Animation Basics: Learn How to Animate a Walk Cycle Frame by Frame

1. Introduction: Hi, I am Marvin, and I'm an animator and creative director at Plain Simple and welcome to my skills Sharp class, about the basics of hand drawn walk cycle. You see what cycles everywhere you see its games, films. Enemy Walk Cycle is a basic. On the surface, it seems like it's easy to enemy walk cycle, but reality it's much more complicated than that. There are lots of moving parts, and if you're just starting out, sometimes it's hard to get a drive. But not to worry. In this class, I'll try to feature a simple A spot. Ausubel will be and meeting frame by frame, and we'll start by breaking down a character design into a simple figure. And then we'll break down the different parts in a walk cycle and start with the body and legs and then removed awards, arms and head. With the end of this class will be any meeting basic cycle. Now, this class is not about the enemy. You I or teaching you how to animate music. A certain software. This glass is about the concepts and principles behind oxide. If this is your first time, anything frame by frame, then I suggest you take my class about basics and frame by frame animation before taking this one. But if you are, someone already has a good, basic understanding on frame by frame ammunition and want to improve further, and I'm sure you're going to have this stuff. 2. Class project and the class structure: I. Before we proceed with the lessons, let me explain your class project and how I intend this glass to be viewed. First, watch the videos and at then of each video is an exercise. Do the exercise first before proceeding to the next lesson. Your class project would be animating a walk cycle and we would do to approach is the 1st 1 is a walk cycle moving forward and the 2nd 1 is in a meeting. I walk cycle on place now for for any meeting I walk cycle moving forward. We will do on on twos and an on once version for under meeting on place. We are just going to do Don Roose version and FBS that we will be using is 24 frames per second. I will be using enemy as my software of choice, but please feel free to choose any admission softer that you are comfortable with 3. Keyposes in a walkcycle: a walk cycle has four mean G Pelosis, the contact pose, the down posts, the passing pose and, uh, pose. And yet, and you do this for both legs, left leg and right. Like a standard walk cycle has a timing of one second, meaning each leg would take half a second. Now let's take a deeper look at each of the key poses, and let's start first with the contact posts. Now, one thing to note with Walk Cycle is at the direction of the arms and legs are opposites, meaning if the right arm is at the back, the right leg is the front. Now, in this example, this is the contact posts for the right leg. I mean, this is the first contact off the right leg to the ground. Now in a contact post, the legs are at its widest, the right leg straight and up, and the right foot pointing upwards. The left flag is slightly bent where the right the left heel slightly raised up. Now, in the down posts, the body moves downward. So the position of the body in the down post slightly lower than what it was in the contact posts in a down post. The arms are at its witness, the right leg bent and the right foot planted on the ground, the left foot slightly raised up in the passing. Both the right leg is straight in up, so if we straighten up the right leg, the body would push up. So the position of the body in a passing posts is slightly higher than what it was in the contact posts. This is also called the passing posts, because this is the point where the left leg passes through the right leg. So the left knee it's slightly forward, then the right me, but the left flag is drug back. We also need have the the right arm straighten up, and the left arm can be seen anymore because it's covered by the body. Now, in the, uh, pose, the, uh, post is the highest point where the body can get in the hole walk cycle. So in a post, the position of the body is slightly higher than what it was in the passing boasts. We also now have the right leg at the back, and it's straighten up with the heel slightly raced up, but not a stressed up as as what it will be any contact post now. The next pose after this would be the contact pose off the lack love flag and the rules would still apply. Now what I'm teaching here is not hard rules that you have to follow when you do walk cycle , because ah, walk cycle is different for different people. Different people or different characters have different personality and different mood, and that would affect the walk cycle. But this is a good starting point for you to follow. There is no assignment for for this lesson, so you can immediately proceed to the next lesson. 4. Breaking down the character: So before we start any meeting, the first thing that we need to do is break down the character design into a simple figure . The reason for that is it's much easier to enemy and to draw in terms of basic shapes. So I have provided you with four designs to choose from or you can design your own first opened up the enemy. It's softer. Change the frame rate through 24. We're going to use 24 F best for this class. Make sure the with is 1920 the height is 1080. So first we need to import the majestic file Click Import than import the stage again. You can choose from the one that I have provided, or you can design your own. So now I'm going to choose first male design. So here this now what I'm going to use here is the side view of the character. But if you want to challenge yourself and if you are confident with your animation skills, you can try the tree forts, view of the character or even the front view. So first pick a new layer and then click the brush tool or the shortcut this be. And then let's break this down. So click the layer one or where the image is, then right click, then pick properties. Let's meet this a bit transparent. So ah, click transparent and then set this through 80. Lock this one so that we don't accidentally draw on the Slayer. Go back to later to the new layer that you created. And now let's break this down. So I normally break down the character. Um, I first look for the structure of the head than the body and then the joints. So the head typically has two parts. The first is the skull. So I'm going to draw a circle, and then the second part of the head is the jawline. So I'm also going to draw a line where the ice will be. But since this is a very simple character, I'm just going to draw the ice right here and also the mouth and also the nose. You could also draw out the ears if you'd like. So now we have completed the head. The next thing that I'm going to convert into a simple shape is the body so different artists would imagine a body, uh, differently. But for me, I imagine it as there are two spheres or two over. The 1st 1 is in the upper body, and the second sphere is in the torso part. And then I just connect these two over the next We're going to identify where the neck. Ah, where the next would be. So I'm just gonna draw it here, and then I'm going to draw a circle in where the shoulders should be. In the same way. I'm going to also create a novel of where the hips are. I think it's going to be here. So now we have completed the body, and then the next step is to locate the joints. So I'm going to start with the leg. First, we're going to, um, locate where the needs are. So it's probably here at the center and the uncle summer right here, and we just connect them together, and then the next is we're going to break down the arms so the elbows would be somewhere here and the wrist right here, and we're just going to connect them together. The last one is Do draw the foot and the heads and we're gonna connect the head to the body , create the neck. So there you go. We now have a simple figure base from the design. So your assignment or your exercise would be to choose from one of my one of the designs have provided, or you could design your own and then break it down into a simple figure like I did in this lesson. So once you are done, you can proceed with the next lesson. 5. Body and legs: So the next step that we're going to do is to draw the Depo sis in the walk cycle. So there are two ways that we could approach an animating a walk cycle. The first way is to animate that moving forward. The second way is to animate a walk cycle on place. Think of it like the character is like walking on a treadmill. We will do two of the approaches, so we will first do animating a walk, moving forward and then after we will do and meeting a walk on place. And the reason why we are doing to approaches is because you will learn in different things by doing different approaches. In a walk cycle, you can divide it into three parts. The first part is the body and legs. The second part is arms, and the third part is the head. The reason why we separate them into this different parts because each of this parts have different timing, and it's better if we're gonna animate them or layer them differently. Now we will do the body and legs first. So first opened up what you have created previously, the broken down of the character design, so now you have a simple figure. Now let's select this. In order to do that, click the selection tool or the shortcut for that is V and then drag and select your your drawing. And then you can now drug this to the left side of the canvas. For now, we will not need any more our design so we could hide this layer. And then that's rename this layer your simple figure. So the book, like that layer and then rename it as a guide. Now let's create a new layer, and let's rename this to body and legs. Now let's lock the guide layer so that we don't accidentally draw on it. And thats click this small rectangle Oh icon to convert this to outline mood. So now make sure you are on the body and legs layer, and now let's create our body. So we will first do the contact posts. So this is my upper body. This is where the neck would be, and this would be where the shoulders would be placed the lower body, and this is where the hips would be. Now we will do the legs now in a walk cycle. This is the point in in the walk cycle where both of the legs are at its widest meaning. The distance between the left and the right leg are at its widest. So we will first decide which one we want up put forward. Is it the right leg or the left leg? So I will choose the right leg to be forward. So now I'm going to move this forward and in a contact position, the front leg is straighten up and the front foot is pointing upwards. No, When you create the leg here, I mean, there is a tendency that you will put the niece right here and the uncle right here. This one would be wrong because it would seem like the leg has extended its length. Keeping note that in animation or one of the animation principle is a narc, especially if your enemy thing a limb, it usually moves in a narc. So if you plan to move this forward so instead of the knees going right here, it should be right here and the uncle around here and now let's connect legs. It's not straight enough. Ah, that looking adjust This one I think it's gonna be right here and then connect both this. Then let's have the foot pointing upwards now once you're done with this great and you layer and then let's create the ground. So, in order to create a straight line using the brush tool, all the chef Barton and then draw a line, make sure that we adjust the ground that it's just below the hell. And let's rename this to ground. Let's lock this or that We don't accidentally draw on that layer. Let's go back to body and legs. And now let's draw the left leg. No in the contact position or in the contact posts in the back leg is slightly bent, so let's do that so the knees would bear out here and it would be slightly bent. It's not in a straight line. It would bed a little bit so the the ankle would be somewhere right here. And because it's been the foot would be slightly tiptoed or the hell is slightly raced up. Something like that. Now notice. Just make sure that your your left foot and right foot are similar or the same in size, so currently we have the back leg or the back foot a bit big. So let's redo that one. I think that is about the right size. Perfect. Now in order So we don't confuse the left leg from the right leg. Let's shade out the left leg, but not too much that we I couldn't see anymore the guides. Just enough so that we could distinguish the left leg from the right leg. We forgot to connect the body. So that's gonna this out. Okay, great. So now we have the contact position, the next step that we're going to do. So now we have already created the body. We could now hide the guide layer. So let's hide the guide layer. So we only see what we have created right here. So the next step that we're gonna do is we're gonna do the contact posts for the other leg . This is a contact pose for the right leg. Now we're going to do the contact pose for the left leg. So in order to do that hit F seven, go back to this frame top, be copy the drawing to select so that the frame come and see for copy control see on the windows and then based on place on a map, it's command shift Viana windows Control Shift V and then adjust this to where the other leg should be there now what we need to do is we need to shift this both legs. Now there's a technique, especially if it's on a side view. We can just switch up the legs are there to do that? We're going to erase this. So the first cut for the racer, too, is E. And then we're gonna erase it here because we're going to change this leg. We're going to change it. So now the right leg is on the back and the left flag is at the front. And now let's shade out the left leg. So now we have do frames moving forward. So now that we have both the contact position, the contact position of the right leg and the contact position of the left leg, the next key posts that we're going to do is the passing posts, it this the middle position or the halfway of this step. So we're going to do that, go to your first layer, hit a five and hit f seven. No, um, we in order to make our jobs a little bit easier, we can just copy this body and then base it out and just adjust the position. So to do that, click the lasso tool or the shortcut for that is L and then draw out the draw out the body . Now it's currently selected. Now copy this and then go do the next frame and then base it. No ally in this in center, this one horizontally. And remember, in passing position we would have the right leg straight and up. So if we are going to straighten this up, it's going toe. Push the body upwards. So let's adjust this one that it's slightly higher than the contact position. Now let us do the legs. This one is straight and up and the foot, the right foot planted underground in the passing position. This is the point where the back flag in this case, the left leg would pass over the front, like, in this case, the right leg. The F me would pass over the right knee, but the left foot would still be drug behind. So now that's done. We just have to do the down position and the opposition. Now let's go back to our first frame, hit a five, then hit of seven, no pace. And then first let's center this horizontally and remember, in the down position, the body moves down. So let's lower this a bit than the contact position in down post body moves down the front foot ISS planted underground, the front knee is bent, the back foot is barely lifted up and the back knee is bent further compared to the contact posts. Next, we will do the uh posts, which is the middle of the passing posts and the contact pose of the other leg. Hit a five, then F seven, and we're going to pace the body first, center this horizontally and then adjust. The uh, post is the highest point the body can get in a walk cycle. It is also the point that both the leg and the foot has passed over the initially front leg . The past over leg is still straight, and the hell is slightly raised. But the here, a slightly lower than that of the contact, posts the knee off the passing leg spent, then shaded out It's so now we have completed all of the posts for just one leg. So let's remove the onion skin and let's go through this frame by frame. So now we have completed the one leg. Now let's extend are grown. So that matches the animation. So go to this frame and hit five. Then let's look at what we have created so far. Looking good. Now the next step. So we already completed the first leg. We're going to do the same with the other leg. So what you're going to do is your gonna copy this first frame a copy. This go to the last frame hit of seven and then based. Now let's turn on the onion skin again. Now let's move this to match the correct leg there and then you do the same as you did with the other leg. Okay, so now we are done with our key poses. So our ground we are missing some frames in our ground layer. So that's this one and hit a five due to extend. Our are drawing when you're doing this key poses. Sometimes it's easy to confuse which leg you are making. The key posts us for. Just take note. Which leg is that? The front is at the right leg. Or is it the left leg you might do to keep poses of the same leg? Just be careful with that eso here. So this one, I've made the mistake. Uh, if you look here, this is our passing bows and our oppose the leg have such up. So we need to correct this one. So this is what I was referring to. So please avoid this. So that's the quick fix. So don't worry. If you're drawing is not to clean, this is still in the draft face, so we will still clean this up later on. But the important thing here is that we get the post us right, and we get ah, what is on front correctly. So no, we have completed the key posts. We have finished a total off, um, nine frames. So in a normal walk cycle, the total duration for both legs stepping forward would be one second. So, in order to fill this up, the one second we're going toe hold each frames each. I mean, each drawing 23 frames, meaning one drawing with consume three frames and in order to be that I'm go each frame. So I go to this first frame and hit hit at five. Why? So it would add do more frames. So we already have one frame right here and now we're going to add two frames to this rowing. So we're going to do this for all of the frames. So now a. So you can see the whole cycle is now at one second. So now we are locking some frames in our ground layer. So let's go to the last frame and five so that we extend this one. It's hold for a total of 25 frames. And now let's preview this hit enter to preview it. It's actually looking really good now. Soto, preview the SWF hit command, Enter or control, enter on windows. So not this out. We could still see the design layer because let's go back to our timeline. Even if it's hidden, you could still see it when you render. When you, um export that as a nest. Wf So in order to hide this one Ah, go to the layer that you want to hide, right click and then convert this to guide layers. Click guide. Do the same with the guide layer here, right click and then the guide. When I reviewed this US and SWF can. It's not anymore showing it's already hidden. So that's it for for this lesson for your exercise. Do the key Post says to start with the body first to do the key pose, just recap. First, do the contact pose of the right leg and then do the contact post for the left leg and then do the passing posts and then the down posts and then up pose, and then you do the same for the other leg. So you copy and paste the contact pose and then do the passing posts than the down posts and then the, uh, post. And once you're done, you can proceed with the next lesson. 6. Exporting and sharing your work: So now that you have done, one of the exercise is what I want to encourage you to do is to export what you have done so far and share your progress via disclosure platform. I want that each of my students do to encourage each other by sharing your work. And also in a way, this would encourage you to push yourself forward and to finish this class and finally finished the walk cycle. So first thing I'm going to teach you is how to export this as an animated GIF. So first goto file click export, then click export, animate the Jif, then click save at the lower right and then click save, so that already exported the anime to Jeff. Now let's upload this and create a project via disclosure platform. So go to my class and go to the projects and resource is stab and then click Create project to choose a project title for for this one. I'm just gonna write this my walk cycle so you can choose your cover image. This could be your chosen design or your own your own design so you could start typing here any description. So for now, I'm going to type body or here's my body. Keep oh, sis. And then clicked image and then locate the file that you have exported. So for now, this is good. I'm gonna click publish, and they're this. It's now published now as you proceed, and as you do more exercises, you can just then go back to your project and then edit this. Click the edit project and then add more of the animated GIFs as you finish the exercises. 7. Foot movements: Hi, this is actually an added lesson. And before we proceed with the other body parts, I think it's important to discuss first the foot movements and the foot structure. So let's get into that. So when we create the foot, Think of it like there are two triangles. There's a bigger triangle and then there's a smaller triangle. For the bigger triangle, let's put the tip favored to the left so that it seems like it's facing to the right. Then that's, have the edges a bit rounded. Let's think of it like there is a circle on these edges. And depending on the design, we can have each of this circle. Either we could change its size, we could go bigger, or we could go smaller. Now let's go into the smaller triangle. The same way, the bigger triangle. Let's put the tip of this favored on either side. In this case, let's just favorited this to the left so that it seems like the foot is facing to the right. And let's make this line right here a bit rounded. So let's just think of a circle sitting right exactly at this point. So it's not anymore exactly a triangle. And I don't know what exactly this shape is scold, but for simplicity, let's just consider this one as the bigger triangle and this one the small triangle. And let's join them together. And then we have a foot. So now let's look into how the foot moves. So this one at the front, you can consider this as your toes. This circle right here is the ball of the foot. This one at the back is your heel, and this one on top is your ankle. And as I have said a moment ago that we could change the size of this circle. So let's change the size of this circle at the top, but bigger for the ankle. And so if we are going to move that TO spark, what we're going to do is we're going to move or rotate the small triangle. And the pilot of that would be at the ball of the foot right here. So this one would retain its movement is it would rotate around its axis. Now if we want to raise the heel, we are going to move the big triangle and the pivot is still at the ball of the foot. It would rotate around its axis. Now, if we want to move the whole foot, the pivot would be at the ankle part and the whole foot would read would rotate around its axis. Now, what if the foot is planted on the ground? You can't really have enough pivot on the ankle because the foot can't pass through the ground, right? What you can do is, or the other movement that we can make with our foot is have the pivot. The hill part and have the whole foot rotate around its axis. Now we are going to discuss the foot movements when now it's attached to the legs. So now here I have two drawings. There's a big drawing or model of the foot, and this one has the whole figure, a smaller one, so that we could see how the legs would react depending on what foot movements we would draw. So if we are going to move the toes, it's going to move like this. So now what if we are going to move the hill? If we want to raise our he'll upwards. So we would rotate the big triangle. And notice here that when we raise our Hill, the legs would also move. Because this is another thing that we have to consider is that the major source of movement in the foot is the legs. And it's connected to the ankle. So the ankle is the source of the movement. Think of it that if we are going to walk, it's not the foot that moves upwards, but it's the leg that drags the foot forward. We have to think about how the foot would react to that movement. Because here if we just going to erase the heel and keep the position of the legs S, S, then it would seem like the length of the legs has shrunk. And that's also one thing that we have to consider when we animate a walk cycle or any animation is we have to keep the length of our limbs consistent from start to finish. So now we are going to look into the foot process in a walk cycle. So same with the previous example. We have here a bigger model of the foot and we have here just the body and the legs and the foot. So this is the contact posts. So we were going to focus on just one foot or one leg. And we are going to focus on the right line. So this is the front foot of a contact posts. So we have the heel planted, planted on the ground and the feet pointing upwards. Now if we go into the down pose, the pie, what would be at the hill? So it, it, it will not move forward and backward. It would just be, the hill would be static and the foot would rotate within its axis. And now this is the passing pose. So the foot that is planted on the ground will have no movement. At now we are going into the oppose. And with the oppose, we have the small triangle right here, static. It's planted on the ground. And we are going to move the big triangle. We're going to rotate the big triangle because we are going to raise the heel. So if we do that, we also have to consider the length of the leg and make sure that it's consistent. And now this is the contact pose on the other side. So now we are looking into the foot, the back foot in a contact pose. So this is what it looks like on the back. So it's the heel is now a bit higher and in order to make the heal a bit higher, so we rotate the bigger triangle a bit more. Then this is the down posts on the other side. And notice how the leg move now it's raised a bit. The lag is now erased a little bit. And now the pivots insight, it's on the tos. And then we have the passing pose, which we would lift the foot. And then we're going to now place it on the front. And now it's a complete loop. Now we're back to the contact pose. 8. Arms movement: So I have renamed the previous exercise as Body Dash. Keep assess that F l A. So before we proceed with animating the arms for for this walk cycle, I'm going to take this lesson to to explain the arms movement. So in order to do that mean I have created this simple animation of a pendulum. No, let's look this animation. If you'd like to loop your animation in Enemy, you click this icon and then set Ah, up to what point? You want the animation to loop. So I'm gonna drag this all the way from beginning to end. So when I click enter, it's going to loop out. So this is the animation for a pendulum, and the arms would move, and in almost the same way, I'm going to turn off the the loop. And then let's take a look at the onion skin of this animation. So now let's drag the onion skin all the way to the end and all the way to the start, and I'm going to create the new layer and then let's try and map this out. So, as you can see, this is the spacing of our pendulum and Also, as you can see, that the pendulum follows a narc in the same way the arms would also follow on art. So here the spacing, it slows down on the left side and on the right side and speeds up in the middle. So now let's try to replicate this animation. That s great. A new file. Let's set the frame rate to 24. Okay, this is the new file now and now let's try to recreate the pendulum because the arms works almost the same way. Instead of drawing a circle, let's just draw a straight line. So this would be before we do anything that's crepe our spacing guide so that we it's easier to track. It looks like this. This one would be the half of this frame and this rain. So the spacing of the pendulum looks like this. This is on the left side, and this is on the right side. So now that's great. Are movement, arm arms movement. So now I'm creating this one hit of seven that certain on the onion skin and let's do the other side a perfect. This one is the last frame, and now let's create the passing point. So I'm using the haves method here so that it's easier to explain. So click F five. So we have space to create the black new key frame than F 70 greater black key frame. We're gonna draw the passing point now, as I've explained before, that one of the principle of animation is arc. Or almost anything in our most of anything that is organic follows the movement of a narc. So if we create an in between like this, this is wrong. This one is wrong because the land seems like it's now smaller so that we get this correctly. We should have the flow of on art. So now this is the middle point right here. Now let's great this frame. In order to do that, let's go back to frame one or the first frame and it hit a five great space and then of seven, go to this frame and f seventh, insert a blank, a key frame and then draw the in between. And now I'm gonna do this one next, so I'm gonna go back to frame one at five, then hit of seven. That's good. Now let's proceed to to do this one, which is the in between of our middle point and our last frame hit a five, but the decks frame it of seven. We are a guide is already gone. So let's extend or hold our for a guide right there. So we already have finished this one. We're going to do this one next. So hit a five, then go through the next frame and of seven. So we already finished the one side of our pendulum movement. Now we're going to do that. They're side. So let's Scott be the first frame. So we copy this one and from here at 50 sort f five than of seven. Then command shift V on a Mac control shift V on Windows based on place. Okay, now we're going to do the same. That's just our onion skin. So we don't get confused. Um, hit a five, then seven. And that's great. The middle point. So we're going to do the same as what we did before, but only on the opposite direction. So this is now our movement. It looks good. Currently it's on. Once that's convert this to on do so we're gonna hold each frame by two. So go to each frame and then hit a five. So one drawing with going from two frames. And now let's also extend our guide. Okay? And that's click play. Hey, looking good. Now we already have. Just let's just think of this as our arm or the guide for arm in arm has three parts. We have the upper arm, the lower arm, and had. So, um, what we're going to do is we're going to duplicate this into three. So ah, tick on the layer, right click and then select duplicate layers. So now I have created a copy. So let's go to frame one. And what we're going to do is we're going to move this click that the drawing and then drag go to the next frame that the drawing and then drag. Now, do that for all of the frames. So we have finished the second part. Now we're going to do the third part because I mean on arms has three parts upper arm, the lower arm, and he had So we're gonna right click this layer and then duplicate, and then we're going to apply what you have done before. So click the drawing and then dragged this all the way mean to the end point. Do that for all of the frames. So now we are We're done. That's right. And previewed this one. So one thing that you have to understand in arm is that the center of or where the origin of our energy here is on the shoulder part that's here at the top. And the farther away the parts are to where the center of energy or where the forces coming from, the more delay there. ISS. So that's how the the arms would move. Because there these are three parts. So the farther away you are, the more delayed that part is. So the lower arm would be a bit delayed compared to the upper arm, and behind is more delayed, then the lower arm. So what we're going to do is we're going rip replicate that one by ah, selecting the frame's here in in the lower arm. Just sack this one and then let's delay this by two frames. And now for the our guide for our hand, we're going to select this one and dragged this and the laid us by a total off four frames . No, Let's see how this one would look. So, as you can see, now we see a delay. And that's how it would move also in the arm. Now, in order to correct this one, because the start of the frame we have some missing frame. Uh, here there is no lower arm and had. So what we're going to do is if you take a look at hear everything that goes over, we bring them back to, uh, to to start. So we select this and then drag this to start, and we select this to and dragged this sorry and dragged this to the front. And now let's delete the excess frame. We select our these and then right click and remove frames. And now let's take a look. Now it's in a loop. So let's try and preview this command. Enter on Mac Control, control, enter on a windows. So now let us try and correct the placement off off of each part. So now it is done. That has now try and preview this. So that's how it would look like now. We could use this as a guide for trying out the arms movement. Take note that this is not the part of your class project, but this is only an exercise to help you practice and get the feel of the arms movement. So now that click this small rectangle right here so that it would convert into outlying mode and let's lock the so in so that it can be seen in the onion skin. So, no, let's try and use this as a guide to create our arms. So for the design, let's try and do this kind of the sign. Just a simple arm. This would be the shoulder, the elbow and the wrist, and this would have a rectangle for the hands just to keep things simple. So let's keep this on. Replace this layer so that we would have a guide on what it would look like. Create a new layer. And now let's try and fit this design to our guide right here. So this one would look like this, our elbow or shoulder, and then our risk and then our hand, which is the wreck. Tongo do the same. So one thing to note is that when you when you do the delay in the arms. You need to be careful, because if you look at this one, it's already too extreme, and it seems like the joints have are The bone is broken, so there's a limit toe. How the arm would would delay, especially if it's the opposite or back part of the arms. So, uh, let's just continue this. So here I'm not anymore going to follow the guide because it has broken the joints. So what I'm going to do is I'm just going to straight than this or just related by a bit because this is my elbow. This is the back of the elbow. And if I proceed to do it like this, I mean, the hind would seem like it's broken. Same thing here, but we can still delay the hand. No problem. So now, in the opposite direction, we can bend this as much as we'd like, because this is the direction where the elbows could Ben to know. Let's try and preview this. So now it looks like the arms movement in a walk cycle. And although I did say that you should be careful with not breaking the arms too much. Remember, this is animation, and you can do anything that you could also exaggerate this. So if you'd like to break this a song as that, that is your intention and to make our the animation more exaggerate that you could always do so. So for your exercise, I want you to replicate what I have done here today. First grape, um, three lions. So you start with the 1st 1 and then you duplicate it and then create are the tree parts, the upper arm, the lower arm and the hand. Once you've finished your guide, you delay, you delay each of the part and then try and correct the position for each of the layer and then create or practice the arms movement. Once you are done, you can proceed with the next lesson. 9. Arms keyposes: So now we are going to apply what we have learned in the previous lesson into how to position or to place the arms in the key poses in a walk cycle. So now we have understood how the arms would would swing, that the lower arm and hand I would would have some delay to it when they swing and had having the mostly. And we also understand that in the key poses, it's not in the contact position where the arms would swing at it speak, but it's actually in the Dallin post. So now, with that in mind, that us dude, the key poses for the arms. So first, that's great, a new layer and then has changed the hauler, the field color icon. And then let's change it to blue just so we could, um, separate or distinguish the body and the arms. So let's lock the by the end leg slayer and rename this layer the newly created layer to arms. Now, let's do the key process. So now that we have understood the delay, we're gonna create the arms, so I'm not gonna make it too wide because this is still in the contact posts, and we know that it is why this in the down posts. And I'm not going to make it straight like this because we know that the lower arm would have some sort of delay. And let's do a the hand even further, and that's do the same. For the other hand, let's do a the behind and that's shaded out so that we know what is the right arm and the left farm. And just like what we did with the body, that's what we're also going to do. The arm, so that's go and locate the contact posts, the other contact pose. And then that's hit F seven. Let's turn on the onion skin and now let's do the contact post for the arms, but in the opposite direction. So now the right arm would be at the front, and this would have the hand would have a delay. Let's do the the left arm, then that's shade this out, and now what they're going to do next is to locate the passing position so it's in the middle. So this is the passing position. That's it of seven. Let's address the onion skin that we could see an extreme. And now let's do the arms for the passing position so the arms here would be in a no straight of the arms are straight. But considering that there would be delay in the lower arm. So depending on where the arm would come from, either from the left side or back side or the front side, that would also be the day. So now our contact position in the right arm is at the back. So at the passing, we would delay this a bit to the back. I think this is the arms are a bit short. Let's adjust this one so I'm not anymore going to draw the left farm because it's snow covered with the body to the next that we're going to do is the down post. So let's go to the down posts. So now we're at the dawn, posts it F seven, and now our remember that this is where the arms would swing at its widest and the wrist would be a bit higher than what it was in the contact pose. Same thing with the other arm. Now we're going to go to the oppose it of seven insert a blank key frame and then let's do the up posts for the arms. Let's delay the lower arm a bit and also the hand now for the left arm. That's just Ah, show it by a little bit. Now we have finished the key Pelosis for one side. Now let's do the other side. We're going to copy this and then we're gonna base it on the last frame. So it off seven right here and paste and then adjust this Ah to where it should be. Now let's do the same for the other side. So now the arm is now The right arm is from the front and would go to the back so the delay would be to the front in the opposite direction. Then what we did previously. Also, the hand the lay it on the front. That's deep passing both. Now let's do the down posts and the down posts is where it's hand or the distance between both hands would be at its widest. So now let's consider that one also at the back. And now let's do the oppose and same thing with the left arm. That's just Ah, reveal it by a small amount. Then that's hit. Play, click. Enter. So now we have done the key Pelosis for the arms. So for your exercise, we're gonna You're gonna do this? Just a recap. So you start first with the key posts us. Start with the contact posts and the contact post for the other side. Then do the passing posts and then the down posts and then the, uh pose, and then do the same for the other side. 10. Head keyposes: so the next thing that we're going to do is add in the head. So let's create a new layer and rename this to head and let's lock the arm slayer so we don't accidentally drawn it. Let's go back to head. And then let's change our brush color to black and ah, that's no great head. I'm just going to trace our guide. So the way the head would move in a walk cycle is similar to that of the off the body. So the first thing we're going to do is locate the contact posts. So this is the Hey, this is the contact posts, and I'm going to introduce a new shortcut, which is F six. What that does is it creates a new frame and it copies what you have in the previous frame . Um, so now this is exactly the same position as the previous frame that we have. And now we could select this and then dragged this hold the shift button and then dragged this here. So now we could be sure that Ah, it's aligned. So let's turn on the onion skin. So now we're going to go to the passing position or passing posts Hit F six. Let's adjust the onion skin that we could see the frame after. So now let's Ah, centred this horizontally and in a passing position. I mean, it's a bit higher than the contact posts. And now let's go to the down position. Hit F six aligned this horizontally and then the down posts is a bit lower than the contact posts. Now let's go to the up bows now hit F six. Drag this and then, uh, poses a bit higher than the passing posts. Now we have finished one side. So now let's go back to frame one. Copy this. Go to the last frame of seven and command Schiff V on a Mac control shift V on a windows. And now let's drag this hold the shift button doctors here and do the same as we did before . And now we're done. So the reason why we have separated the head from the body is that we could change the timing so that we could change the timing easily. So, for example, in the down posts, we can even move this a bit lower, then what it should be, or even changed irritations. So in order to do that take you so that the bundle bounding box would be revealed and then rotate. And for the up post, we can overshoot this by a bit. So let's select that and push it upwards. So let's do the same for the other down posts. Select this one and let's put it down and rotate this in the same way. Could also overshoot the up posts. Not that Let's take a look at this. So that is the reason why we separate that. That because if you want to change, the timing can do it easily. Now we have finished this. Save this as head dash, keep poses. So this would be your exercise. Just add the head to to your exercise files. 11. Inbetweens on one's: So now that we have finished the key posts us, the next step that we're going to do is to do the in between. So we're gonna do on once and onto on one's meaning. We're going to draw on every frame onto meaning we're going to skip a frame, mean one drawing would consume two frames. Currently, what we have here is on please, meaning one drawing is taking up a total of three frames. So in order to ah, do an in between that is on once. I mean, we're gonna do to in betweens for keepers. So the challenge here is that we're adding to in betweens instead of one. And the challenge here is when we go to the next frame, we can't just do a straight in between. Can't just put other in between in the middle because if we're going to do that, the next frame would be somewhere here. And while this is an easy in and in some cases that is correct and walks in a walk cycle, we want our spacing to be as evenly spaced out a spots, a ble. So in order to do that, the second frame, what we're going to do is we're going to favor this to the previous frame, and then once we have that, we cannot do a straight in between between the the newly created frame and then the next frame so we can add the in between right here in the middle. So that is what we are going to do going back to our file. So I want you to keep a back up on this file where you still haven't created in between because we are going to do two versions on once and onto. So we're going to do on once right now. So what I want you to do is save this file, save this save ass, and I'm gonna name this on once. So keep the original file where it's just the key poses and no in betweens. We're going to go back to it on the next exercise. But for now, we're going to do the on ones, so I will lock the head layer. I'm going to unlock the body and legs, and I'm going to hide the head and the arms so that I could focus on the body and legs, just like what we did before. I'm going to copy the body. So I'm gonna click the lasso tool and draw this out and come and see for Mac control, see, on the windows to copy and then go to the next frame and then he'd have seven. Now let's turn on our onion skin and I'm going to pace it. Now What we're going to do is we're going to favor this one to the previous frame and then draw the legs so for the foot for the front foot instead of doing this kind of in between. What we're going to do is we're gonna favor this on the next frame like that, and then go to the next frame right here. Click of seven. That's adjust the onion skin that only show the previous and next frames and pace. And now we can do a straight in between so I could place this at the center and do the in between. Now you do that for all of the frames. So what you're going to do is you're going to favor first. I'm gonna pace the the body I'm gonna favor to the previous frame. And after this is done do a straight in between. Okay, so now we're done with the in betweens for the body and legs. Let's take a look. So now we're going to do the same for the arms. So we're going to lock the the body and legs slayer, and they're going to show the arms and we're gonna unlock the sun, and we're going to do the in betweens to make sure that your brush cooler is the same as the one in the arms. Um, make sure this is the same color, you know, And let's do the in between still the same concept we're going to favor first and then do a straight in between in the next frame. It's a favor, then straight in between favor than straight in between. - I now we are done with the the arms. So we are going to do the head next. So let's look the arms layer. No, and that's revealed the the head layer and unlock this there. So in the same way, uh, we're not going to use F seven but and said we're going to use six and just ah, just this one. So now we're on the frame to so click of six and then adjust. So first favor this on the previous frame and then from this frame. If six do a straight in between and do that for the rest of the frames. And now we are done. Let's see what this turned out to be. That's export this as swf. So for your exercise, do this create in between and, um, great on on one's version of this, After you're done, you can proceed to deny access in. 12. Inbetweens on two's: Okay, Now we are going to do the on twos version of doing the in betweens. So open up your back up the file. That only has the key poses and no in betweens yet. So now we're gonna What we're going to do is animate on twos. So currently we are on trees, meaning one frame is consuming. I mean, one drawing is consuming three frames. Now, the challenge here is is where do we add the in betweens? Because if we're gonna add one in between perky pose, the final count would be more than one second. So in order to keep this, keep the walk cycle into one second, we only need to add four frames do for each step. So where do we add that now? This isn't really accurate, but this is the closest that we can get to make this walk cycle as even the space as possible. The first thing we need to do is to convert this to onto so inside, of making this country's let's make this on twos. So now it's on twos. So where would the ad in between? Ah, we would add one in between from the down post to the passing pose and another in between from the, uh, pose to the next contact post. So in order to do that that select the frames and drag this out, we're going to drag it so we would have space to add in between. So now this would be our in between. So let's select all of this and press of seven. This would be where are in between would be and another one from the up posts to the next contact post. So that's drug the all of the frames from the head, arms and body and legs, and that's, Ah, space I'd in between. So let's click off seven right here and then for the other step from the down posted up post. So let's select Thea pose that's like all of the frame and drag this out living space to to add the blankie frame. This is far in between and then from the up posts to the contact off the other side. So let's drug contact posts all the way here and then select these frames and took off seven. Now we have on we have already readied for the in betweens. So now Let's just do a straight in between within these two frames. So let's start first with the body. Once we're done with the body that's through the arms and then let's do the head. So again you can still use the same technique. I have locked the arms and head so that we don't accidentally select Ornette. I'm gonna click L for lasso tool. I'm going to select the body, copy this and then base it and just do a straight in between. - I made a mistake in the caller of the in between for the arms, so that's changed this blue. So let's select the frames that are in the arms that are red. Click this one and then click the the field color and then choose the right color, which is blue. So for the head, since we already added or inserted a blankie frame here, we can't anymore use the F six. It only works if you have extended the frame and the new um, click on the middle of the frame so that it would create a copy. But in this case, since it's already black, you can't use the F six here. It's just going to create another black key frame. So what? I did this. I just used the copy based method. So now we are done. Let's take a look at this. So let's preview our export. This assess the BF command. Enter on the map control, enter on windows. So that's it for this lesson in your exercise you're going to do. Ah, you're going to do this. You're gonna create on on to serve version off the walk cycle. 13. Walking on place - body and legs keyposes: So now we are going to do the second approach with which is animating on place. So let's take our latest exercise file and that's saved this US. Save us. Let's name this on place. Dash legs dash hypothesis. Now let's delete what we have made. The head, the arms and the body and next layer. So ah, select these three layers who would chef and then select to select all three, Then click delete to know we're back to zero or back to you to start. Let's go to layer One. And now what we're going to do is we're going to animate on place. The concept is similar to any meeting moving forward, but now just think of it that the camera is locked on the body so the body doesn't move left and right anymore or doesn't move forward. It just stay on one place, but it would still move vertically. It would still move up and down for the contact down, passing up positions or posts. So I'm that's, Ah, unlock the guide layer. So let's select this and move this on the center because we are going to animate this on place. And now let's create our body. Now let's change our color to back to read for the for the body, for the body and legs. Now this would be the same. So let's do the contact post. So let's ah, lock the guide layer. We don't select on it. Ah, rename layer Tua's body and legs. Let's drag this a bit down because we're going to do the contact. Pose the front. The right leg would be would be straighten and the foot pointing upwards and the back leg would be slightly bent and the hell raced up. So let's still going to shake this out. Now we're going to do the contact post for the other leg, so hit of seven for the other leg, and that's just Skopje the body. I'm gonna use the lasso technique again, copy and then paste in place. Now let's do the contact post for the other leg. So now the right leg, us at the back and the left leg forward. So now let's shade out the left leg. So let's remove the onion skin and let's see. So now I have to do frames the hunt for the different legs. Now let's ah, hide the guide layer and the design layer because we're not gonna need them anymore for now . So what you need to do next is let's create the passing posts for Let's move the, uh, the other contact post forwards. We have space suited in between so f seven. And now let's turn on the onion skin. And now that's Ah based the body. And now, in a passing pose, the position of the body is slightly above the contact posts. So no, that's straight than the right leg, the left knee forward but the left foot still at the back to know that the next said the next suppose that we're going to do is the down post. So that's going. Let's move the passing posts and the contact post forward. So we have space to did in between. Then hit seven. Let's adjust our onion skin. It would only show the previous and the next frames, and now I'm going to pace the body and indeed down posts the body moves down and then the front leg would would be bent initially when you do the down posts. When we did it with ah, moving walk cycle is we place the foot here and it's planted on the ground, and that's okay, since we can move the body forward, but with working on place, the body doesn't move. So what we do is we move the foot. We move it backwards to know let's ban the front leg and then the back leg would be also bent and the foot barely race stuff. And then the next post that we will do is the uh pose, which is the middle point of the passing pose and the contact post for the other leg. So let's adjust the this frame that we have space to do the in between seven and then that space. The body now for the up pose, it is higher than the passing posts. Let's put it up and the right leg is so straight and the hell is slightly raced up, but not as high as the Contact post. Now we would have both the knee and the foot forward. No, no, let's take a look. This so do fast because it's currently on once. It's not the right timing, but we already have the key posts. Now let's move on and, um, that's continue with the other step. So to do that, let's go back to frame one. Let us copy this and then go to the next frame of seven and then pace on place. So now do the same that we did before, but just on the other side. So now that Skopje again the body. So let's ah, so like this Copy and then I just do what you did before again. Just be careful not to switch out the left and the right leg. Just make sure you know what? What leg is on the front and what leg is on the back. So now we have done the key posts is we're going to do next is to extend or hold each frame by three, meaning one frame one drawing with Guntram tree frames. So now inside of using F five, we could, Since we already have these frames from the previews exercise, we can just drag the select the number of frames and drag it to extend or hold the frames. So now we are We're done. So let's take a look at what we have done. So, for your exercise, do the key posts is walking on place 14. Walking on place - arms keyposes: okay, now we're going to do is we're going to create the key posts for the arms walking on place . So first of all, before we start anything, um, let's re name this file or receive this as a different file. So the file save us, and that's renamed this one place arm ski process. We're going to do the arms now, so let's go back to frame one. And then that's great. A new layer named the storms. Let's lock the body and legs layer and change the hauler to blue and that's do the arms. Here. We'll follow the same concept. Remember how the arms would delay or the lower arms delay before we would start? I would need to look at the guide so that I would create the arms correctly. So okay, this is the guide, and I'm not going to make the arms to wide in the contact post because we know that the white this is at the down posts. So once you have finished this, the next step would be to locate the contact post for the other step, to hear it this week seven and then just reverse the hands or the arms. So once this is done, the next step is to go to the passing posts. This is not the passing boasted of seven. Let's extend our onion skin to show the next frame. So here I'm gonna have the arms or the upper arm straight. But have the lower arm delayed and have they had even more delayed? Now let's do the down posts of seven. So now we are going to do the down posts and down posts would have the arms at its wider. So let's do that. And then the next we're going to do is Thea posts. So let's locate the up posts and then it at seven and let's have the back and slightly shown. So now that is done that a Skopje the first frame and then go to the last frame, hit off seven and then based on place. And now let's do the other side of the arms. So go back. Go look for the passing posts to this. The passing posts of seven now have the upper arm straight and have the lower arm drag. But since it's coming from here, it's going to drug on the opposite direction and Also, the arms would be having the most delay and let's do the down posts. The down post is where the arms would be at its wide this and then do the same for you. Oppose. So now let us take a look at what you have done. So let's see our d swf of this. So this would be your exercise to add the arms in your own place version. 15. Walking on place - head keyposes: So now we are going to do the head key poses for walking on place. So let's go back to frame one, and that's great, a new layer and renamed this as head. Now let's trace the head that's changed our brush color too black. Now let's adjust the position of this That is correct for the Post. Since you already have this, this drawing hold until the last frame so we could use the F six method. So let's go to the next contact posts. So this is the next contact post. So you select the frame right here and click of six so it would create a new key frame right here. And then the next we're going to do is the passing post. That's okay, T passing. Post it again. If six. Now remember, passing pose is much higher than the Contact Bos, and then let's go back to the down posts it of six. The down post. It's much lower and the contact pose and then let's go to the up posts. Hit of sixth up posts is much higher than the passing boats. Now let's do the same with the other frames. Let's go back to the last frame and hit F six. Just make sure that we have created a key frame here. Let's go go to the next passing posts. Hit F six passing boats is much higher, but the down post Move this down, then go to the, uh, post F six and move this up. Now let's preview what we have created. Let's export this as SWF. So that would be your exercise to create the head. 16. Walking on place - inbetweens: So now we have finished the key poses. The next step is to add in between. So you already have tried doing on ones and on twos for doing that in between. So far for this walking on place, what we're going to do is we're going to do on onto version of this. But if you want to challenge yourself, you could also create the on ones version. But what I'm going to show here is only the onto its version. So, uh, the first thing that we're going to do is we're gonna convert this to on twos. So that's the frame and drug this to make it on twos. So we're going to add in between. So we're gonna add one frame from the down posts to the passing post. So let's just this Give room for it in between. Select this frame and it f seven. Make sure that they are on tools, so the next in between would be from thea Post to the next contact pose and then for the other side from down pose to the passing post. So let's select this and give space for the in between and then the last is from the up, posted the next contact pose, and that's great then between. So now let's just do a straight in between. So let's adjust the onion skin and let's start with the body and legs and then the arms and then the head. So, um, that's luck the arms and the head so that we could only select the body. So let's select the body copy and pace and then adjust, then do the legs and do the same for the other in betweens. So now we have finished the body and legs that said the same for the arms. You know it's done. That's take a look. So lastly, let's do the head. So let's just copy this and pace and then just for the in between. So now we are done. Let's take a look so you're exercise would be to do on on twos in between for your keep for your walking on place. But if you want to challenge yourself, you could also do the own one solution 17. Fleshing out your animation: So now what we are going to do is we're going to flesh out the character that it looks like what it is in the characters design. So what we're going to do is select the body, arms and head layers like all of them, then right click, then convert this to a guide layer. So now it's a guide layer and then click this wreck tango small rectangle and convert Davies layer to outline mode and unlocked slog. All of these. So now let's create a new layer so that we're not really right now because of the guide layer is on. Its now looks confusing. So let's hide the guide layer. So I only have this and what we need to show as the design layer. So that's show with that one. And then let's extend this so we could see it on all of the frames. So now let's create a new So here in layer five, let's rename the stew clean up. So now I always check this with with your design, or we could unlock this and move the design to move closer to our walk cycle so that it's easier. So now we're still going to do the same technique we're gonna use O r start with the body and then the arms and then the head. So now we could also do the same thing. Since we're gonna look at this, our body is not really bending. So we could copy and paste in our body right here. So let's just clean this up. Amusing the last Soto to erase this lead to Let's lock this one, then select. Oh, sorry. Go back to you're clean up player and grow this out and lit. Now we could select the body. Copy this so that we will just base this out, um, further on, so go to the next hit of seven and then do that for the rest of the frames. So for the last frame, I could just copy, copy and baseless from I'm getting it from the first frame and basting it in place. So here is what we have so far. So that's previewed this on a subway f It looks like that. So now let's do the arms. So let's rename the screen up. Let's rename this to clean up body and let's do one arm at the time so that's great. A new layer. This is for the right arm. So let's rename this to clean up right arm, and that's tried to follow the design and make sure when you do the right arm, make sure that the path or the brushes closed. So avoid open path, make sure it's closed. So in the same way we can just Scott be the first frame and base it on the last frame. Now the reason why we have we need the path to be closes because we're gonna feel feel it with color. So click the feel tool or the shortcut for that is K, and let's choose why it as the caller and we're going to feel it now that's going go back to frame one and then click and also do the same for the hand. Now apply that on all of the frames. It's now let's take a look at what we have, So now let's do the other arm. Great. The new layer renamed us to clean up left arm and that let us put this layer below the body layer. And now let's do the clean up. Let's lock the the right arm and lets you do clean up for the rest of the frame for the other other arm. This change back the color to black. So just Skopje and peace. The first frame, the last frame. Now the reason why we didn't close anymore the path for the left arm is because we're not going to feel it anymore because, uh, the background is white and the color of our character is white. But if you want to do but caller to this, you need to close this out, and what we need to feel is not on the left arm, but the body. So we could cover mean this small, um, outlines from the left arm. So let's go back to the body and press K. Let's change this Dwight un, select this first and select this. Okay, now it's white sk. And then let's feel the body and the legs. Now, if you can't feel you're drawing. The reason for that is that, um, the path is not close, so you need to close it. So in order to close it in the select your layer and change this back to the color color black and close the gap so press k again and then truce white. No, I could feel that. So now it's completely failed. And the reason why we feel that up so we could cover the bar back arm. Now let's take a look. So now we only have the head remaining. So let's create a new layer. Rename this to clean up head. Make sure that your brush color is black and let us trace this. Now, if you want to change the ad squash and stretch to the head or overshoot it on the up post , I mean you can you can do so. But in this example is just a straight walk. It doesn't squash and stretch and doesn't overshoot. So I'm going to use the F six method for this and just change the position. So I'm like before what we need to first locate is the contact post. So this is the contact post. I'm gonna click f six and I'm going to go to the last frame and six because this are the contact post. They are the same in terms of position. The next time, the next thing I'm going to locate is the passing posts. So this is the passing post. Okay, I'm gonna click f six and put it up that I'm going to go to the down pose of six, put it down, then go to the up posts of six and up, then do the in betweens well here than a six. Now do the same for the other side. So I'm gonna look at the up the passing posts, the passing post and then the down posts than the up boasts and then the in betweens. So the last step is the neck so we could create a new layer named this too clean up neck. So we just need to connect the head to the body. And that's strike to maintain this style. So now let us played this one. So if you know what this there is, um, there's a bit of jerk jerky movement at the end. And the reason for that is is because we have the contact posts at the last and the first frame and the last frame or the same. And it's a total of if you think about it. It's a total of three frames. So in order to make this a complete group again you select the last frame, all of their last frame and then right click, then remove frames. And now let's play this. So now that I have taken a look at this, there's something that feels wrong. I think the the arms are a bit lower than what it should be. I think the arms should be adjusted. Ah, a bit higher or the shoulder should be higher. So let's go through each frame and adjust them one by one. So what we're gonna do is we're going to lock everything else so that we could only select the arms and not the body and the other parts. So let's do that. That's not everything else except the right arm and the left arm. So now we could select this and be sure that we could only select the arms. So now I'm a free mourn, and I'm going to just this Move this upward to where we think is the correct position of these shoulder, and I'm going to do this for all of my friends. Now let's take a look. I think this one is now better now. This happened because the guide was wrong, and this sometimes happens in animation, and and that is the reason why we separate the arms and the different there, so we could easily adjust them. So there you go. This is now the walk cycle. What you need to do for your exercise, is that you you clean it up, that it looks more like your design. 18. Conclusion: If you have reached this video, then I assume that you have finished all of the exercises and that you have finished your very own walk cycle. Congratulations. I would love to see your work. So please boasts your class project here on skill share. This isn't goodbye. You can still watch my other classes here on school share. Or you could still reach me by on my instagram account. Before I end this video, I'd like to remind you that animation is practice when you have the time practice, practice and practice. Thank you. And I hope to see your works real soon.