Adobe Animate Essentials: 2D Animation Fundamentals | Toniko Pantoja | Skillshare

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Adobe Animate Essentials: 2D Animation Fundamentals

teacher avatar Toniko Pantoja, 2D Animator, Character Designer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Getting Started


    • 3.

      Exploring Adobe Animate


    • 4.

      Animating a Bouncing Ball


    • 5.

      Learning Frame by Frame Basics


    • 6.

      Exploring the Library


    • 7.

      Exporting Your Project


    • 8.

      Final Thoughts


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About This Class

Bring your illustrations to life and discover the magic of animation with Adobe Animate!

Stepping into a world of dragons, trolls, and talking dogs is just an average day for animator and story artist, Toniko Pantoja. Over the past decade, Toniko has spent countless hours developing captivating characters, directing animated shorts, and collaborating on blockbusters like How to Train your Dragon 3, Trolls, and Croods 2. Toniko’s technical precision and unique animation style have captivated millions of viewers, helping him build a community of over 335K on YouTube and Instagram. 

In this class, Toniko draws from both his personal and professional animation experience to teach you the ins and outs of Adobe Animate so you can build lifelike characters and craft animated stories. With Toniko by your side you’ll get an in-depth walkthrough of the most important tools within the Adobe Animate workspace as well as how to use them like the pros. 

As you create with Toniko, you’ll:

  • Learn basic animation principles like weight, squash and stretch, and timing 
  • Discover how to accelerate and decelerate any animated object 
  • Create connective animations between your animation’s main position
  • Animate a bouncing ball while discovering tools like onion skin and the library
  • Export your final piece to share on social media or with your friends

Plus, as Toniko animates with you in real time, he reveals the tips and tricks he wished he knew when first starting out with Adobe Animate. 

Whether you’re exploring animation for the first time or are looking to check out Adobe Animate after experimenting with other animation software, this class will provide you with the foundational tools you’ll need to make a short film or even a full-blown animated piece.

You don’t need any previous animation experience to take this class, but some illustration skills will help streamline your learning process. To follow along with Toniko, you’ll need a computer, Adobe Animate, and a drawing or graphics tablet. If you don’t have a tablet, you can also draw within Adobe Animate using a mouse. To continue your animation journey, explore Toniko’s full Animation Learning Path.

Meet Your Teacher

Teacher Profile Image

Toniko Pantoja

2D Animator, Character Designer


Toniko Pantoja is a 2D animator, character designer and storyboard artist. His clients include Dreamworks Animation, Netflix Animation, Skybound, Amazon Studios, Cartoon Network, TONKO House, Studio La cachette amongst many others. He has worked on notable productions such as Invincible, How to Train your Dragon 30 Wish Dragon, The Croods 2, KIPO: Age of the wonderbeasts, PIG: The Dam keeper Poems, The Adventures of Puss in Boots, Trolls, Clarence, and other projects that are not yet disclosed. Although someone in the industry, Toniko views himself more as an independent animator and develops original projects of his own. Toniko has an online presence and youtube channel where he talks about his journey.

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Level: Beginner

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1. Introduction: If you're curious about animation, you want to make short films around the get-go, Adobe Animate is a good place to start. My name is Toniko Pantoja, and I'm a full-time artist in the animation industry, working as a storyboard artist, as an animator, and as a character designer. I've worked on films like How to Train your Dragon 3, The Croods 2. I had a brief stint with Kipo and the Age Of the Wonderbeasts. I'm currently working at Amazon with Invincible. Animation is quite powerful because nowadays you can make a whole film by yourself with just a computer, a mouse, or even a drawing tablet. You don't need to have a whole crew to make a single film. Today's class is about learning Adobe Animate, and how to animate basic things with it. In this class, we'll go through an overview of the program itself, and its user interface. Then we're going to animate a bouncing ball. Then after that, we're going to do frame-by-frame basics, using character animation as an example. By the end of this class, you'll have a basic understanding of Adobe Animate, but enough to make a few short films or even an animated piece. If you're ready to start your animation journey, let's get started. 2. Getting Started: Hi there, it's Nico. Thank you so much for taking this class. I'm going to be teaching how to animate on Adobe Animate. Teaching Adobe Animate feels like it's a full circle for me because this is a program that I've used when I was a teenager and now I'm going back to it and reflecting it as someone who is in the industry and I give credit to Adobe Animate because without flash or Adobe Animate, I wouldn't have gotten it into the industry. I wouldn't have known what the industry was or what animation was, and I still use it to this day because it's quite easy to get into and the library system that Adobe Animate has is quite good because it's easy to save and reuse drawings when you need them. Let's say I have a mouth flapping or a fire effect, or maybe even a drawing that I want to reuse, I don't have to redraw and redo it, I can just take it from the library and put it back into my main animation. But hey, don't worry about this library stuff yet. I'm going to go through this step-by-step and we're going to get there. I think being able to animate and to make things move is quite essential when it comes to motion design or animation or even storytelling. What you will definitely need is a computer. You don't need to have a very powerful computer. Anything is fine as long as it can run Adobe Animate. Over here, I'm using a display tablet. This is a professional brand called Wacom. This is a synthetic 16 HD, but there are other brands that are less expensive, like Huion or XP pen, they're are a lot more affordable. You can even use a graphics tablet where it doesn't have a screen, it's just a pad that acts as a USB, but when I started, I was only using mouse. You can also start with that. If you're not yet ready to invest in graphics tablets. You can subscribe just for Adobe Animate, or you can get the Creative Cloud, the whole subscription for it, which comes with Photoshop, After Effects and all these other programs that you can use to make a fully visualized film. In this class, I'm going to go through an overview of the program itself, the layout, the tools, what the timeline is, and what the library is. I'm going to do a demo and talk about animating a bouncing ball using the basic flash tools, and then right after that, we're going to gradually move into frame-by-frame or traditionally hand-drawn animation. We're also going to be exploring the library, how I use it, how to use it, and why it makes Adobe Animate such an awesome program, and then we're going to export it into a video where we can share it with people we care about. The point of this class is just to start somewhere, to just do it, because animation takes a long time to perfect or even master. There's a lot of animation styles too, each with different philosophies and different teachings. I think it's important to just start somewhere. If you have Adobe Animate downloaded and ready and your PC, we can start towards the next lesson. 3. Exploring Adobe Animate: Here is Adobe Animate. One thing that you're going to notice is this overall layout. Now, I'm just going to generalize what each of these are. On the left side you get the tools, you get your paint brush tool, you get your shape tools, you even get your flood fill tools or your paint bucket tools, text tools, pen tools here and there. All that is on the tools on the left side. On the bottom side we have our timeline. This is where we actually get animation information, our layers, and how many frames there are in animation, how many drawings or in animation, and just how long it is. On the right side we get things like properties. For now I don't really have anything selected in the tools. It's going to resort to this stage and I changed my frames per second to 24 because that's the standard of most animation formats. Over here we also have the library system on the tab. Now, I've talked about the library before but it's where we can save an animation or try it and reuse it later on if we want to reuse it. Down here is the timeline. From here we can add new layers, we can remove layers, we can put them into groups in these buttons up here, this will allow us to add a new keyframe. This will allow us to add a new blank keyframe. This will allow us to add or extend a frame of an existing drawing. I'll talk about these tools as we do the animation. This tool over here is quite important. It's called the onion skin. It's going to allow us to see our previous frames and drawings and our next previous rooms and drawings. This button here allows us to play the animation, to preview it. This will allow us to loop a certain range of the animation just so that we can flip back and forth. Over here we can also adjust the size and the thumbnail of our keys so we can see them clearly because sometimes maybe that's a bit too small and maybe we want to see something that's a bit easier to read. What you're looking at in the timeline is the length of your animation. If I extend this drawing and I hit this little button up here and if I play it, that's going to indicate the animation in real time and how long it is and just seeing it play. Whatever drawing we have here, it's going to hit a certain frame of that. If I create a new blank and if I play it. Now we have a bit of animation. Each of these, they're known as frames, like a film. Now, what these are over here are key drawings or keyframes. Each drawing here as you can see holds for uncertain number of frames. This drawing lasts for about seven frames and this drawing lasts for about 1, 2, 3, 4, 5, 6, six frames. You can see that there's only like three different drawings and you can even add a new drawing in between these. That creates a new drawing that's going to take up the rest of the remaining frames. If I hit the onion skin tool I can see in-between my key drawings here. I can draw a new mark over there. Now it's going to create another drawing. If I play it, now we have a little in-between. I'm going to talk about these other buttons here. I'm just going to turn down the onion skin for now. This button here, insert a keyframe, is going to take this existing drawing and turn it into a new drawing information or new keyframe. Even though these are similar drawings or the same drawing from this one and this one, I can make a little small change because now it's treating it as a completely different key drawing. Now if I toggle between that and I make changes, it's going to appear there. Then this over here, if I hit that, so it's not going to work in-between the drawing. What I have to do is actually select a part of a drawing and if I hit that, now it's going to remove that joint completely. Let's say if I want to create an in-between this drawing and this drawing, I can select a random frame from between these drawings and hit that and now it's going to create a new key but that's empty. I turn on the onion skin tool to see between those drawings and I can create a new drawing. One thing that you might want to be careful about is this button up here. Auto insert keyframe. Let's say I want to edit this keyframe. Let's say I want to add a stem of an apple or cherry. If I'm off by one frame from where the keyframe starts and I just draw that stem, it's going to create a new keyframe out of that so it can cause problems. It's going to confuse you even more. What I usually do is I turn that off and so let's say I forget to move this cursor towards a keyframe and I have it off by a frame and I draw a little stem of the apple, it's going to remain consistent. This button over here, insert frame is going to allow us to extend the length of our current drawing. I'm going to tap that and now it's adding a frame for that drawing. If I play it it's going to hold for longer. Let's see, I don't have any frames here and I need a frame to be able to draw it. It's not going to allow me to do that. I'm just going to hit this insert keyframe and I'm going to draw a dot or a ball. If I hit this again, it's going to make another keyframe but using the same drawing. But it's really a different key drawing because if I move this it's going to treat it differently and I can do that again, move that again, do that again, move that again, do that again, move that again and now I have a bit of animation. Now I'm going to introduce another button which is insert blank keyframes. If I hit that, now it's going to create a new key but it's empty. There's nothing in there. Now this allows me to create a new drawing. This tool is important for frame-by-frame or hand-drawn animation. Now let's say I have this new drawing and I hit that button again. Now I can just keep making new drawings with that. If I play it, now we have a bit of animation but sometimes this animation is going by too fast and I want to hold some of these drawings even longer. There's a button for that. What I'm doing is I'm selecting my cursor, I'm moving it around and whatever it's on, it's going to affect that drawing. If I hit Insert Frame, it's going to extend that drawing by one frame and I move to the next drawing by dragging my cursor and I hit Insert Frame and it's going to extend that drawing and I can repeat that. There are times where I skip out just to create that stylization of timing, meaning that like some drawings will go by really fast, some will go by really slow. Let's say I want to hold this drawing for a bit longer, the first two drawings. I'm really experimenting here. When I play it, now you can tell that some key drawings hold for much longer than the other ones and if I don't like some of the frames I can always remove them by pressing this button over here. Remove frames. If I hit that, it's going to delete some drawings. I can delete a joint completely or I can just delete an extended part of that drawing. If I want to create a new frame after this animation, I want to be sure I hit the empty space next to that and I press Insert Blank keyframe or insert a keyframe if I want to reuse this drawing. But let's say I want to create a blank key. Now I want to see my previous drawings without having to roll back-and-forth. I can do that using the onion skin. Let's do a different color and I'm just going to keep continuing the animation by constantly pressing this button, Insert Blank Keyframe, and just trying to recreate or create new drawings while using the previous drawings as reference. Let's play that. That's a very simple bouncing ball. If I only wanted to play a certain section of it, I can press this button over here and it'll loop an animation but it will also load up a new little function here that allows me to select what I want to preview. It's only playing a certain part of the animation. You don't have to play the whole thing if you wanted to see one part of the animation. This is pretty useful. I encourage you to try out using Adobe Animate, the timeline and experiment with these tools. Just have fun with it and get used to the program. In the next lesson I'm going to be talking about everything you might want to know about animating your first bouncing ball. 4. Animating a Bouncing Ball: In this lesson, I'm going to teach you how to animate a bouncing ball using Adobe Animate. The reason why the bouncing ball is so important in animation and why a lot of animation schools introduce the bouncing ball is because it introduces a lot of important principles like arcs, weight, squash and stretch, timing, and even spacing. Things slowing in and slowing down. These are things that I'm going to be talking about as I do the bouncing ball. I am going to create a new file or a new window using the same settings as earlier, 1920 by 1080, 24 frames per second. Before we animate or before we actually do the animation, I like to plan, and I think planning is a good way to think about the motion and the layout of our animation before we actually start animating. What I'm going to do is just draw a guide. I'm just going to indicate my floor and I'm just going to call this layer grass. You can double-click on the "Layer Name" and just call it grass. Now, we're going to create a new layer. This is where we're going to illustrate our guide or the motion that I'm planning for the animation. There are many ways you can do this, but I'm just going to do a very simple way where I draw an arc, so it's going to bounce like this. Arcs is one of the main principles of animation that showcase believable animation. Now that I've drawn my motion path for my ball, I'm going to use this as reference as I animate my ball. I'm just going to do this straight ahead to make it a lot more fun. I'm going to create a new layer. First of all, I need to name this as guide. I'm making a new layer again. Then on my third layer, this is where I'm going to animate our ball. I'm going to do something really simple here. I'm not going to do frame-by-frame animation, I'm going to be doing this using Adobe Animate basic tools. Frame-by-frame is where you're drawing a new drawing every new frame, like hand-drawn paper animation whereas what I'm going to do is I'm going to just make one drawing and just reuse that, manipulate it depending on the animation without having to redraw the drawing. In the next lesson, I'll talk more about frame-by-frame animation. Now, I'm going to draw my ball, but before I do that, I want to lock my previous layers that I make so I don't accidentally touch them or draw on them. I'm going to toggle this little padlock on each of these layers. Now on my layer 3, and I'm just going to call this the ball, I'm going to draw my oval. You can even hold Shift, so it doesn't turn into an oval, you can just hold Shift and make it into a ball. Actually, let's make it smaller. From here, I'm going to animate this one frame at a time. I'm going to turn on the onion skin so I can keep track of my previous frames. This is where I'm going to talk about the concept of slowing in, slowing out, spacing, acceleration, and deceleration. I'm going to create a new keyframe by pressing this button over here. That's going to create a new keyframe with the same drawing. But I'm going to start moving things. I'm using the onion skin as reference to see where my previous drawing was at without having to flip like this. I'm going to keep going. Now I'm seeing three frames before, I hit that again, and I'll just keep going. One thing you're going to notice, what I'm doing is I'm actually creating a larger space. What I mean, is the spacing between these drawings are gradually getting bigger. That is to show things accelerating and speed without having to do some weird curve tool stuff. As you can see, I'm making that spacing bigger than the last. Even if I'm not playing the animation, you can tell that it's accelerating just by me flipping between these drawings without me having to play it. That's a constant with spacing, slow ins and slow outs, and animation. I'm going to turn on my onion skin again and make this hit the floor. Then I'm going to insert another key where now this one is leaving the floor. Now, I'm making the spacing gradually smaller between my previous drawings. But here's the thing, I'm trying to keep the spacing horizontal, the ball traversing from stage left to stage right, consistent. It's only when it goes up and down. Then there's a reason why I drew these arcs earlier is to guide me. Now I don't have to do the work of second guessing where the arcs are, I planned it. This is how I plan animation and this is why the bouncing ball's such an important assignment. I'm going to keep going. Now, the spacing is getting bigger. Boom hits the floor. It's slowing down as I go up, but gaining speed when I go back down until it starts to dwindle in terms of how much it bounces. Let's play that and see what that looks like. Go to Control and hit "Loop Playback". Now I'm going to press "Play". Now we have a very simple bouncing ball. But we can definitely make this a lot more believable. The great thing about Adobe Animate or digital animation in general is I can actually go back to my previous frames and start making adjustments on the fly. Now I want to apply a stretch, a smear, or a motion blur. I like to roll my drawings like this where I hold the cursor and traverse back and forth to feel the flow, and I think, because there's so much spacing here and because it's so drastic, what I can do is I can select this ball and now, what if I let say start modifying it a bit? This is the concept of stretch in animation. Then as it keeps going down, I'm going to make it even more narrow and more longer. Now we're having a bit of more believable motion. As it hits the ground, what if we stretch this ball out? Boom, so now we have a squash. Then as it leaves it, I press "Free Transformation Tool", I select my shape and I modify it a bit, so the reason why I'm not just doing this is because I want to make it more believable in terms of retaining the mass. If there's a squash on that going on, then the sides of it are going to expand like a real life object would. I like to do things normally in vertically and then just rotate it according to the arc. Now this is a perfect opportunity for a stretch here. Now I'm going to apply a squash. I apply squash any time let's say a ball hits the floor, just to sell that sense of weight and that elasticity of our ball. I'm going to do that, boom. Then I'm going to go back. No, stretch it. I'm just going to do that for the rest of the drawings. But as you notice, the drop and the bounce, it gets less drastic. I'm not going to apply the squash and stretch all the time because if it does that, it's just going to look way too distracting or way too active. I like to subdue it when the motion starts to subdue just to sell that believability even more. I'm still going to apply the stretch but not as drastic as my previous ones. Same thing here when it squashes, when hits the floor. I'm just going to leave it as that. I don't think it needs any vicious squash and stretch here. Let's play that. Now, we have a very classic animation friendly bouncing ball. I want you to practice the bouncing ball. Draw the arcs as a guide in another layer, and then animate a ball on another layer on top of it, moving the ball frame-by-frame. Now, as a bonus, I'm just going to quickly animate a tail. I'm just going to animate shapes quickly frame-by-frame as I track my ball. Now, because we have this frame that extends all the way matching to our ball, we have one drawing that just keeps holding. As I keep moving forward, I'm going to hit this button now, "Insert Blank Keyframe". I'm still going to turn on my onion skin, I'm going to lock my ball layer so I don't see the onion skin of that ball and just keep drawing the tail frame-by-frame, just tracking it. This is where you can feel the overlapping action. In animation, overlapping action is things like cloth, or hair, or a tail, where it really is just following the ball. Here's a perfect example for that. Let's say this ball lands but it's going up, I still need to complete the trajectory of the tail following the ball still, so it needs to go down or whipped down first. You can just do that with very simple shapes. I'm just going to keep drawing shapes. Let's play that. Now we can hide the guide so now we can just look at the ball by itself. What we can do is now we can start maybe extending the length of some of these drawings, so I can select all the drawings or other layers, I select those frames and I hit "Insert Frame". Now those drawings are going to last longer than just a mere frame. I'm only going to do that for maybe the first three drawings, turn that into ones. When it goes up, then maybe I'll slow that down. The way I'm choosing how to extend some drawings is based on what if, let's say an object is slowing down in space, maybe I want to exaggerate that even more but without having to add more drawings, I can just do that by prolonging the length of the drawing to capture that same feeling. I'm extending the length of each drawing, that's where the ball is hovering in the air, because that's when it's slowing down as it goes up. I'm going to not extend drawings as it's going down to really sell that fast impact. Then I think for the last drawings, maybe I'll just slow them down completely. Now when I play it, it just feels a bit more stylized. I recommend just experimenting with a bouncing ball. There's no rule to what a perfect bouncing ball can look like, you can add a tail to it, you can add ears to it. You can turn it into a key character or an animal. What I'm showing you is a fundamental, and a foundation, and a lot of animation learning. Join me in the next lesson and we're going to go through frame-by-frame basics. 5. Learning Frame by Frame Basics: In this lesson, we're going to talk about frame-by-frame or hand-drawn animation, the basics of it, how I do it with Adobe Animate, and what it is essentially. Think about hand-drawn animation done in paper. Every drawing is a completely new drawing or a new keyframe. I want to show you an example that I did to give you an idea of what I want to talk about for this lesson. We're going to do something as basic or even more basic than this. It might seem a bit confusing, it's intimidating, what's happening, the background, all these effects, and these camera moves. Don't worry, we'll go through this step by step because that's what it is. It's all just building blocks one at a time. It starts with something very simple and we're just putting layers on top of layers. I'm going to create a new file, again, 1920 by 1080 and now we're going to talk about classic frame-by-frame animation, but before we do that, I'm going to do what I did with the bouncing ball, which is to plan a bit. For a bouncing ball, it was just a flat ground, but for this one, I want to give just a bit of perspective. I'm just going to draw out some perspective lines for a one-point perspective. If you're wondering why I'm making the perspective line, it's because I use it as a guide to show depth. For this rabbit, for example, the little rabbit is coming towards us from all the way in the back. I'm going to create a new layer. I'm just going to call this a perspective or persp. I'm just going to draw various poses or guides of where our little rabbit guide is going to be, so that's one. Maybe he'll come towards us and again I'm not super consistent with this rabbit design. We're having fun really. That's drawing number 1, drawing number 2, and then maybe we'll have it end closer to us, maybe facing us, 3. I'm going to do the same thing like I did with the bouncing ball, which is I'm going to draw arcs to illustrate how I want the rabbit to bounce and maybe I'll have it bounce back to number 1. I feel like maybe there's just too much visual information here. It's a bit too messy. What I usually like to do is I go to properties for each layer and turn down the opacity to maybe something really low. Let's say the perspective is maybe 8%, I can still see it, but it's not as distracting. Maybe the same thing for this rabbit. Maybe I'll turn that down to let's say 20% and hit "OK". Now, it's not as distracting for me. I can still see it and now I can just use this as a reference. Now let's draw our key poses for the rabbit. Let's choose a nice color for the rabbit. I'm going to choose something gray. In the example that I showed, I drew the line art of the rabbit and filled it, but for this case, we're going to do something that's a lot more experimental and fun. What if we just animate shapes? I'm just going to draw a shape of a rabbit with the brush tool and then fill it with a paint bucket tool. What you can also do is, let's say if you're drawing over your guide, you can move your animation right below the guide. The guide is on top of your animation. Now I can still see the eyes and the ears of the rabbit. Let's give this rabbit pinkish ears, and then let's give it beady eyes. I like to use the eyedropper tool to select the same color of the ears and maybe use it for the legs. Now, I'm going to hit "Insert Blank Keyframe". Now I'm going to draw my next key pose and I've already drawn the reference for rabbit number 2. Again I'm just drawing through brushstrokes and fills, nothing too complicated. Now I have three keys of our rabbit. It's first position, second position, and final position. Now we're going to make connective tissue or connective drawings for these key poses. In animation, we call these breakdowns. For this case, I need to draw a key of rabbit 1 going to rabbit 2 by jumping. What I'm going to do, is go to my first drawing and hit "Insert Frame" and I'm going to select that and now turn it blank. Now we have an empty drawing between these drawings. I'm going to turn on my onion skin to adjust the sliders on my onion skin so I can only see rabbit 1 and rabbit 2, the sliders here allow me to adjust the onion skin range. As you're seeing, if I extend my last onion skin to let's say the fourth drawing that includes a third rabbit, it'll show but I don't want that. Now I'm only focusing on those two rabbits. Now I'm just going to draw our connective tissue or our breakdown drawing from rabbit 1 to rabbit 2. Now that I have my onion skins turned down, blue being the previous one and the green being the next, I'm going to just use that as a guide to figure out what my next drawing could look like. It's leaping. Again, I'm not super precious about maintaining solid driver consistency. Right now I'm just trying to get what feels right or what feels good. I think it extending its low arms like that it's pretty funny. Now we have a connective tissue. I'm going to do the same thing with 2-3. You don't always have to have the onion skin on. Sometimes I like to roll between my drawings, turn off the onion skin so I can actually feel the movement, and figure out what feels appropriate because sometimes seeing multiple drawings at once might not be that helpful. Maybe I'll do that for the next one. I'll just flip between these two drawings or hold my cursor and keep going back and forth, so I can get an idea of what the next drawing might look like. We'll do one more, so maybe I can make it go back to number 1. I can select my first drawing, hit "Copy Frames" and then paste it right over here. I'm just going to select my other layers and hit "Insert Frames" to extend those drawings just so everything matches up. Then I'm going to extend this drawing over here so I can create a blank one right in between and maybe for this and pose, I'm thinking, what if it does a backflip? We're going to see its underlegs. Again, this is just me having fun so that's its legs. We're looking at underneath it. We probably won't see its ears because it's going to be behind the body. Now when I roll between these drawings, we have an idea of the movement. I hit "Control" and hit "Loop Playback", to allow me to loop the animation. But it's going by really fast. What if I just space out or extend these drawings a bit longer? Let's say I'm going to hold this drawing for four frames. I'm going to select my drawing or move the cursor to my first drawing and hit 1,2,3,4 so it can hold longer. I'm using the third button over here, insert frames to extend each of those drawings 1,2,3,4, I usually go for fours because it feels like it's very safe number, you can still get a sense of motion and movement and the timing still feels watchable. I need connective tissues connecting these drawings. Right in between these frames or these drawings, I'm just going to select a random spot in the middle for each of these drawings and hit "Insert Blank Keyframe" and I'm going to keep doing that for every other drawing and this will be our in-betweens, or our connective tissue. That's what animation is. It's really connecting drawings together to form that illusion of movement. When I play it, we have blank drawings. Now we just need to fill it in. I'm going to do this fairly quickly. I can turn on my onion skin again, adjust the range of the onion skin so I can actually see my previous and next drawings. Let's see what that feels like. We have animation. That's animation right there. I'm going to do something a bit extra because I feel like I want this rabbit to end pretty extra or dramatically, and I want to really sell that weight. What I can do is maybe between these two drawings, I can add an overshoot drawing. I'm going to do the same thing hit "Insert Blank Keyframe", and I'm going to turn on my onion skins to see the guide for it and I'm going to have it squish just for that very brief moment. Maybe the ears are going to be still up to saw that overlap. Both of these drawings instead of lasting for one frame for each, I'm going to just make them last for two and make sure every other frame is synchronized. Let's play that. Now we have a bit of weight when the rabbit lands. Let's turn off the guide. Will keep the perspective line it's a nice touch. There's the rabbit. I want you guys to experiment with your own rabbit. It could be a rabbit, it could be a dog, it could be anything you want. The idea is just to explore how to make those key poses and how to connect them. In the next lesson, we're going to explore the library. 6. Exploring the Library: In this lesson, we're going to be talking about the Library in Adobe Animate. The Library is a place where you can store pre-made animation, graphics, sound effects, and a bunch of other stuff. The reason why the library so important to know especially for someone who is a beginner in Adobe Animate, is because it's essential to have when you want to reuse animation or assets like mouth flaps. I like to keep things separate. I like to keep things in a different file all the time just to not clutter up the space so much, but we're still going to use this file that we have for the rabbit. I'm going to go to File and I'm going to hit "New", and I'm going to keep all the settings the same, 1920 by 1080 for the width and height, 24 frames per second. What I want to do is I'm going to try and animate a little effect for the rabbit when the rabbit leaps off the ground. I'm going to do something like a little spark or a little burst of fire or a little burst of energy. We're going to do this frame by frame. I like to start with a point where the effect starts, so I'm going to draw a little mark from there and then by hitting "Insert blank keyframe" again, I'm going to create a new frame. I'm just going to leave the onion skin on so I can see all my previous drawings. I'm not going to be flipping as much. I'm going to have a strong splash or a strong burst coming up. I'm going to create a new Insert blank keyframe, and I'm just going to let that effect start to dwindle as I keep track of my previous drawings. I'm going to keep doing that until it gets smaller and smaller into a few specks. The great thing about frame-by-frame animation is I can always go back and probably add more colors or different effects. Let's add maybe another splash here. Sometimes the onion skin can get a little bit hectic or there's just too much information, so maybe it is time to close it. Or what you can do is you can actually hold down the onion skin, go to Advanced settings. You can even change how it will look like from full color to just line information. Let's just do that. I'm going to loop the playback so I can watch it loop. Let's preview that. We have a very basic effect, but I feel it's still going a bit too fast, so I'm going to select my first frame, and I'm going to keep inserting frames. Let's start with just adding one frame per drawing. I'm moving the cursor to each different drawing and hitting "Insert frame". Now let's play that. It's feeling a bit good. Maybe let's make the last two drawings last for a bit longer just so it feels like it's slowing down without having to add more drawings. I'm going to add another Insert frame for those last two drawings. Let's wrap it up by selecting the next frame and hitting "Insert blank keyframe" to show that there's no more drawings at the end and I'm going to hit "Play". Now we have a really simple effect, and now we're going to turn this into a symbol for the library. What symbols are, they're like little mini animations or mini files with their own timeline and you can always open them up and edit it, and you can change that on the whim. I'll show you what I mean. I'm going to select all these frames. Right-click and hit "Copy frames". Next, I'm going to go to Insert, New Symbol, and now I have these settings for a new symbol. Let's call this effects. For the type, I'm going to ignore movie, clip, and button because these are best served for flashes older versions with their own action skip. I'm going to hit "Graphic" and I'm going to hit "OK" You're going to notice that a new window pops up and now we're editing effects and it loads its own little timeline. Now I'm going to paste all my animation here, and now we have this animation under the symbol called effects. When I go back, and if I create a new layer, I'm going to turn off my onion skin. Now if I go to Library, I have this thing called effects in it. So I can put multiple versions of the effects and if I play it, it will all happen simultaneously. Now that we have that, let's put this with a rabbit. I'm going to right-click on my symbol and hit "Copy". I'm going to go into my rabbit file, and now I'm going to add an effect every time the rabbit leaps off the ground. Let's double-check. Our rabbit is on layer 3, and I'm going to rename that, rabbit. Next, I'm going to create a new layer below the rabbit and paste. One thing you're going to notice is it's going to add the effects from the other file to the library of the rabbit. I'm going to plant one right here, so when the rabbit leaps, there's an effect. Something you noticed is that it loops. You can change this setting actually. If I click on my symbol with effects and go to Properties, I can turn off looping, and I can hit "Play once" by hitting this button right here. You can even select the frame of where the animation starts. If I want the animation to start somewhere near the end, I can do that, but let's start at 1. Now it only plays once. Personally, I like to create a new layer where I can put the symbol. I'm going to copy this again. Now let's create another layer for the other symbol or the other effect, and I'm going to paste my effect right here, so I'm going to paste. Make sure you select the frame before you paste it. If I play it, now we have a bit of effects synching with the rabbit and that's why the library system is great. What you can also do is, let's say I want to turn this rabbit into a symbol itself. I can select all the frames in my timeline featuring the rabbit, right-click, Copy Frames, Insert, New Symbol. I'm going to call this just rabbit. Now I can paste the rabbit here, and I'm going to hit this arrow to go back to my main timeline. Let's say I want to add any rabbit now I already have a symbol of the same rabbit. I'm going to drag and drop. Very simple. Now we have two rabbits, but let's say I want to flip this. I'm going to make sure I right-click this, go to Transform, and hit "Flip Horizontal". Now we have the rabbit mirroring. But maybe I want to offset it, meaning that I don't want it to be synchronized with the other rabbit. I can select my rabbit, go to Properties, and maybe start somewhere else. Maybe I'll have it start at frame 9. Let's play what that looks like. Now we have two rabbits just jumping around, having fun all differently. Now I want you to try using the library, make your animation, turn it into a symbol, put it in your library, and just drag and drop it into your animation. I invite you to keep experimenting with the library. Maybe you want to make a crowd of characters and you don't want to keep redrawing it. Maybe you want to draw different sets of characters, limbs, and orientations, so you don't have to redraw that character again and again. Join me in the next lesson, and I'll show you how to export your animations so you can show it to your friends and to the world. 7. Exporting Your Project : In this lesson, we're going to export our bunny animation into a file format where people can see it. If I want to show it to my friends or to the world, I have to export it in a video format that can be posted online; on my social media, on YouTube or anywhere online so people can see it. Now, before we export, there's a few things that we might need to do before it's ready. Let's check all the layers, and I think it looks good. But there's something that we need to correct. We have a hidden layer with this rabbit guide, and the thing about exporting your animation is that it's also going to export your hidden layers, so you have to turn that off. What you need to do is select your layer, right-click on it, and turn this into a guide. It'll tell Adobe Animate that this layer is a guide, and when you export it, it will treat it just as that, it won't show up, so you need to have that. If I go back down, I do have a perspective layer where we see the guide of our horizon line. Maybe we don't want to see that. Again, I'm going to right-click on that perspective layer and turn that into a guide. Even though we can see it, it's not going to appear in our final export. Now we're ready to export. Let's hide our perspective lines to get a glimpse of what this animation looks like. Let's try exporting. I go to File and I hit "Export", and I make sure I hit "Export to Video and Media". There's a lot of other options, but this is the most important for exporting video files. Then I'm going to export the video. Now this new window pops up. I think everything looks good. I usually use H.264 as a format. It's going to export it as an MP4 that reads well in Instagram, TikTok, Facebook, even YouTube. This is a format that I usually use when I put stuff online. Now, I'm going to select a folder where it's going to put it in, and I'm going to just put it in this folder for now. Let's just call it bunny Skillshare, I'm going to hit "Save". Now you're going to see a tab here that says Start Adobe Media Encoder. We're not going to do that, we're going to uncheck that. We're going to export directly from Adobe Animate. Now I'm going to hit "Export", and we're just going to wait for a few seconds. Now, it's already exported and we're going to go to the folder and where I exported it to. Now this is the file that I just recently exported, bunny-Skillshare, lets double-click on that to see what that looks like. There we go. We have a video file of our animation. We have something that's ready to be uploaded. Luckily, because this file is so small, it's only 524 kilobites, but you can use a program like Adobe Media Encoder, it's free, you can download it through Adobe, that has a more robust way of compressing files, changing it to a different format, maybe trimming it if you need it to. But for now, we have an animation made from Adobe Animate exported directly from that program, so now we can just upload this to whatever online platform that we use. Now I want you to try exporting your animation, whether it's a work in progress, whether it's a finished piece of animation, to export it into a video file that maybe you can later upload it if you want. Maybe you can just save it into your computer, you can probably send it as a text to your friend. I usually like to animate a joke about my friends. I usually like to animate my friends dancing and then being really goofy and then send the animation to them and see how they react. Now you have the basics to use Adobe Animate from starting from scratch to animating, to understanding a bit of some of the tools and the library, some of the timeline settings for Adobe Animate, and then exporting that to a finished piece of video. 8. Final Thoughts : We started from zero towards having a finished animated piece. Now remember, this isn't a onetime thing of being able to animate something. You're going to want to keep exploring different styles or maybe different projects using Adobe Animate and using different approaches with Adobe Animate. Remember, it takes a lot of practice, it takes a lot of experimentation, and it takes a lot of different approaches. I want to see what you created, so upload it to the project gallery so we can all see it together. If you're thinking about taking this animation journey pretty seriously, I would say keep taking inspirations, keep talking to other people in the community, and keep experimenting so you can actually find your own voice. Because there's a lot of rules and philosophies and ideas when it comes to animation, but at the end of the day, we're all problem-solving it as we go like I did with this class. If you've enjoyed this class, I have a bunch of other classes on Skillshare, where I talk more about other topics on animation, ranging from character design, story-boarding and scripting to more on Adobe Animate. I hope you stick around for those. Thanks for joining me and I can't wait to see what we create from this class.