Animating in Procreate: Simple Steps to Create Awesome Animations

1. Introduction: I really love drawing and animating powerful women. I think it helps me personally as an outlet, it helps me empower myself. Hi, I'm Danni Fisher-Shin. I'm an animator and illustrator and today we're going to talk about animating a walk cycle in Procreate. Part of what made me love cel animation so much is that it's pretty instant gratification, if you can draw anything you can cel animate. All you have to do is make a few sequential drawings and it's moving, and I think that's really really cool. Animating a walk cycle, it's really good beginner practice to get into how a physical character will move. Animating a walk cycle is something that can seem really intimidating, but once you break it down into the basic steps and animation principles, it's actually pretty easy. We're going to start with a rough animation that's on a low frame rate so we can lock down the keyframes, and then we're going to start cleaning up, adding secondary animation color, and exporting your own GIF. This class will be great if you already know how to use Procreate and you're interested in adding animation, but you feel a little intimidated or you're not sure where to start. There's something so satisfying about being able to create something that actually moves like you see in the movies and TV, and I think that's really exciting and something that everyone should be able to try out. My hope for this class is that you come away with a cool new walk cycle and that you feel empowered to try animating, however you want to in Procreate or in any other animation program. Enough talking, let's get started. 2. Getting Started: Hi. I'm so glad that you decided to take my walk cycle class. I'm really excited to get started. One of the reasons that I got into animation was because I really love animated movies obviously. I grew up watching a bunch of Disney, a bunch of old school, '90s animation. I really liked how much personality and how much stylization you can bring into it. When I went to college, I originally thought that I wanted to do more Disney animation like everybody does, but I ended up learning about motion graphics. That appealed to me because it tended to be in smaller teams and shorter timelines so you could have a little bit more of a hands-on approach, and you could really feel each individual artists style in the project rather than it being like a huge team that dissolves into one cohesive piece. I did not grow up in a very artistic family, both of my parents were scientists and so was my little brother, so I was the odd one out. But I think that part of what really interested me about art and animation is that I was super interested in science myself; it wasn't the main thing that I was doing, but I did have a really big interest in physics and how everything moved and that was one of the things that I really enjoyed in school. I think that translated itself to just observing how things work and how things move and being able to animate that and use that knowledge and replicate it, but push it and stylize it, was really fun for me. Today for our walk cycle, we'll be starting with a really rough sketching animation and laying out keyframe so that we don't get too far before tying down the motion. We'll move into cleanup and then adding some secondary animation, which is really fun, and then filling in and adding color and details. By the end of this class, you'll have your very own animated walk cycle and we'll be able to export as a GIF, a movie or anything you want to go to Procreate. You'll need an iPad Pro, Procreate 5 or 5X, a compatible pencil unless you feel like finger drawing which is also fine, and an already designed character for us to animate. If you're wondering whether you should take this class, I think that you should. I tried to make it really accessible to people who haven't really learned any animation at all, and also to people who know some basic animation principles, but want to get into animating in Procreate specifically. We'll be going over all the basics that you need for a walk cycle, but it won't be too highbrow for anybody who doesn't know. Please upload all of your animations to the project gallery. I really want to see them and hope that you have fun making them. In the next lesson, I'll go a little bit more into how to design well for animating this walk cycle and what makes an animation design easier to animate. 3. Choosing Your Design: When I first started using Procreate it didn't have any animation properties, but I was super excited when they came out with it last year. For now, I'm going to show you a little bit about how it works. We're going to go into my design file and see what makes the design good for animation. This is my design for the animation process. As you can see, she's not as detailed as some of my other work, which is just for still. If you go into her, we just have solid colors and basic solid shadows. There's not too much going on. She has a regular outfit that isn't flowing off of her body except for the jacket. I wanted to do that because we're going to have to animate everything that isn't directly attached to her body's separately. Originally, I had some alts where she had like a really long skirt because I wanted to have something flowing behind her, but I decided that I did not want to animate three different things just flowing behind her. Instead, I took that out and I took out these wide pant legs which would have a similar thing, and I gave her just the jacket. That was more of an emphasis on that rather than having to animate several different things happening. Now we're just going to look at the animation. But I will go through a lot of properties that will help make a design ready for animation, and what will make it easier or harder to animate for you. For this design, you can see that I've created a profile view that is completely side view and that'll help for not having to deal with any three-dimensional turns or anything that the character is doing. We're just going very simple, very basic. The first step, you're doing a walk cycle. She's profile, she has a straight, flat ground plane. I've also made all of my values pop out against each other. I like to do something when I'm designing where I have a gray layer set to saturation just so I can see if anything's blending together too much. This area is a little close, but I don't mind it because the blue and the orange brown pop against each other colors-wise, so we won't worry about that. Basically, a lot of these elements are going to be crossing over each other. That's why I've added a little bit more of a shadow on some of them to pop them out against other areas. I've added some shadows between these two layers to pop that out so it doesn't become too messy and to blend it together, once we're in animation. You notice that I keep my design very simple. That's because when you're animating something, even something as short as walks like a loop, you're going to want to still want to draw it. Definitely keeping it a little more simple and keeping it so that the main shapes aren't too complicated. Bigger shapes are lot easier to redraw more consistently, but something that has a lot more detail is going to be really hard to keep drawing over and over in a way that doesn't pop, or jitter, or move in an unnatural way. Just keeping that in mind, trying to avoid patterns unless you're just going to have the same pattern layer and just move it around rather than redrawing it, just a ways to work smart rather than digging yourself into a hole and having to redraw it forever? 4. Using Animation Assist: Now I'm going to go into the animation assist and how to set that up. It used to be that in Procreate, in order to export gifts or any animation, you would have to create all of your separate layers as frames and then export it like that without being able to really use a timeline or anything. The great thing about animation assist is that you can actually use a timeline and see all of your frames together at the bottom. If you go into settings, that's the wrench icon, then we go into animation assist and just click that on and you can see that it's done what used to be the process where it just takes every layer that I have here or every layer group like this is just one frame. We can just scroll through them and see how they would play through if this was any sort of real animation. That is the setup that we have for animation assist and it'll be super helpful for you to be able to scroll through like this. What I like to do when I'm setting up my animations, especially for walk cycles, is I like to have my character design there and make sure that their feet are lined up with my ground plane. I create my own ground plane because I'm going to need it for reference obviously so that her feet aren't just sliding all over the place and look really weird. It's also just nice to just have in there with the design so you've already established that. Now you can see that my ground plane is still a frame rather than a reference layer. What I'm going to do is I'm going to select it here and then check on background. Now, if I were to duplicate this and have this as multiple frames, the ground plane is there the entire time. When you do try to set a layer as a background layer for animation, which is super helpful to be able to do. We're going to use it for reference as well later, you just have to have it dragged all the way to the bottom right above the background color. Otherwise it won't let you click on that background option. You can also do that at the top if you wanted to add a reference layer and you can go and drag it to the very top. Then if you click that in the timeline as well, it'll give you a foreground layer, so that will be there for the entire animation as well. That's super helpful for any reference that you need. We're actually going to use it later to hold the design as a reference for you when you're animating. Now I'm going to explain a little bit about frames per second. That's going to be very important in your animation and it's going to save you a lot of headache if you accidentally have a very high frames per second or you have to make way more drawings than you would at a lower one. Let us look into that right now. You go into Settings on your timeline area and you can see that there are these options. I always go with loop. Since we're doing an animation loop, you won't really have to worry about that. You can just keep it there. I have the frames per second. I think the default is set to 15. I like to slide it down to 12. Professionally speaking, usually everything that is selling immediate frame by frame is at 24 frames per second and then you can either have doubles, which is called animating on 2s. And then you can occasionally throw in a single frame where it is each frame of the 24. That's just for extra detail. You don't really need to worry about that right now because we're just going to be working at 12. I'm gonna set my frames per second to 12 and I'm gonna turn off all of these onion skin frames because we don't need them right now. What an onion skin frame is is if I have a drawing of one frame and I have a different one on another frame. When I'm on one frame and I turn on onion skins, it shows me a ghosting layer of what the next frame is going to look like and that's really helpful for when you're referencing how the flow of your animation moves so that you can see both the frame before and after or even more. You can also mess with the opacity of the onion skin frames as well. But I like to keep it fairly low because I'm really only going to use it for the line art phase. You might notice for this design that I already have for this walk cycle, she's in kind of a mid walking position and that's just so that I can see what her body position is going to look like at her most extended position. You don't really have to worry about that as much right now. But just knowing that you're going to need to know what the inside of this leg looks like and what each bit of the jacket is going to look like. You need to have that information there so that when you're drawing these different poses and you get into filling them and you aren't confused about like, oh, like I actually don't know what the inside of her jacket looks like. Some people like to do pose sheets. I didn't for this one because she's pretty straight on profile the entire time. This design gives me all of the information that I'm going to need to draw her different poses. Now that I've set up this file, you can go ahead and get started setting up your own and then we'll jump into roughing in our first animation key frames. 5. Working From a Reference: Now, I'm going to go a little bit into how to start your animation and how to use footage as a reference if you want to. It can be really helpful, but you don't necessarily need to. You can see here that I've imported a video actually into my Procreate Timeline, and that if I play it, it shows this guy walking, which I downloaded from the good old Internet. It's one of the only blank walk cycle videos I could find, but it's actually pretty helpful because it does match a little bit the attitude that I'm going for. But for us, we're just going to look at the key poses. If you do want to import your own footage reference, or if I even want to film yourself walking or anything like that, you can just go to how you normally import an image over here in Settings and do Insert a photo, and then you can actually just select your video, and it'll import automatically as frames if you have the timeline open. The one thing that you're going to want to look out for with importing video is that it will convert to whatever frames per seconds the video itself already had. Either you can convert that on your computer and convert it to 12 frames per second, or 24, or when you pull it into here, you can do it yourself just by deleting every other frame, which is tedious but it does work if you don't want to deal with any other video formatting. So I've already done that in this example. We're already at 12 frames per second. I've actually also flipped the footage so it matches the direction that my character is going to be walking in. If I play through, you can see, I've also adjusted so that the feet land perfectly, and you can see the grid of the background is moving. We can just ignore that, because right now this looks like a pretty perfect loop of him walking. In this file, I'm basically just looking at this video, and I'm going to see where he's at his most extended, such as this frame and when he is at his tallest, height-wise, when his body is up the farthest and his leg is crossing over right here. So those are the two poses that I'm going to be looking for on either side. It's going to need to be mirrored on both sides since obviously he can't just take one step and then we loop it because he will be hobbling with one leg and it'll pop, so we need to do both sides. So it'll be four poses total. So here I've carved out what his pose is anatomically. You don't really need to do anything this crazy. You could also literally just do, here's his arm and here is the shape of his body, etc, and you will have something enough to use as reference as long as it's not to jinky. So in this case we're just pointing out where his anatomy is and this isn't too important for you guys because we aren't going super far into anatomy, it is just helpful to see where each part of his body is at so you can reference that later. So we have a cross frame, front frame, the other cross frame, and then the other front frame, so it loops completely back to the beginning. These are the poses that we're going to reference as we go forward. So if you see without the footage behind it, it will still make sense physically. This stuff isn't required at all. It's just something that you can do if you're a little confused about how a walk cycle works to begin with. It is helpful to look at it naturally if you're having a hard time wrapping your head around the different poses that we're talking about. Now I'm going to show you a little bit how we can apply these keyframes to our animation layout. I've taken each of these keyframes that we picked out and drew over from our footage walk cycle and I've held them on the timeline for six frames each. I've kept the different frames that were between it on the footage. So each of them has about five to six frames between each of our keyframes. So what I'm going to do is I'm going to go on our keyframes on the timeline and tap right here and have "Hold For Five More Frames." So overall, it's six frames per pose. Now when I play through, it's just our poses, but it's holding for the correct amount of time and you can get the overall impression of our walk cycle. This is basically where we want to get with our first very rough keyframes with our own character and you can use this as reference, you can use any other footage that you find that's a little more accurate to the mood that you're going for, but this is just so you can wrap your head around the basic steps that we're going to be taking and how it relates to a real walk cycle. 6. Roughing in Keyframes: Now I'm going to take those same principles that we just went over from our footage reference, and apply them to my own character design. As we looked at before, my design already had her almost fully extended pose, so I'm going to base my extended pose off of this rather than off of the footage. You can do pretty much either way that you want. It just pertains to how you have already drawn your character and what you want their biggest pose to be, so it'll add a lot to the character. Here, I've gone and I've done each of my frames. This is just so that you have your base idea of what the time is going to look like. Here I've done my extended frame, on one side a cross frame, extended frame on the other side, a cross frame. You can see that I have a duplicate layer of this first frame here at the beginning and the end. That's just for later when I'm going to be trying to loop it a little more closely. I'm going to turn that off for now, but that is something that you'll see me repeat over the time. What I've done here is, I've changed the timing a little bit from the footage reference because I just want to do my own thing, and that's fine. For the extended pose, I want to add a little bit of a pause since she is at her widest point, and I want to have it ease a little bit differently from where she is crossing here, because this is where her action is biggest. We're going to have that hold for four frames instead of for five frames, just so that we have more of that variation in motion. This is something called ease, and it's something that we'll be talking about a fair amount in this. It's one of the basic animation principles. It's not something that you need to be super focused on all the time for this particular thing, but it will help make your animations look a little more natural. If I play through here, you can see that I have my extended poses for longer, and my cross poses where she's moving the most, with a little bit less frames between them. So I'm going to play through so you can see how that looks. She's posing a little bit more on her widest poses, and that helps give her a little more personality, a little more of a casual, and then fast, and then casual type of pose. I like that personally for her because she's just walking down the street with a baseball bat, and that's how she's feeling. Now I'm going to bring back my ground plane in. Here you see that I've traced over the different movements of each part of her body. For me, those main parts are going to be her feet here, her arms swinging here. In this case, I'm going to have the bat moving here, and then her other hand, It's following a similar arc. This is early to be getting too far into this, but we do want to make sure that our key frames are following a motion arc as you can see it with her hand here, and her feet here, so that it has one fluid movement. When we add our in-between frames later, we can just follow our arcs and then look really natural, which should look pretty smooth already, even though it's low frame rate here. The way that I started my first frame is, I already knew that I had this design frame that was supposed to be here at her most extended pose. For this, I just went to a new blank frame, and made sure that I had onion skins turned on so I could see what was going on beneath it. You could also just turn the layer on at low opacity in your regular file. I'm going to go in and trace over this pose that I've already made for myself, because I cheated and did ahead of time. I'm just going to draw very roughly the basic pose of her body. I don't want to get too far into it because we just need to get the vague positioning and not too much else, because we're going to be adjusting everything as we go. You can do it as a stick figure, you can do it as a really rough way worse than this sketch. I'm making it look not too horrible because I don't want to look that on camera. But you're at home, it doesn't matter. You can make it look as bad as you want. I'm going to leave out all of the secondary stuff for now. So that means I'm not going to add in the jacket or anything, I'm just getting her base body pose. So you can see here, I've just on her body, I don't want to deal with any of the stuff that's going to be flowing off of her because that's secondary animation, and I'm not going to touch that right now. We're just getting in the base animation for the purposes of right now. That's how I would do that for my initial pose. Then for doing the cross poses, if you look here, you can see what I've done for that. This is something that you can do where you can duplicate the layer if you want to, and then just grab this, and move it around to where you need to. I don't love doing that because I like having the hand-drawn feel and slight variation between frames, but you can always reference your other layer and just draw where you think it should be. If we have our guides turned on right here, then we know that her foot in between should be right here, so I'm going to rough that in. It can be really basic. Then I'm going to move her head up a little bit because she's going to be at her most extended on this leg, so she's going to be pushed higher in this frame. Again, you can reference your rough poses from the footage, that's also fine. That'll help you a lot if you're feeling a little lost in the step. I'm going to draw her torso facing forward a little more, because she's not turned as far with the pose that she's in in the center. Draw where her hips should be. This leg is fully flat and extended, and this leg is crossing behind. I'm going to extend her torso because I think her neck is getting a little too long, for a little bit more depth, and then I'm going to have her arm in this in-between. I'm going to draw where her shoulder is because I don't want it to be too far back or forward. This is her most flat center pose, so it's going to be the least interesting, honestly, but it's going to be the one that you need to lay everything out between these. I'm drawing her hand right here, and I'm making sure that it's following this arc that we drew so that when I do show this in animation, it's still going to look smooth with the rest of the motion. For her back arms, it's not swinging. I'm actually going to have it follow the motion of her shoulders. They're just going to be in the same position, but a little higher. This is an area where you can draw over what you had here roughly, and just bring it up if you want to. What I'm going to do is, I'm going to trace over her position here and everything with her arm, and I'm going to drag it up. I'm actually going to move it a little bit, rotation wise, because I want her to, as she's doing all of this, have that natural movement or her arm is going to rotate anyway. As she's stepping higher, maybe, if her arm was here before, it's up like this a little bit more because that shoulder is raised a little bit. Its arbitrary, but we're going to do it anyway because that's what I feel like she should do. We're going to see how it looks. This is where I got to with the middle frame. You can see that her bat is rotated a little bit because I do want her shoulder to have come up a little bit. For the weight of the bats, I pulled this end down a little bit more just as she's pushing up. So when we put those two together on either side, we get the impression of our walk cycle that we had from tracing over the footage, but this time, it's our own character. Now that we've roughed in the beginnings of this animation, it's time for you to do yours. Feel free to use footage reference or feel free to leave it, it doesn't matter. Pretty much what helps your brain wrap around it is what's fun for you. After you've done that, go ahead, and create your two most extreme frames of each pose, just the two at the front, and right in the middle. Then we're going to get into roughing in the rest of the animation, and figuring out how the anatomy and the offset of each bit of motion for each part will affect us going forward. 7. Sketching Your Character: Now that we've laid in the two main poses for each side of our walk cycle, I'm going to start laying in a little bit of the foundation, which means adding in the anatomy of the torso, and the hips, and the head. These are our three main pieces that are going to be affecting each other in this walk cycle, so I want to make sure that we lock them in now rather than fudging it now and then having to deal with it, popping all over the place and looking unnatural later. Anatomy can be a really scary word to use when talking about characters. It's not really something that you absolutely have to have it accurate and pay attention to all the time and build all of your designs around unless you really want to go realistic. It can pretty much just mean the basis of whatever your design is. As you can see, over my original keyframes, I've drawn a little bit of anatomy, just very basic simple shapes like a 3D rectangle for the hips and an oval for the ribcage with center lines and shoulder lines, so I can see which way it's tilting. The same thing for the head, just a simple shape with a little bit of an indication of which way the eyes are going to tilt, etc. As I went through here to add these different elements, I basically looked at my base drawing. Since this makes sense as a drawing in general, I was like, "Okay, let's assess where these pieces of her body would be underneath the outside." As I'm looking, I see that her shoulders are tilted this way so I added that as the axis there. Then I drew her ribcage, and you can see that she's tilted a little bit towards us, because you can see her center line right here. We know that that's the front center, so she's tilting a little bit towards us so we can see that this is where her ribcage should be. Again, I'm making this super simple. It's pretty much just this oval shape, a little bit wider at the top and I'm drawing the center line here, because we can see the center front, and I'm drawing about where her shoulder should be. Once we have her ribcage in, we add in our hips, etc. The hips can also just be really simple, basically, literally like a rectangular block, like this. This is just enough to help us a little bit with knowing the base of her walk cycle so that we don't confuse ourselves or lock ourselves into a corner later. As we go through this, you can see that as we go, each part tilts a little bit either towards or away from camera so we can see how her body should follow this anatomy as we're moving forward. I want her shoulders to have that nice roll, that nice tilt, so she's not just facing too far in one direction the whole time. I want to have that 3D volumetric movement so that it's not super stiff and robotic when we get into the real walk cycle. This part isn't super necessary if you're doing a more simplified character. For her, she's a little more anatomically accurate to real life, so I want to lay it in. The reason that I'm choosing these three parts of the body to include in this animation part and the layout, is that the hips are pretty much going to be driving the direction and the force of the ribcage and the head. What happens when we walk is that obviously our legs are moving and they're pushing us up and down, etc, and our hips are going to be the main part of the body that's moving up and down and turning. What happens is because our torso is sitting on top of our hips, the gravity and the movement of the hips will affect the torso, and then the movement of the torso will affect the head. One thing to keep in mind while we're drawing the motion of these parts is that, again, everything will move in a loop. As you can see here, I have the hips tilting where they should here and then they roll in a circular motion, is like how we have our arc references here. They move like this. If you imagine the center point of the hip, it will roll in a bit of an oval or a circle, so I don't think that you need to diagram that out as much as keeping it in mind here because it will be very small and it will be subtle. But that is the general direction of what's going to happen with the hips and with the shoulders and with the head. If we play through, you can see that it moves in an arc or in an oval motion. That's just the thing that you want to keep in mind. For these it's actually a little bit more of an arc like this, and as long as you keep smooth to that arc, it's not going to look too bad. As I'm doing this process, I'm just doing it on the keyframes that I already have. If we go through here, we just have this long keyframe, this cross keyframe, and again, the most extended keyframe, and we do that for both sides. This is literally just the four frames that we already had, but if you look at it now you see how much more complete it looks and how much more sense it makes to us and to our brand. If we lay this groundwork now it'll help a lot later when we're trying to figure out all the in-between frames. 8. Adding In-Between Frames: Now that we've added our basic anatomy underneath, we're going to add a couple of in-betweens to those parts so that we smooth it out a little more and lay a really good groundwork for us to draw over with the main volume of the body. If we go through here, I've actually gone and I've added a few in-betweens between these our key poses and I've just added one in between to each part. I'm just using the same Holdframe methods so that we have about the same amount of keyframes between them. We're just holding a little extra still on our widest keyframes. If we play through, you can see we're starting to get somewhere with the anatomy. It's looking pretty smooth, it's looking like it makes sense underneath the body, and it's looking like it's going to make our movements look as if they make sense anatomically. If you look at my frame right here, what I had before was just this frame and just this frame, so I've just added one frame in between just of the anatomy. What you can do while you're doing this is I turn off these and I just look at what I've done for the ribcage, the head, and the hips. If I do this over, I turn on my onion skins and here I can see exactly where my keyframes are. I can then just draw right in between them and it'll create a motion automatically that makes sense. As long as the groundwork is there and you'll be able to figure out what you're doing, you'll be good. Now I'm following where the shoulder is, here and here. I'm going to draw right between there and make sure that it still makes sense with my torso. Same with the center line and the earlier frame. It's moving so that it's a complete profile here. What I'm going to do is I'm going to take this distance that it was between these two and I'm going to pull it just a little closer to the edge so that when I go through it looks like it's getting closer and it matches between the frames. That's something that you're going to be doing a lot here. While you're in between, you don't necessarily have to make it perfectly in between because there will occasionally be variations, but it's a good way to get used to analyzing the motion and having a really great reference for you to move between while creating your animation. In this one, I'm seeing in the earlier frame, we're just getting a profile of the hips with a little bit of the back side showing. But then in the next frame, it's pretty much completely profile, none of the back or the front is showing and we're seeing a little bit of the underside. What I'm going to do in my in-between is I'm going to show just a tiny bit of the underside, when I go between them, it looks like it's rotating and turning upwards. I'm actually going to make it a little more tilted away from us, we see a little bit more of the underside, it makes more sense. Now when we go between those, it looks like we're getting a little bit more of an idea and it doesn't look like it pops too much. That's basically what we're going to do for all of these in-between areas that we're getting into. I'm just adding one frame or one in-between drawing in between all of my keys. Eventually, once you do that, we will get to this. The one thing to keep in mind as we're getting a little further into our animation and adding a little more frames, is we want to make sure that our loops still looks smooth and then it still looks continuous throughout the entire thing. One of the ways that I'm going to help myself do that is to take the first frame which is one of our key frames and duplicate it. I'm just going to duplicate my first frame, which is my keyframe, and I'm going to drag it all the way to the other end so that I can see the difference between my final frame and my first frame while I'm already animating. I'm going to turn it off for the playback because otherwise it would duplicate itself. But that way I can check and see the flow of how it's going to look going from the end to the beginning again, without having to guess or just watch it play through and try to figure out what's going on. As I'm going through this adding my in-betweens, I'm always referencing this and making sure that it's an even amount of motion between each frame and that they all make sense with each other as I go back and forth. That's something that you can do continuously as we go through this whole process, is just take that first frame and drag it to the end, duplicate it, so we can definitely see that as reference and know that we're still going to be smooth. 9. Creating an Offset Effect: Now that we've laid in a little bit more of our groundwork for our walk cycle, I'm going to go a little bit into the idea of offset. Now this is going to be really important to our walk cycle animation, basically because of what I was talking about before. Where the hip motion is going to affect the torso and the torso motion is going to affect the head. I'm going to show you a little bit of that right now. What I would do in Photoshop or in my professional animation software while animating a walk cycle, is I would start with the hip movement and then I would duplicate that movement to the torso, but I would offset it a little bit by maybe one key or one frame. In procreate, you would have to take each torso frame and move it to the next frame so that it's offset in that way. But I don't love doing that in procreate because it's not very efficient. When you have so few frames in an animation, when it is frame-by-frame, it looks weird because it gets too offset. The way that we're going to do it in real life is I'm going to take the torso and I'm going to just move it by hand a little bit per each frame. If we imagine the hips moving in this motion and the torso also moving in this motion, I'm just going to push it a little bit further up on the frame after its highest point and a little bit further down on the frame after its lowest point. That way we get a little bit of the offset without it looking too crazy and without having to drag each frame, forward a frame for every single body part. When I'm offsetting the torso and the head from the hip motion, I want to move them in the same motion so that since the head is mostly attached to the torso it's going to move with the same base animation as the torso and then have its little extra on top of that. I'm going to keep it attached to the torso for now since we're mostly concentrating on the difference between the hips and the torso. Now that I'm on my keyframe and I know that this is the lowest part of the hips since it's our widest leg stance and it's our widest keyframe, I'm going to go to the frame after so it has a little bit of a delay, and I'm going to take the head and the torso and I'm going to lower them a little bit. See, I've done it already here and I marked it as lowered so that we can tell easily how it worked. I've just taken those two and lowered it a little more. You see there's not that much difference between the baseline of the torso on this frame and the baseline on this frame, and we want that because we want that nice offset. Now that I've lowered the lowest frame of the torso on here, I'm going to go and raise the uppermost frame of the torso's movement. Basically this is our cross keyframe where the hips are at their highest point. I'm going to go to the frame right after and make that, the torso and head's highest point. As you can see here, I've marked them raised. I've just selected these two together and I moved them up from where they were naturally in my keyframes. That gives us a natural adjustment and a natural offset between the two without having to go through the whole weird process of dragging every single frame and without having to make our movement so small that it doesn't get too crazy when we drag it by a whole frame. This is what our animation looks like now that we've offset the torso and head from the hips. Should just be one frame after the lowest point of the hips and one frame after the highest point of the hips. Now what we're going to do is, we're going to do the exact same thing that we did between the hips and the torso, and we're going to do that same process between the torso and the head so that the head is a little bit offset from the torso. Since its not directly attached, we want it to have a little bit of an offset in motion. Here I've lowered the head a little bit further on the lowest frame, and I've raised it a little bit more on the frame after the highest frame. Now when we've done that to both, we have a little bit of an offset on the head and I've adjusted the motion a little bit to make sense with what looks right because when I had it keyframed before the head was popping up a little bit too much, so I've just adjusted that. That's not something that you need to do as a rule, but if you do see anything that's looking off as you're going forward, you want to make sure that you fix it now rather than getting too far into the clean animation and having to figure it out then. 10. Outlining Your Character: Now what we're going to do is we're going to go through all of our in-betweens that we've added for anatomy. We're going to draw the full body over them like we did for our key frames before. What I've just done is I've gone through, and this is our original first key frame. I've gone through to the lower bits and I've just done the same contour outlines, and I've cleaned it up a little bit as I've gone. Now we have a little bit more of a layout for the entire body as we're going through. That looks something like this. One thing that I'm keeping in mind as I'm doing this is to follow our reference arcs when I'm doing the in-betweens for these body parts. As you can see, the bat follows its own arc that was laid out by the key frames from before, and the hand does as well. If we play through, we can see that it still looks pretty smooth with the motion of all of these elements just because we're following our guides and we aren't going too crazy and letting it pop around too much. One thing to keep in mind as well, while we're following these arcs is that when something is moving, it's always going to have a little bit of drag and it's going to have a little bit of inertia or resistance. As you can see with the hand as it's swinging forward, I'm having the wrist bend back a little bit because it's dragging and following. It's not like leading with the fist because that will look a little strange. Whenever something is moving forward, say the hand that's a little limper, I'm having it drag behind a little bit. Once it gets to the top, I'm having it tilt behind the motion and the rotation of the forearm a little bit. It drags a little bit on the way back too, and that way when we play through it, it gives it a little bit extra flair and a little bit extra motion. It's the same principle of the offset that we were doing before just applied to the hand. I'm going to do the same thing with the foot. In our key frames we had the toe pointing downwards for this cross position, which is correct and is what you'll see in pretty much all of your walk reference, unless somebody's walking strangely or tiptoeing or something. As we're going forward, that's hosed down because the foot is being dragged like we talked about the hand. As it's coming forward, I'm going to keep it pointing down with that drag a little bit more and then it's just going to start pointing up as we hit the ground. I don't want to have it pointing up too early because otherwise it looks a little strange and it doesn't have that nice drag and that nice offset that we're talking about. When you have the forward motion of one foot, the other foot is just sliding back as if we're on a treadmill or something. That's just so that we can loop this animation, so we aren't just animating them walking right off the frame. You'll notice after our widest pose here, as one foot comes forward, we have our other foot settle, and then just slide back as if they're on a treadmill. Then by the time they've hit the next widest pose, it's hit its endpoint and the side and it's going to come back. This is a good time to go through and look at your footage reference if you had one and see the basic principles of what's happening on the in-betweens. We don't want to just stick to the rule of doing perfect in-between frames for each frame between our key frames. Because then it gets a little stiff, and we don't get some of that nice personality and the little extra touches and offset that make it feel a little more human. As I'm going through and adding more of the actual body around the anatomy base that we've drawn, I want to make sure that it follows the turns of the anatomy that we put so carefully in there, so while I'm going through and I'm drawing these, I'm making sure that when I do draw the in-between frames of the torso, it is following the movement of the hips so that we don't get too far off of our base and we get to keep that nice smooth movement that we locked in. Now that we've laid in the basic anatomy and the groundwork for our next phases, it's your turn to go through and add in the basic shapes that we need in order to base our entire animation off of that. Take your time with the section, it's going to seem like a lot to begin with, but once you get the basic principles down, you'll get the rest. Next up we're going to refine our sketches a little bit, add all the in-between frames, and create our fully framed base animation. 11. Refining Your Base Frames: Now that we've finished laying in our base, we're going to start cleaning up and refining and adding all the in-between frames. So we have the perfect layout to start the rest of our animation. So this way what we're going to do is we're just going to replace the duplicated frames with an actually drawn in-between frame. So it's super easy. We keep the same amount of key frames and it's not going to get too crazy. This part is a little bit more meditative and you can put on a nice podcasts or something and kind of get into it and destroy the in-betweens in a way that makes sense between the two frames that we already have. So what I've done here is I've added in-between frames for all of the frames that had only two. If you look at the end, we still have duplicates of the longest first frame that we had a hold on before that was a little longer than the rest and then the opposite frame that we also had a hold on. So now we have all of these frames in-between and they're just really pure tween frames. We're just continuing to follow the motion, continuing to check against our other frames and make sure that we're kind of following our arcs and nothing is really popping out of place. These can still be fairly rough. We aren't going super refined yet because we are still laying in the groundwork, but after we lock these in, we're going to start cleaning up a little bit more. One thing to keep in mind while we're going through and adding these in-betweens is, at the parts right before and right after our bigger pause on these widest frames, what we want to do is make sure that the gap is a little bit ease towards the pause. So since we have this frame holding for longer, you're going to see that the frame in-between that one and the frame before is a little bit closer to our pause and we're doing that so that it has a little bit more of an ease, so it doesn't just have an even motion and then stop and then have an even motion backwards. So now that we have this little bit of ease in there, so it kind of just has a smaller gap between that and the complete stop. When you look at it moving it has a little bit more of like a slow before it stops and then a slow before it starts moving again. One of the things that we can start doing after we've locked in the rest of our in-between frames is, we can start going in and cleaning up and as you can see, I've clean this up a little bit already. Some of my in-betweens are still a little bit rougher. They lay a really good groundwork for what we're going to have later and it's not too hard to tell where everything should be. On one thing that I've done during this part is I've actually added a little bit more of the detail. You can see that I've added the V and her belts and then a little bit at the bottom of where her pants are going to end. And I'm doing that now because it'll be way easier once I've laid out in the line work to keep track of where everything should be when we start filling. Then if you look at my onion skins, this is where they're going to come in really handy. You can kind of see that they're following, like these lines on her pants are following a pretty good line between each other. You can tell that they're going to be continuous just from looking at the onion skins especially on parts where they're closer to each other. This is the part where you can just kind of watch through several times, I think I've spent like a solid thirty seconds who manages staring an animation when I'm at this point, it feels kind of tedious now doing all of these little tweaks, but it will help so much later and you will thank yourself. As we're going through this process and cleaning up, you can see that I still have my frames duplicated at the beginning and the ends so that I can really see in between these two how it's going to loop. This looks great here, this is my final tween. I've taken that widest frame that we had as our key frame that was still doubled while everything else was now on ones and I've just drawn that extra frame and you can see that they're very close to each other and that's because of the same principle that we were talking about with easing before. I want this pause to feel really tight and I don't want it to get too much blended into the motion of the rest. I want it to be a significant kind of pause at this point so that we emphasize how wide of a stride she taking. I'd suggest going through each moving elements such as the butt or her hand and her head, etc, and watching it on its own while re-watching your animation and checking to see if there are any points where pops at a place or maybe a knee isn't working. It's looking like it kind of jerks around a little bit and smoothing that out now so that we don't end up having that once we're in full cleanup in the filling mode. Now that we've finished cleaning up and locking in this animation, it's time for you to clean and lockup your animations that we have a solid base to get started on some secondary animation in the next lesson. 12. Adding Secondary Animation: Now that we've cleaned up our base animation, we're ready to start adding secondary animation. Now, this can sound intimidating, but it's really just anything that isn't directly attached to the base animation that's flowing off or effected by other physics. Secondary is honestly one of my favorite parts of animation because it can take something that has up till now been very technical, very sad, just like a process, and turn it into something that has a lot more extra flair, and a little bit more of a personality. Examples of secondary include anything that's not directly attached completely to the body. This could be like hair or a jacket that's hanging off or a skirt, or anything loose and flowy. That's going to have different physics from our main body and it's going to be affected by other elements. This is where you can add more of that stylization and push stuff. It adds a really nice extra touch to it. As you can see here, I've animated a little bit of an example where it's like a string attached to a fixed point that's being affected by the up and down motion or by a wind invisibly flowing past it. This is pretty straightforward in terms of what you would normally imagine, say a flag or anything that's hanging off of anything else, really. I like to think of it as a string. I think that that tends to help when you have to piece different secondary pieces together of just thinking of each side or each part of them as an individual string that's then attached to another point. I'll go into that more if that seems weird or complicated. Now, basically, what I'm going to do is start adding in the hair with the same principle of string being attached to a static point. Now, in this case, the hair is basically a triangular string attached to the static point of her head. Her head is going to be moving a little bit, so I'm going to have it move with that as well. But if you look at it altogether, it's basically the same principle of a wave. You can see here if we go through the onion skins. One thing that you can tell in this wave as well as that, it's really just in-between hanging and it's not too much of a gap between any of them, it's a fairly even motion since this is one continuous walk cycle. We don't really need much ease on this, except for maybe on at these big arcs on either side. That's because we want it to look continuous with this motion that we have of the head just going up and down. You can see that these two animations basically match. What I've done is I've attached her hair to her head. I've basically just moved this base of her hair and rotated it to where her head needs to be. This wave animation is basically what you're going to keep in mind for the entire rest of the secondary animation. You just take this very simple piece and use it to your will, change the direction or change the angle. Pretty much use that type of movement for the rest of all of this. Once you have done this wave animation, you can even make a practice one if you'd like on your own, like this blue example, just to get the hang of it before trying to attach it to your moving object. When you're animating a wave or a more continuous motion like this, it can be a little harder to finesse the loop point. I'm going to be, again, referencing my first frame at the very end over and over again. That's something that can be of trial-and-error as you're going through and making these increments fairly even, following your general wave form movement. You can adjust. If this is looking to close or too far, too big of a jump, you can go back and add a little bit more of a gap between these earlier frames or tighten them up a little bit, just so that once you get to that final frame jump between these two, it's looking a little more natural, just like it's a natural continuation from the frame before. If you just finesse and you keep referencing your first frame, you'll be able to get it. Now, we're going to start animating our next secondary elements. This same wave principle is going to be applied throughout all of these. For this example, I'm adding, as you see in the design, this front part of her jacket. I'm going to animate that part separately from the rest of it, just so I can get that movement down and then add the rest in, in a way that makes sense. As you can see, I'm following the same waveform, but this is going to be a slightly different variation because I don't want her jacket to feel as loose and flowy as her hair. I want it to have a weight to it so it's not going to move as much with the wave and it's going to move a little more slowly. While animating this particular type of wave, I noticed that when her arm swings back, it was at a point where naturally, the jacket would've come inwards and hidden. Knowing that the jacket should naturally be affected by the arm pushing it back, I wanted to show that a little bit, which makes my waveform less uniform. But it also adds a nice extra flare. I'm going through end, as you can see, it poofs out from where her upper arm would have hit it. That propels this bigger wave motion compared to the earlier ones. Just to show that extra push, and have that extra quickness and motion from the arm, translating into the wave. Now, I'm going to take that same wave principle and apply it to this piece right here, attaching wherever this attaches behind the hip, to this corner here that we already have. I'm going to take that wave. It's basically one of the straightest waves that we have, just because it's so perfectly between those two points. If you play it through, it's just the same exact thing that we've been doing, but just making sure that this side stays attached to that corner. Since this is the part after the arm has hit it and is poofing out, you can see that since this waveform got bigger, our lower one follows that with that big movement that started at the shoulder there. That's something that'll happen naturally as you attach these ends because this one had such a big movement. This one also has too. You'll see that even just watching this corner, you see how the wave needs to go for that bottom piece, because it's already going in a wave motion. That's something that can be helpful as you're trying to attach two different points in something like this. Now, we're just going to continue using the same principle across all of the secondary animation that we have. The next step for this design in particular, is to add this sleeve here, which is main sleeve that we'll be seeing in the animation. Going through and adding that, again, following the same wave motion. But I'm going to have it follow the up and down of the shoulder, and this part where the jacket is affected by the shoulder in this front piece that we were looking at. We're also going to have it affect the sleeve since that see this hanging off of the shoulder. As we're going through in adding the wave, it's going to be messy and we're going to have to go back and we work. Just keeping it really loose at the beginning and then tightening it up as we lock the motion down more is going to save you a lot of headache. Now, we're adding the final touches. There's one final secondary sleeve behind the main sleeve. You can see that I've offset the waves a little bit just because I know that it's not only attached to her back shoulder, but I also just want to show an even more secondary animation. It's the same principle of offset that we were using for the hips and the head, etc. I'm just applying that to these two sleeves. They're moving as one chunk because that wouldn't be as fun. You can see that here, I'm hiding one of them behind the other because that's what would naturally happen as I move separately. I've even add dimension to the sleeve holes. I want them to turn away from us slightly as they're moving in one direction and then open up as they would come forward. You can add extra three-dimensional attention to your pieces as they move, and that'll add a really nice extra touch to it. One thing that I'm doing as I'm going through and adding all of these different elements of the animation, is I'm keeping everything on separate layers, that's partially because my brain is just why did you do that from my professional animation background with working non-destructively. But it's also because as I'm going through and adding all of these different elements, they're going to be moving separately, and I'm going to want to be able to edit them separately. It's way easier to do that when they're on their own layers. It'll also help layer with filling and cleaning up, if I'm able to fill each of the layers individually rather than having to go through and cut them out, and then recolor them again. Now, it's time for you to start adding all of your secondary animation. This is a really fun stuff that you can pretty much just run with. You can add even more than you designed. I personally love adding like a bunch of extra details and extra stuff. Once you get started, it can be really fun to keep going and see where you take it. Next step, we're going to go into filling in all of our completed line work and getting to color. 13. Adding Color: Now it's time to start filling in the color on our existing line art. We're going to start doing that while keeping our outlines for reference so we don't lose any information while we're going forward. As you can see here, I have a lot of different colors to fill in from my design. I'm going to start just by doing the main body piece, but keeping the outlines as reference because I will have to fill in all of the different layers for her clothes etc. What I'm going to do is I'm going to take this, and as you can see I've just animated these on separate layers, which is partially just so that I could keep them separate, but also because it helps me later with cleaning up this part. I'm going to duplicate my main outline layer, which is this guy. I'm just going to use this layer to just fill in with a color drops so it's really easy. I'm going to start with the skin color because that's the base layer of all of this. Then what I'm actually going to do is go in and erase some of these inner lines that would stop the color fill from doing its job over the full thing, and then drop it in and see how that looks. That basically covers my whole frame. I have a little bit of a gap right here. You can check your edges, sometimes it gets a little junkie when you're filling with the color fill. But this looks pretty good to me. I'm going to just keep going. I've kept my outline layer, and I'm actually going to set this to multiply, and put it to a lower opacity. I have it for reference later, but I'm not going to do all of the details of the clothing right now. Now I'm just going to continue filling in all of my layers that I need to match my design, and adding all of the inlines, outlines if there are any, different color details, shadows, etc. Everything that was in my design, I'm going to start layering into here. It's your way, it's like the most mindless part of this whole process, I think so. Just enjoy it. It's pretty cool to start seeing the animation come together a little more. What I'm using is the color drop, which is basically where you just tap on the color in the upper right corner, and just drag it to whatever you want to fill. Sometimes, it'll fill too much, and that's when you can start using the threshold. If you just hold it over the area, you'll see this pop up. If it's too much, then you can just drag it back until it starts respecting your outline. That's super helpful for filling in. It makes it way faster than just trying to use your guesswork and messing with threshold on your own. While you're doing this process, sometimes you'll find that even your clean up line art was a little bit messy. At this part, you can go in and clean that up a little bit. I don't hate it, I don't think that the messiness is too bad just because especially for me, I like having the texture, and the handmade feel of it. That's part of why I use these brushes that have little texture on the edge, because it feels to me like a little more tactile and a little more personal. One thing to look out for also that I'm doing here is any gaps in lines when you're getting a little messy which I tend to do. Just closing those up so that when you do your color fill it doesn't end up going everywhere, and then not working for you. We're going to jump ahead to where I've already filled in all of my layers with their own solid colors. I'm going to start going into the details of adding her clothing and some of the stuff that is going to be layered on top of our base layers that we've already filled. This is why I kept my outline layer because otherwise I would be totally lost. I'm going to go in and start adding her clothes on a clipping mask since they follow her contours pretty fully. I'm just going to start doing it as an outline here, just like I did everything else. I'm going to just do this pretty cleanly because we're no longer in our rough animation. This is pretty much what it's going to look like, the same as the outlines. This part is really great because it feels very meditative, and simple, and easy. But it is the stage where you start to see your entire design and it looks almost finished, and you're like, "Holy crap. This is like a real thing that exists. It's moving, this is crazy." It's one of my favorite parts because it also just feels really fun to do. It's not something that makes your brain hurt too much like some of the earlier stages. I like it. One of the things that you might have to do while doing this part is some small adjustments where your outlines may be a little messier or maybe where, once they're filled in, you see them as a full shape rather than just lines, and you'll see where they need to be adjusted a little bit. Just remember to check back and forth between each frame to make sure that it still looks okay. I like to draw the outline around the whole piece just so that I can color drop it instead of trying to fill it in all by hand because that would take forever. Sometimes they get lazy and go outside the contour, and then I have things like this where I can't figure out whether I've missed a line or whether my threshold is too high. Depending on how much effort you want to put in to save yourself that headache, you can just follow the contour of your thing but just not too intensely. This part I'm going to go around her arm here because I don't want to add another layer on top of the arm when I already have her skin tone here. I'm just going to go around where I've drawn her arm contour. Then if it'll look strange once is filled in, I can just go back and adjust, it's not a big deal. I also like using layers for this because it mirrors how you would design this in the first place. I would at least make a base layer and then start adding layers on top so that I can change the color and everything as I go. I find it helpful for my brain to just keep everything really distinct, so I don't get confused about my layers. You'll notice that I'm only doing the base layer of her entire jumpsuit rather than including the blue line of her belt. That's because I'm gong to do another pass on top of this with that as a separate layer just to get this space laden first, so I don't have to worry about matching too much to each frame animation-wise right now. Now that I've filled in a little bit more of my detail layers, I'm going to go in and double check now that there are fulfilled shape, and see what the overall impression is, and whether I need to clean anything up or make anything a little more continue or shape-wise. As I'm going, the pant length looks pretty decent, but I do notice that the V on her chest is popping around a little bit. This part goes straight to a side view, and this isn't too different from this angle-wise. I'm just going to move this V over compared to what it was in the design here, and just make it more cohesive between those two frames. Now, we've made that look a little closer to a profile view. Having this bridge between the pure profile, and our more three-quarter view is going to help a lot. Yes. That already looks a lot more of a natural turn. I think I'm going to add a little bit here to make now the transition between this frame and this frame a little cleaner. Now that I've gone in and started to fill in all of the details, I'm going to continue to do that through all of the layers on top of each other that I normally would in a regular design. I'm going to go in, and as you can see, I've already added some of these blue stripes at the bottom of her legs, and some of the inlines that we has separating her two legs. I'm going to go ahead and start doing that to the sleeves right here, and adding the inline there since this is just still from my sketch layer here. I'm going to start at the beginning again, and just go through, and start tracing over my lines, but cleaner and with my actual color that I want to use. Now that I go through one of my finished frames, you can see that I have my coat detail, I have my hair, I have my jumpsuit, which I've actually, once I went through and I smoothed all of these out, I just flattened them to save on layer space because I was having 20 layers per frame, and that was a little too much for my Procreate file size. I've also added the face. For the face, I've just duplicated it and dragged it for most of this because I've decided I don't actually want too much head turn on her. I've added the back layer of hair which just follows the same movement as the front, but I have just added it behind her, which is another reason why breaking everything out in layers is so helpful. I've added her back, and I've actually added a little bit of a shadow on her back. I decided, compared to the design that I didn't really want this super dark color here. I have just gone ahead and done a lighter shadow instead. That's something that is totally fine. You can see how is very, just a little bit naturally from my transition, from my design. But I'm pretty happy with it and I've actually changed these colors because I wanted a little more contrast. Now that we've gone over how to do this a little bit, you can start going into your own animation, adding all of the layers that you want to the level of detail that you want, and then we're going to start going into the very final touches. 14. Finishing Touches: We are close to being done, and I'm excited to show you where you can take this. Right now we have an animation pretty much matching what we designed. If we play this through, you can see that we've hit all of our layers here, and this was the original design right here. We altered whatever we needed to, I changed some colors a little bit because I wanted to more contrast, but we're basically there and we have all of our layers present. If we let this play through it looks cool because we can actually see your final design like moving, which is the most fun thing, and whenever I work with designers on a project and I animate something that they do, they always say, "Oh my God, this is awesome." Which I think is a fun reaction to be able to get from somebody even yourself. Now, we have this basically completed animation. You can call it done right now, or you can play with it a little bit and see where it goes. I went a little overboard with how much I ran with adding to my design, I got a over-excited and I added a few more layers. This was our base and this is what I showed you guys that we animated from the design. This is what the design looked like. But I wanted to add a little more dimension and I actually wanted to add a little bit of lighting. I went ahead and I added a round shadow here, which is pretty basic and I just made it match to where her feet position are, and then I also added a bit of a lighting pass and I got a little over-excited. I blocked in the lighting and then I wanted to add a little bit of shine here on the sleeves and a little bit on this jacket, and then add a little bit of shadow to her hair and to her hand and her butt, just overall just one layer of more dimensional lighting to pop her out a little bit. I didn't love how her hair was getting lost, so I popped that out a little bit with just a really small white rim light. I did this frame and thought that looks sick. I want to make this for the whole animation, and then that took a really long time, which you will, if you add this much detail, but sometimes it's worth it. When I got through all of the frames, checking back and forth and making sure that everything flowed and matched, this is what we ended up with. This is cooler than my original design. I'm actually happy with this. I love the amount of dimension that the lighting added and I think having the shine on the sleeves just gives me a glibly vibe, I really like it. This was inspired by Hell's Jacket, just hanging off his shoulders. You can see that with the lighting, I've made the shadow follow the contours of the hair. I've kept the highlights on the same part and added a little bit of shine here on the edges to show the dimension. I've checked back and forth on the rounded parts here and under the chest. It looks natural and I don't think it looks exactly like a light would look when shining from above, but I stylize it in a way that I'm happy with and this looks cool. There are a lot of really fun ways that you can run this. You can add lighting, you can even add a background scrolling by. I would love to have done that for this one, you can add more layers of details to the outfit if you wanted a pattern, you could try to add that in, extra shadows, extra detail in any part really is something that you can go through and add once you're really happy with the base animation and just see how far you can take it. I'm happy with how this turned out and I think we're ready to start going into final exports. 15. Exporting to Share: Now you finally have your final animation and it feels so good. It's so exciting to see your own design living and breathing. We're going to start exploiting these so you can show it off. What I'm going to do in here, is I have my animation here, just like I did in my last file. I'm going to go into the wrench settings here and I'm just going to go to ''Share''. Then as you can see, you can share the image as a still any of these formats, but you can also share the layers as animated gifs, PNGs, etc. I like doing animated gifs for web stuff. But for uploading to Instagram or anything like that, we're going to do it as an MP4. All you have to do is click that and then it'll give you a little preview and show you your frames per second. You can mess with that just for fun or you can just go straight into export to end. This has a web ready version that condenses it a lot. I prefer to export in max resolution and then just condense on my own time or with my own tech. I'm going to go ahead and export this. It's going to export and then it's done, and I have the choices to send or save. I like to save my videos and then airdrop them to my computer where I can upload them wherever I want to or airdrop onto my phone so I can put them straight on Instagram. 16. Final Thoughts: Congratulations, we finally did it. We took our entire design and we went through animation graphs, keyframes, we cleaned up, we added color, we added details, we added fields, and we finally are done and we have our final product. I'm so excited to see what you made in this class. Please share in the project gallery whatever your final export was. Now that you have this intro to walk cycles in the basic principles of animation, you can take this and run with it with pretty much whatever direction you want. You can try to see how crazy and intensive of a design you can animate or you can go in the opposite direction, and animate really simple designs, so you can focus more on how different changes in the animation make it look different and playing it. There's so many different ways that you can run with this, and I'm really excited to see what you guys do with this new knowledge. Thank you again so much for taking this class, I was so excited to teach it and I really hope you enjoyed it and I'll see you next time.