. No matter how perfect you can paint now. As a conclusion of this video, be careful about two things. Get better at animation principles and drawings. 5. 05 How to use references: Thank you. In this series, we wanted to tell you how to use the Calpec software. As you know, the basic foundation of frame by frame animation software is pretty much the same. Just interface can vary a bit. But to make sure this course is more than just an introduction to a software like ipe, we are going to work on an animation project together. Super simple, so you can try it out with me. To do that, you will always need a reference, and you need to use good ones. But how to recognize if the reference is good or not. A good reference is one that you need to keep two things in mind for. One is that you need to deeply understand what's actually happening in the movement. Second, we need to be realistic about our abilities. That's why we've chosen specific references and the goal isn't just to copy the references frame by frame. Just going to take inspiration from the references. If you want to copy the reference exactly, that's great practice too. But if you are just tracing the reference line by line, that's a bit of waste of time. Be careful how you're practicing. In many cases, tracing references is considered a valuable learning exercise, and there's nothing wrong with that. But that's not our goal here. We want to teach you a different method that allows you to take inspiration from references and create your own animation. Without wasting any time, let's jump right into introducing another software. Your device, you can install another software called Viz Rf. You can install it or not, but I use this software. To save your time, I won't explain the software in detail. Just do a quick search yourself to see what it's all about. Just to give you a general idea, I import my references into this software. Viz Rf. This allows me to organize as many different references as I want for a particular project in specific files with some nice options, and I can easily access them whenever I need them. For example, take a look at this walk cycle. This walk cycle we have or this one, a little bit different. Pay attention that these are the steps that you will be working on in the final stage of the 12 principles of animation course that we mentioned earlier, which is creating some cycles for a character, such as walk cycle or run cycle, and such the things. Scores, we're going to show you how to turn anything you see into also animation fuel. It's all up to you how far you develop it and make some details. You get to decide what you want to do with it, depending on the kind of project you're working on. Check this out. When I add this gift file here, one great feature is that I can use the tigle at the bottom to move forward and backward through the frames and perfectly check and analyze a specific movement. Y close attention to the way the character walks, especially how they take each step. Take a look multiple times. Just to keep things clear, we're going to start by breaking it down with a simple circle for the body. We want to just draw a circle for a body. And I'll draw a few straight lines to represent the character's leg and some details later. But for now, I'm focusing on the character's overall movement, not in detail. Just pay attention, just overall. I carefully check the right legs motion several times. Look, when it is on the ground, I just checked the preparation between all of the elements. This is the most important thing that you just don't pay attention where the leg is. It is important, where the leg is compared to body. Can see how far the leg moves in relation to the circle. These are important, the angles are important. Just pay attention, the relation between the objects. For example, a relation between leg and our main body, a relation between hand and the head, the relation between head and the body. In this course, we just need the leg and body, so just pay attention to the relations between the leg and the body. Pay attention to angles. Approximate 45 degree angle backward, and the approximate 45 degree angle forward. To start drawing, let's splace our view. You're using an iPad pro, this option is enabled by default in a setting. But if it's turned off, go ahead and activate it here. I'll tap on the three dots, select split view, and choose the Calpeg, so I can see both apps together. I'll enlarge Calpeg and minimize the reference a little bit, positioning it next to a Calipe for easy reference. 6. 06 Start animate in the easiest way: I have created a new rough layer here and selected my brush. Just let's check the brush size. It's good. The color is fine too. But I'll make it a bit lighter since it's for rough sketch. I create a new layer and place it below the first layer. I name this layer surface, indicating the point where my characters will put his foot on. With the surface layer selected, I draw a line to define the ground. To expose it more, I select and extend it across multiple frames. I want to animate my walk cycle in 12 frames, and the background will be there all time. If the ground needs some revisions, we can rotate it, shift it around, or do whatever it takes to make this drawing looks fine. Now everything is okay. To prevent any accidental drawing on the surface layer, you can lock it by clicking on the three dot and selecting the lock option. This ensures that even if you have the surface layer selected, you won't be able to draw on it. If you try to draw on that layer, you'll see a message that says the layer is locked. That just means if you want to make edit to this layer, we got to unlock it first. To do that, just click that little lock icon. It will be unlocked. I lock the layer, then switch to my character layer, which I named it rough, activate the onion skin, and inspired by my characters concepts. I'll begin sketching out a few key poses for its walking cycle. One of the poses is right here where the character's foot is completely straight. I want to choose this frame. I simply just draw a circle. And this to represent my straight foot. See, just in simple shapes. For the foot on the front, droid like this. Extending forward and making contact with the ground. Check out the level of simplification I made. Look at the reference character and this character I'm drawing, left and right leg. I'm simply showing my front foot just by adding simple lines to the circle as my main body. The onion skin is active, but it won't show anything when you switch to the next frame. If you face this problem and to fix it, just create a new frame by tapping on the screen. Once you do that, the onion skin will display the previous frame. I will not draw the exact next frame. I'll do it in limited form for now. I need a completely different pose. I'll jump ahead a few frames to a point where my character's foot is fully lifted. I'll escape a few frames, maybe two, three, four, or even five. I think this frame is good. I draw this frame. Pay attention that we should first analyze the differences. For example, pay attention to body by watching how the character's body moves. Consider that circle again. If you pay close attention, you can see that the body actually goes a little higher in this pose. In the next frame, let's draw that circle up a bit. Pay close attention to the level of analysis and simplifications. My goal isn't to replicate every detail of the reference character, but believe me, if you want to have a feeling full movement like this character with all details, we should first do it with simple object like this circle on line. After achieving the t feeling for the movement, we can add any detail we want. We have to check and analyze the differences in each frame. Pay attention. I'm not saying pay attention to a drawing. I'm saying that pay attention to differences. The differences between the frames and reference is important. For example, let's see how far back the back leg has moved. It's position like this. You see, it has a slightly angle shape. I'll move it back a bit and draw the foot here. Just like this. And it's almost on this foot. A bit upper or down. Don't worry about making mistakes at this stage. It's perfectly fine to experiment with drawing. Draw and erase until you like it. Don't be afraid to make mistakes. Because as you can see from the layer name is called rough, which means you're just creating a rough draft. By the way, by moving between these two frames, you can see there is some movement just in these two frames. It's all part of the simulation process. On frame or two frame. I see that this leg is going to be placed on the ground. So I'll click here again to see the bodies pose again, and we can see that it's gone back down to its previous position. So I'll move this circle down a bit. Just let's have a small talk in a gap for onion skin. I don't just want to see one previous frame. I want to see two, three, four. How we can do that. You just need to click on the onion skin sitting here. This will open up the setting panel, and then you can click on the previous frame. As you can see, it appears as a very low opacity, that you can double click on it to adjust its opacity. You can click on the previous frame and adjust its opacity slightly. As you adjust the opacity, the opacity of the previous frames will also adjust accordingly. That looks good to me for now. I'll close the onion skin again to continue my drawing and I see that the character's body needs to be drawn like the previous level. I'm coming back here now and I'm going to roughly sketch out the circle. As you can see, my circles are not perfect at all. I really don't care. I don't draw them neatly and my hands are a bit tight because of this video recording. Beeve me, I'm trying to draw neatly for this recording, and it is like that. Don't try to draw neatly. This is rough for 1 million time. Complete your frames. I see the foot that came up before. I mean the back foot, this one. Se. It is on floor. Now it should come back. Exactly like our forward foot form in previous frames. I draw it a little back and I try to draw it a bit different from this one because it will be a cycle. It will be a loop. I draw it like this, to be different. I want to see the feeling it takes like this. If you see you are getting confused, turn off the onion skin and see what is going on. Sometimes it just happened to me. I'm trying to figure out how should I draw my forward leg based on reference, and I should draw this leg a little bit more forward. Let's turn this off and see how our character is moving. See, It is how we simulate step backing in just three frames. The character, again, we put this leg down and turn until reach the loop frames. See how many frames I skip. Further, we'll know why. I just wanted to see how the movement is in few frames. Then if everything is fine in overall, so we can dive into details. I can even limit at this sip. It all depends how the project is defined. Here I'll go to next frame and continue drying to make a loop. I'll just increase the video pace so it will not be boring for you. Check the process out. As you can see, this walk cycle is animated just in key frames. If I copy the first frame and put it at the end, you can see a good loop is created. Pay attention that absolutely this is not the final, and it is just an overall limited for. M. 7. 07 Filling between keyframes: Now we should add frames between our key frames. Totally, we need one, two, three additional frames between our key frames. To do that, I select all of these with double tab and. Pay attention to, don't pen after the second. Double tab and drag. Here is an option. Just let me tell its exact name from here. By tapping on create between structure, you can add a frame between two frames that you have selected. Check this out. When I tap on this icon, it adds an empty frame between each of my selected frames. The point is you have drawn the previous and next frames. I turn on the onion skin, and the only thing remains is to draw the between frames. Our character leg is here. In next frame, it should be on the other side. Check the circle. Let me just make it a little bigger, and start my drawing. Let's have a small gap to talk about something. We have two ways to continue our animate process. First is to draw key frames first and then continue the animate based on your creativity, not the reference. Second way is to continue based on reference again. That is what we want to do. For example, now this foot is in dispose. It is back. Just let's put the character reference on the exact frame, this one. Now check two frames after this. Here is what we have to draw between our frames. The body is a little upper. And check how much the foot is moving. Pay attention to, toe is not moving a lot. It still sticks to position. Foot starts to bend from stretch poses to bending. That means I should draw this foot in its previous contact stage. Like this. A little bit up and bend it like this. Exactly based on the inspiration that we got from the reference. See how the leg is moving now. Turn off onion skin to see the movement better. We need another in between here that we'll add later. Now let's check how far this foot moved. Again, turn on the onion skin. Now it is obvious that it is about 90 degree. See that this foot is straight, so I'll draw like the reference. Straight and a little forward. Turn of onion skin and now we can see. Walking cycle is getting smoother and smoother. I'll do the same with the next frames. The characters leg is going up. We have drawn that, and it is going to be like this. The circle as our body is going a little down. I draw it here, and that leg in behind, which is about 90 degree is going back to reach this form. A little back like this. Forward leg is bending this way. Let's check if it's good or not. We can see that the cycle is smoother now. What is the next frame from this pose? Here? We have drawn previous frames and now we want this one. We have drawn these two poses and one is remaining here, the mile one. Body is going up a bit. I switch between rays multiple times to see how the movement is exactly. The leg which is forward is going to be a straight like this and the back leg is going to move forward. So we need to bend it a little and the foot is completely off the ground. I just erase this part. Check the reference again to copy the feeling of the movement. Let's check the whole movement again. Hold down all frames and play. See, the movement is a little smoother. Keep this in mind that I set frame rate to five for now because I have a few frames. If I set them to 12 now, it will be fast. The character will walk like this at higher speed. But I want to see the frames for a longer time, so I did that. Now I'll add some more in between for my frames. The video speed will be increased, so we'll be sure that it is not boring for you. Ohh Let's see how this is after inserting more between. Select all frames again, and now we set frame rate to ten. That will check all layers to be right in the duration. Need to expose one more frame. I change the FPS to 12 and see how it is working now. I see this food is placing on ground with a high delay. That means it has one or two additional frames. Let's delete this to see if the feeling is better. Let's play again to check. Pay attention to this small point. I saw a small gap here and this is a problem. It is a loop problem. We have to fix it. To have a loop at the end, we want to reach the first frame. Make a duplicate of the first frame and put it at the end. Not exactly the end. Make a gap frame before that. Now with onion skin, we can see what is missing in our loop. I just make it between here. After that, I'll delete the duplicated first frame and make a loop replay. Now, let's play and see if the problem is solved. Everything is fine. 8. 08 Adding some details and finalizing: In the previous video, we have animated what we wanted based on this course method. This is the cycle output. Now we want to make it a little bit bolder in all elements. You can see it looks like alive because of these rough lines that we draw. It is kind of vibrating, and that is cool. But these ground lines are bothering because they are steel while our character is vibrating and alive. We want to add two elements to our animate. First, a simple shadow to our character. And second, make the ground vibrating. I don't like steel image in animate scenes. Before that, we have to pay attention to a point. Sometimes we want to make a loop of some frames. For example, I don't want to animate ground in all frames. I just want to draw it three times and then loop it in whole animate. I turn on onion skin on ground layer. In its layer, I go to next frame and draw previous lines one more time. Really simple. Then next frame. I draw these lines again and all done. I just needed three frames, and that's it. Check the character just in these three frames. Now, what if I want to repeat these three frames along all my walk animates? I select these three frames. Click on cycle to apply it to where you want, you just have to drag the tyle. See, when we select one of these frames, some other frames become blue. It is saying that this frame you have selected is the same of these ones. Now let's just play and see our animate again. Looks good. Everything is live. Let's move on and add some other details to our animate. I select my surface layer and add a layer above. Name it shadow. We just want to add a primary shadow to represent our simple character better. This is not the final shadow, absolutely. Make my brush a little bigger, and on each frame, I should add a simple shadow. Very simple. Where is the light source? I consider it here, so the shadow will be on the other side. Make my brush bigger. Very simple. Don't try to draw it neatly. We just want to have a three d illusion of our character. Let's go on next frame and to draw my frames relative. I have to turn on my onion skin. It is too dark. Make it lighter from here. It's good. Now I can draw all my shadow in each frame. Don't take it hard. Draw easily. It is still rough. We just want to represent something. Just draw as you like. You can edit all later. The only important thing is the feeling of movement, and that is not happening in first drawings. You have to be able to edit. It is really more important than the first drawings. You should be able to see your problems and solve them. Edit them step by step to make your drawings and animate better and better. Please don't try to clean your drawings in first steps. You should not be neat here. We have lots of time to clean our drawings later. See how I'm adding shadows, not really clean, just related to each other. It is important. Be careful that they should be related to each other. To avoid that problem that we had in C cycle, I copy my first frame to the end to check how can I draw them related to each other. Now I draw the middle frame. I cannot delete the duplicated frame that they add at the end as reference, turn off onion skin and heat play. It is completely alive. Is it without problem? Of course, not. From now on, we can clean color and add whatever we want. To represent my character better, and for the last thing, I want to add a shadow under my character. I have to add another layer. I name it shadow two. Check here, just make my brush a little bigger, and make it darker. If I draw on this layer, it will be drawn on these lines. I don't want this. I prefer it to be under these lines, so I should reorder my layers, bring it under surface. And we want to make another cycle for this erase, this one, onion skin on on shadow two layer, start drawing my shadows. As my character takes less space, the shadow should be drawn smaller, like this. Until it becomes a circle. Go on like that. If you want to check if you are doing your animate correctly, are you drawing easily or not? If it is taking lots of time, be sure that is not correct. Let's check the animate again. It's good. In next video, we'll export our animation. 9. 09 Export and DONE!: To export your projects in Calpe, you just have one way. Go to setting. There are lots of options that you don't need to pay attention right now. You can understand most of them just by reading their descriptions. As you see, we didn't need most of them in this course. Before we export, we have to extend our project for multiple seconds. It is not. It starts from here and ends here. We wanted to move for some more seconds. You have two weights. You can export this 1 second and extend it in other applications like premier after effects or even Lum phagen in iPad Pro, or you can do it here with cycling. We can cycle them one by one. But here we can describe another tool, but pay a very big attention. What I'm doing is going to destroy all layer ordering. That means you cannot edit them one by one layer. This is not good for this step, but it is a good opportunity to describe one more tool. Want to merge all of my layers. That means I'm combining multiple layers in one layer. I select this layer, this one, this, and the last one. Tap on one of these three dots, and tap on merge icon. The tag is merge layers. I tap merge and all of my layers are one now. As you can see, I cannot edit them individually anymore. If I select eraser and start erasing, everything will erase at once. For example, I can't erase this shadow individually, so be careful before tapping a merge. For safety, I always make a duplicate of my layers and then merge one of them. Let's move on. Now we have one layer. All we should do is to select all of them, make cycle, and extend the duration for about 5 seconds. Now we have a five second animated video on 12 FPS. To export that, you should just tap on the icon here. Double check that you are an export panel. Here, we have to choose. If we want a single frame export, we have to put this option on image. And select which frame I want to export. If I tap and export, a single frame will be exploited. Second option is to export it as a video. So we have to change this option to sequence. Now, we have to select what format we want this sequence to be exported. There are lots of them you can choose, but in 90%, we go with MP four. Frame rate on 12, shot size or resolution 920 in 1080, and check if you want to export IDO two. We didn't add any DO file, so no need to change this option. H export. Now it is asking where I want to save it. Save or share it, wherever you want. 10. 10 Expand your studies (class project): Well, we have reached the end of this animation course using Calpeg and iPad proof. As I mentioned in the tutorial videos, practice is absolutely essential. You have seen the step by step process, and now it's your turn. You can find plenty of references from various sources. But I've gathered these ten references for you to save the trouble of finding good references. I recommend practicing three of these and comparing your before and after result. However, it's important to not limit yourself to just these ten. It's just a starter. Man, if you dive into the anuation process, I'm sure you have plenty of creative ideas of your own to explore. But for a start, stick to these ten files for now. Let's take a closer look at a few of them right now. These files cover a variety of models ranging from simple to more challenging ones. I've carefully selected them for you, and the goal of the trainings like the one we did in the course is to simplify the process. You need to understand the movement. I'm using Premier Pro to analyze the different frames, but you can use any software you're comfortable with. There are countless options available. As you saw, I worked on the iPad using the VSRF app for references. Now I'm switching to Premier Pro on my windows. The application is not important. Pay attention to the process. For example, let's analyze this walking cycle we have been working on. Main advantage of using softwares like Premier Pro is that I can easily move forward backward and pause on specific frames. This allows me to study the movement in detail and use it as a reference for my own innovation work. So choose software that you can do this easily, not just premier pro, just choose a program you are comfortable with. We need to use software that allows us to pause on individual frames. Whether it's this character or this model, it doesn't matter. But as you can see, the movements are fast. Take this drug animation, for instance. I'll open it in the software. Now observe the details of the movement. The stretching of the legs, the contrast between hands and foot positions. However, there is one crucial point you need to pay close attention to. The key point is to visualize this rug as a circle two lines, and another two lines. You don't need to animate the hand. In many of these gives, animating the hand is unnecessary for starters. Later, you can add a couple of lines for hand if needed. The key is to focus on the circle and analyze its movement. You can add details later if you want to. For each eye, consider it a circle and add fingers, add details as much as you like. But the most important thing is to focus on your simplified lines and circles in the first place. How do you visualize it? How do you follow the movement, and can you replicate the movement? For instance, in this example, you need to pay attention to the leg extensions. It's essentially the circle and four lines, two pairs of lines. Each leg has two parts, making a total of four leg segments. You can observe how the legs contract and extend, propelling it upward and enabling it to jump again. Let's move on from the simple jumping and go to a more complex one. For instance, consider this type of jumping motion, which is based on rotoscopy. It's a method for animation. To effectively animate this jumping motion, you need to consider the body beyond just a circle. You could visualize the body as an oval or even two circles, depending on the specific pose. Adds another layer of complexity compared to our simplified approach, but it's still quite manageable. The key is to carefully observe how the body parts move frame by frame and simplify them to shapes. A simple one can be this, totally a circle and two lines and you can use it to a start. Another example like this character, you can consider it as a circle and two pairs of lines. Can see in some frame the circle can be stretchy. Don't stick to a figure. After animating based on this method, you will be surprised with the result. Un to finish this video, let's revisit our core question. Why do we emphasize simplifying movement in animation? We mentioned in the course and one more time, I want to mention it because it is important. The feeling of movement is way more important than details. If you can effectively capture the feeling of movement, after that, you can add as much details as you can. So please don't stick to details in the first place. In details like colors, shadows, hair, anything else. However, the crucial element that truly brings an animation to life is the underlying scene of movement. This is the foundation upon which all the other elements rest and it's worth investing in capturing it effectively. That's where the real effort lies in capturing the feelings of movement. So glad we have been able to collaborate on this project and bring this simple animation to life, inspired by our reference material. I uploaded all the references by this tutorial, download and practice. I wish you all the best and waiting to see your incredible animations in this course project section. Take care.