Cartoon Animation Course - Animating a Cartoony Walk | Opi Chaggar | Skillshare

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Cartoon Animation Course - Animating a Cartoony Walk

teacher avatar Opi Chaggar, Senior Animator + YouTuber

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Where To Download Rigs


    • 3.

      Blocking Poses


    • 4.



    • 5.

      Animating Arms And Head Part 1


    • 6.

      Animating Arms And Head Part 2


    • 7.



    • 8.



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About This Class

In this class we will cover how to animate a cartoony walk cycle in bitesize form. The course will cover the process below:

  1. Introduction To The Class
  2. Where To Download Rigs
  3. Blocking Poses
  4. Splining
  5. Animating Arms And Head Part 1
  6. Animating Arms And Head Part 2
  7. Polishing
  8. Conclusion

Meet Your Teacher

Teacher Profile Image

Opi Chaggar

Senior Animator + YouTuber




Hello, my name is Opi.

I'm a Professional Senior Animator working in the video games industry.

I have over 18 years experience in the Video Games and Animation Industry and I've created these courses to give back what I have learnt and hope to inspire the next generation of animators.

Companies I have worked for:

- Ninja Theory (UK)
- EA (UK)
- High Moon Studios (San Diego, California)
- Trion Worlds (San Diego, California)
- Sony Computer Entertainment Europe (UK)
- Warner Bros (Tt Games) (UK)
- Genjoy (A Scopely Studio) Seville, Spain/Culvar City, California)
- LavaLabs (UK)

My Mentors:

- Jason Schiefer - Weta Digital/PDI Dreamworks
- Steve Gagnon - Cady -Weta DigitalSee full profile

Level: All Levels

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1. Introduction: Animation to me, it's all about getting out of the world of reality and going into the deep, imaginative worlds of our minds. My name is OP, and I'm a Senior Animator, work in, in the video games industry. I worked on a range of AAA titles from heavenly Sword, motors term apocalypse, Harry Potter, the bone conspiracy, and a series of lego games. And this class is really exciting for me because this is the whole point I got into animation to get out of that world of reality and do all these costs and stretching cartoony animation, which we'll be going through in this cartoon series. I'm so excited to go through all these. We have to check out the pro rigs or I'll be using pro rigs, which are absolutely brilliant. They have a custom-designed for cartoon animation, squash and stretch on. We're gonna be having a lot of fun with these rigs in the coming classes. So it doesn't matter if you're a beginner. But if you experienced, we can all learn something from each other. And I hope these classes will introduce some new techniques and new thought processes and workflows that you can incorporate into your work. This class, we'll cover a cartoony walk. We will go through the contact poses, mid poses, and the end poses and in-between poses. And we will make it look as cartoony as we can. This class will show how you can use the same principles for realism and cartoony animation and how we can apply it to cartoony stuff, which we're gonna be doing in this series of classes. So I'm super excited for you to join me in the step-by-step course on how to do a cartoony walk. Get your maya Blender max, wherever you use. Let's start animating. I'll see you at the end of this class. Here we go. Let's start animating. 2. Where To Download Rigs: Okay, guys, this is a quick video or where you can get your ribs from. So I'm using these bricks. Now, there is a fee to this as $20 a month, which is about 16 per month. But for that much and the characters you're getting older code because again, you're getting all of these characters with the right support. Even get pickers like for the rig. You get the scripts, everything license is well-worth it. All of these characters look heavy, light, athletic, bigger characters, robots. It's definitely worth it. I'm going to be animating these now, the feature film rigs. So they're really good to invest in. 16 pound a month, $20 a month is nothing really got. You get older support you want, you can cancel the subscription when you want. All right, guys, this is a quick video where you can get the rigs or you can just go to free rigs and use any other rig. But I just for you on animate along with the civil irregular can go and get these rigs. So great rigs. And I'll see you in the course. 3. Blocking Poses: Okay guys, so firstly we're going to do is get the reference. I've done some research on Google, so we're going to follow this, get some reference here. We're going to use these poses to start us off. Let's get this going. Let me just start with this. Okay, first thing we wanna do is let's check out the legs. Let's separate these legs like this so we know which one's forward, which ones back. Okay? Alright, now in the side view, what we'll do is have a look. Which one? No, it's not that 1 ft roll off in because this one yeah. So we're gonna do we want to, we want to establish our contact points. So let's, let's move this back. And I'm gonna put everything in. What I'm gonna do is select everything and then put it in constant so it's all blocked. So step, step, step. Okay. Now, I just want to grab the control with the foot roll. I just want to make sure it's all in line here. So this bit, It's all that straight display in particular, you'll see when you rotate this, it goes to the off, so you just want to make sure it's lined up. So that's what we do for now. So they're establishing the contact points front and back. So one is low. So we'll do the same thing here. Alright, how's that look? Maybe we want to move it forward a bit and then snowpack, something like that. And we might want to move this up a bit so we can get away with moving it up a bit because it's called stretch on it. Really lovely, lovely model, this one like this. So we start with that, That's the basis. Okay. Also will do with the rig. As we can see, it will just quickly change this to zero. So f k and zero here, f k. So we've got, we've basically got rotations everywhere. And I'll just put the timeline to 20. So we work in clean. Every two frames. Every two frames is what we'll do. We'll key, so let me select everything. And like I usually do a key frame now the other thing I wanna do is while I'm here, is we will contact, contact. Does it yet? So what we'll do, we'll go to the next one, the next frame to what we're doing. We're just literally, if you look at the reference, which is going to move it forward until this back leg is bent. Oh, it's coming down. So what we'll do, we'll we know that the foot is going to be on the floor. So their foot on the floor. We also know that it's going to be trans, transcending down forward. It's gonna go down. So there's a little bend there. And we also know that the back leg is starting to come up. Some will be like this, slightly forward and a bit of a foot roll. Kind of do it like that. Again, select everything here. And then I'll just go into here and come to block. So we want to make sure it's smooth. Plot. Then the next one, next frame is the positive position. So this one is going to be, we just want to make sure that leg is straight going up. And then the positive position like this, which would be even. We could even rotate this a bit more. Go past a little like this. And then we're going to key everything. And then move on. So we've got all these poses. Select everything, make sure it's constant. Okay, So we've got that. And then it's going to be the high position. So this one is going forward, the highest. And then the reference shows the foot going forward. So it's kind of going like this. And then there's gonna be basically this height. So normally what I'll do is I'll go to here Y and copy this. Go to nine and copy it. There are no, That's the height. That is move it forward slightly. And then move this forward. The y can be zeroed because it's on the floor. And then you make the foot in the contact position. Now this has flowing pretty well. So we'll select everything here, everything and then put it on constant interpolation. All I'm doing is I'm selecting everything and I'm going into my graph editor, select annuities and go into constant here. Or you can go to tangents, stepped. Same thing as all I'm doing when I'm going on to that screen. This is making saw step. Then the next one. Oh, yeah, the back one. Let's also do the back on the back. This is going to start rolling as well as this one comes in. Yeah, that makes sense. Then what you wanna do, again, go to the second pose here. The y is 1.8. So we go to here, paste it in there. Oops, sorry, select the hips. Sorry, let me just do that again. Y That's what we want, 1.8. And then there we want to put it in. There. We will forward so we know that it's going to take the weight. Take the weight. And then the back leg is just about rolling up. We'll roll this up a little bit. We can make these clunky. Let you could see this clunky going to come later with the service contact. Then again, pause in position. High. Lead comes through. Just a little bit. Not that we saw at the exact height of just getting these these poses. And then positive position, which is gonna be the highest. Bit higher. Then this foot comes forward, rotated. You get that? Again, select everything. Now the N1 we're gonna do here is I'm going to this different ways of doing this, but this is what works for me. I get all the geometry, go to the Start frame, duplicate, ECS duplicate. I press Shift P to bring it out of the group. And then Group. Now you've got a separate pose, the exact pose. So what I'll do here is go to the end. So 15 or the next few frames. I know, okay, I know this is here. I know that if I put this geometry here that I can match it now is gonna be fairly exact, but we can always finish it off. So let's go back. Okay, I'll select all of the controls here, which is okay. Now I'll middle click, drag it to 17, let go and press S. Now it's going to copy that same frame C. Now all you got to do is select the top here, the hips, and move it forward. You got to do an hour. I might just go into wire. Wireframe is the best because then you can get exact match, exactly like that. When there's no doubling. If it's not exact, it won't be completely I will be like this. Notice that actually what you want it exact, so as well. Okay, now that you've got that, you can go back. You can delete the group and select everything and just step. Now have a look at that blocking. So you've got a little cycle there now. The foot positions in the right place, you go. What we can do is we can just 17. 17 at the bottom here. Right. Okay. So you've got a block in there. The hips, how it's moving. You can even look, you see the hips there is going constantly forward, forward, forward. And then we'll go and clean this up and get it all working properly. But what we'll do now is go into front view. Will be like, alright, as it steps. And then leans was happening here, the weight is shifting. We want to just want to get those x's in. This way, the weight shifting, it's gonna be a bit clunky. And in this way, the weight shifting, because we know it's the step, right. If we look at this now, it's going to be a bit all over the place, but that's, that's how it looks. You see the block. So we've got that working. Then the other thing we want to start doing is to go into the hip controller here. So whatever the foot is raised, we know we know that the hip will be high. Because raising that foot, it goes high, right? Same with this way. High. So we're just going to get these rotations in. So we got an idea. Then we can clean that up later too. Guys. So that's basically the block. We could do the arms and stuff later. But that is the blocking you're getting. Actual select the arms. Come in here in the layers and you can go to arms. I'm selecting the arms hair is very nicely done everything. So it knows that it appropriate is really good. It knows animators want to hide the arms sometimes because you're working on one thing. But then you don't see that we can start working on just the tools so everything makes sure it's working properly. The other thing we can do is when it steps here, we know that this is going to be that C-shape. When we come here, we know that this way There's a C-shape, this reversal that happens. The hips, we can leave the hips. Let's see. We've got that happening. So that's just the mechanics. Pretty much how we want it thus flag. We can start cleaning up, so that's the block. And then we'll move on to polishing again into this blind and starting to really clean things up a bit. Okay, so I'll see you in the next video. 4. Splining: Alright guys, so we're going to start supplying us, so I'll just select the controller, the Coke, the first thing we want to do. Okay, So if we look here, we want to get the white rather than going constantly going forward. So normally what I do, I delete everything in the middle. And then our linear to linear. So if we look now, it's constantly going forward. So we'll, we'll do, we'll just select everything. And let's display and everything. It's gonna be all over the place, but don't worry, man. We'll figure it out. So if we look now, spline everything. Okay? And this is well, everything we've learned. Okay. Stop flattening some of this stuff. Okay, let's come back here. There's some stuff which is still flowing. Select everything again. Select the top, but this spline has better. So you see how that's more constant. So if we look at the front, so all this up, that's fine. Let's check this control, okay, because what data? First thing we're gonna do if we go there, we made it constant going forward. Now let's check this out. You see this. You got all these key there that you don't need. So let's go. Why is fine, we need that. Then here we can just delete, delete all of these. Remember from earlier in the cycle. But we have to match tangents if we match like this. So the cycle, we'll do these as we go. Always matching tangent u plus precedents for cycle, cycle. Or you can go here, curves, cycle, the cycle. You don't wanna do post-political the normal cycle on the spot. So it's these ones. Okay, Then let's look at the up and down. So we cycle this. We just want to match these and then nice way. So we want the high values to be the same. So we can flatten this out. Now. I flatten it by pressing Alt four, that's my shortcut. You can use this flap, this one. But I have shortcuts or leave a script for you guys so you can check that out. Okay, So that's down. And then down. So this is going to be the same, which I think it is, yeah, that's the same. This is the RPE which is cool. This will be the same as this one or not. Yes. 6.464. Yeah, that's the one. We've got. Equal distribution. They write this and these are the same, okay, so now the up and downs are very, very much the same. Now, x is fine too, thus, shifting weight. Flatten this out. We could just add, if we take this without the minus put at the top, I think it's the same year. That's the same. That's cool. We got that working. Now, what we wanna do is we can get, we'll get this bit here, this hips here. So coming back here, you can see so clunky up top. And that will go to, normally I go head cello and I know this is going to be working in this, sorry, this controller here, it's going to be the same thing here, just like the, just like the X to delete, delete all of these. This one, this, you want to have this cycle. Also if you come here, you might want to flatten this, use this value seven and add it here. But remember, leave the minus there. So it's rotating equally. Then we can always adjust. If it's too much or too little. Seems fine to me. Then you have these ones, which is the same, same thing, adding, deleting. Just keep in there. Positions here and here, that will switching as all you're doing. Then you just add the cycle there. 6.9. " change this 6.9, so it's both equal. We look now. It's just the top one is the rocky. Rocky because of all these, all these curves. And so we just want to delete this cycle. Again. Flatten, will flatten here, flatten out the value 5.3. Copy that over the stove happening equally. So if we look now, see that slightly or Bendigo starting to walk now more fluently, right? You've got the applet and now what we'll do is we'll work on the feet. So we've got the body working well. We can always change that a bit more if we wanted to. But that's how we can exaggerate a bit more. Now if we select the fee. So if we go for this foot, we can look here straight away. Foot's going up here, which is fine to flatten this, it's coming up. Hello, committed to the top here. This bit here. You see this overshoot that we've come here that represents this pair. You see how it's going forward and back, forward and back. So all you're doing is flattening that. So now it's solid. The only thing is, is an up and down. So if we go back to your up and down, same thing, they're just want to flatten it solid now see. And then you will look at the other axis just in case they seem fine, rotations are fine and they look at the Foot Roll, that seems fine. So that is a solid plan. Solid deci Bxy is a little bit of movement at the back there. That's to do with this. What we wanna do, get that end frame copy because the end frames and then start forgot the same. I will put up all these keyframes are flat because that's where we want the foot, so we just flatten this. That will stay there, it will stay locked. The same thing. Foot Roll. Foot roll is fine, This seems fine. We'll just cycle that and just try and match. You can even get developed. That one is much less traumatic. Now we can do is go to the other one and do the same thing. So if we look at the forehead, the star, you can see that it's sliding there. That's because of this is raise, the bed is flat and this, all of this is flattened out. Values are the same. There must be one day a massive overshoot there. See that? Now if you look all running smoothly. Now if we go to the foot control, you see this, you see that slight movement there is because of this overshoots. That's what happens when exploring overshoots, is we just chatted the mic was on there. So now you've got solid fee and a solid mechanics working. Even here. If we come here, you can even go full on this to get that little flop, flip flop, bit more extreme. You can play around, but you can just leave it. Leave it. Lambda. Could find, as you're doing this, there you go, you've got a solid, a solid basis that what you can do here is you can start to play around and maybe select all these keys. Press awful for scaling. Go to the point where you wanna go to the middle. You don't want to go up here and scale because look, it scales from that point. If you scale in the middle here, it will scale the whole C. Then you can start playing around. And it will slowly start offsetting that. So what I'll do the bottom one of scale that a bit, but I won't scale as much as the top one. I'll just scale it a little bit, whereas the top one would scale it a bit more. So you're getting that big of a weight shift happening is low. Then we'll start working on the arms and legs. Now you've got that working and you're happy with it. Now, then what we'll do with the next one, we'll start working on the arms and then we'll break it down. Working on the head, arms and heads will do next. Because you've got, you've got a nice look at it. You know, you know, the hips are working well. And then we'll start adding the polishing will add the face and all that kinda stuff. Okay guys, so that's spinning this quickly. You're getting that walk or solid. And older rocks move it on smoothly. I'll see you in the next video. 5. Animating Arms And Head Part 1: Okay, so let's unhide the arms. Let's get this, check this up, so that's the walk. Okay, so what we can do now is maybe as the character comes up, is also rotating in y. In y here. We're going to be rotating with the leading leg. Is going to be like that. Right? We use the whole body or we can do so. We use we use them. We use the hips. Rotate. Let's say ten. Let's go to the end and press ten in y here as well, because the start and end pose are the same, right? And the middle one will be minus ten because it's going to be opposing way. Okay? And then again, we'll go into how we could do this later, but for now, let's get it done. I will delete all the redundant within keys. They're flattened that cycle. Just to process. It looks a bit more cartoony. Okay, now what you wanna do is is upper because it's opposing. We want to have this go the other way, right. So let's do -15. Come back here. -15 and the middle, we'll do 50. I didn't go back into here. You can see it's all messed up. Delete those cycle, flatten. So it's all a nice cycle. When I do flattened, I do, I've got a shortcut called alt F as much Schottky. Show you what I mean. You go to your hotkeys here. There's a, there's a video on this Omega courses which shows you, if I go to custom. Here, I've made custom keys, so splicing is OS. I'll do a video, this separate one. There you see there's an opposing a walk and even the twist is happening nicely now, isn't it? There's a little twist going on. We've got that happening. So we'll leave that for now. It's nice little D work in there. And then what we'll do, we'll get the arms. And the first thing we'll do is let's go to the channel box here. Let's bring the arms down. So let's bring him down enough so they don't intersect, right. So let's print you can go around there. Which is what? -70, I would say -70. Not getting in the way of anything. You know what, let's do -68 out a bit. The same on the other side. We'll do -68. So we've got something like that. No reason why it's come up is because all these keys are there. So we can just go in here, highlight, delete the keys, and copy to the end. So go to a movie like this. Now, we wanna do the opposing. So what we'll do, let's exaggerate this a bit of fun. Let's exaggerate. This leg is forward, which means we'll have this back that add this leg. We'll have it. Let's check out the rotation there. E2, right? Let's round it. And this is going to be minus e. We're going forward. Again, copy the first to the last, so it's all the same. We will go to the middle here, positive position, and we want to do this. We want to do this minus the two causes proposal. And then we'll just see how that plays. Is it cutting through there? It is cutting through there, isn't it? So now that we know that's happening, what I do is wherever is happening there. Just come in here. I just flatten this cycle. I know that this is causing it. What I need to do is just move it up, select them both, press Shift, middle mouse button up. Let's get it out. So at least you do the same with the other side's bigger. It gets flattened, decided cycle. You see, I'm doing this as I'm going as well. Okay? So we want to do rotate. It could be settling down negative space, right? Okay, so we've got that going, which is fine. School. Now what we'll do, we'll add. So it will do recover. Ad, will delete all of these in-between case because we don't need them. So as it's coming back, we know the arm will be dragging. This might be on go back. Right at this last exaggerated. But that's cool. Not to worry. We don't mind a bit of exaggeration. In the middle there, yes, Move the key back. What we can do a cycle that. And if we select everything, move it one frame. Let's just create a bit more looseness. Can you see that? Then we can start moving it down. Move it down more if you want. If you think it's too much. Yeah, that's fine. And then we can do the same on the other side. Sector in-between keys. Come to nine. We can come here and just move it back. Flatten that cycle. Actually, you know what, this one will be forward. And this will be the other way right? Now what we'll do, we'll just turn this down as all will come in. Bring it down. Let's bring it down a little bit like this. So this, if we look at the star head, that's fine. That's fine. Going back more, I think. I think it is. Let's check this. Make it go back a little bit. So let's have it a bit funny. We don't mind the pill form that you can start doing is you really want to start dragging the fingers more. So this control is spinning. We're not going to really use that. We can do is you see these, we've got these controls here. These are all for the fingers. So you got this one. Let's let that, that, that, and that, that all of these selected. Now, again, delete everything in here. Checking my mic was working, there seems to be alright. So what we can do, we know here we can just rotate. Okay, that's not gonna work. So we need to do select this first, this one, this one, and this one. This one. Okay, it goes all the way back. Alright, so this four controls the 12313. Okay, so let's call it a turtle. These first we are going to be other one after we delete it, delete this. And sorry, excuse me. So we know when it comes back here, we know we want to add a bit more dragged to the fingers. That's cool for me. And if you come here, we know it's gonna go forward a bit. So we just copy that, that we look now, there's a little bit or that drug right? Now. Go into the graph editor. Will just flatten this all out. Now what we wanna do is you want to offset. So we'll leave the first one how it is the second one. Let me undo it. So let me cycle after cycle this for it to work. Let's go to the third one and go move it one. 6. Animating Arms And Head Part 2: Alright, so we offset that by one, this by two. Now we're going to offset the last 13 by three. So you see it's going to create that kind of drag. Will do the same with this top one here. We're going to move that by one. The second one by 212, I'm pressing Shift and middle button. So I'm selecting everything shift and middle mouse button. And then moving it across. 123 is the last one. So it's going to create this kind of waves. See that you're getting that kind of drug. What we'll do that middle one, the one at the back. Oh, hold on. Someone's doorbell. With that last one we select, it, will move it here. We'll do the same thing. We just rotate it, rotate it back, leg up. And then at the front, rotate your food. The middle click, save it to the end. Now what you're doing, same thing. You come in, in, same thing. Leave the last one is again hair flat, everything flying here and cycle. Move this by one, flatten everything and cycle. You can select it by two. And then that one, that one here, 123, flatten cycle. And then that will create, that will click drag. And if you really want to make it, because they're all, they're all moving at the same time, right? And if you really want to offset a bit more, all you do, all the fingers moved at different times is select one of these controls. So this middle finger. So you've got all of these controls. 1234, you know, you go for selected because a is called the names. Literally all you're doing is selecting everything and moving that maybe 12 frames. And then get the other control here. Move that 1234 frames. Now. Kind of move it back one row. You can play around with it forward or backward, but you can see there's a bit of a drag happening there. Now. Now what do you want that on a robot? Probably not, but you know what? Last-minute drag. And then if you want to really polish, we can translate them. So it's a little stretch. We can do that when we get to know maybe these parts are big floppy, floppy robo, Then basically has the same you want to do the other side. So I'll just quickly do it here. You've seen the process. And I'll just quickly select all of these. Selected all of these delete the inside is cool because we know this is going back. So we know we can just move these back and then basically copy it. And in coming forward copying others. So we'll just call it like a wave. Now what you wanna do, same thing we did on the other one. In matter of fact, I'll do these both together. We will get that and we'll get that cycle by one. Move it by 11 day. Okay, the next one, move it by 21 to flatten cycle. The next one by 3123, flattened cycle. Got that happening there, right? And then obviously the other one, which is difficult to find, select these, come back out this way. Same thing. Delete everything in the middle. All right. Just chocolate, the microphone, the officer Taylor, rotate again, rotate it back, copy it, go into the middle, rotate it forward. Come back. Now that I've gotten them all selected our moms of cycle the moon as well. Then same thing here. All you're doing is selecting the one below there. Move it one. Knew this 11 to this 1123. Now they're all going to be moving the same as you can see. And then we'll do the same thing where we'll get all of these controls. And move it by one. And then we'll get these controls. Move this by 212, and then a list of all different levels. If we look now, the timing is slightly different way. And you've got that happening so that we've got the all working, how we want it will probably flop. Which is cool. Now what we can do is start working on the head. So if we get the controls back, you see you have these controls here. Move the passivation rotate can imitate. You can rotate. It will select all of these. Delete, select the head, delete. Matter of fact, we could select all of this area here. Because you got keys on it. We set the keys at the start. Then here basically what we can do is you can be like, alright, the head is up here. And then when it lands two frames off land, it comes down. And then it goes up. And then learns. We can do a little something like this. You're creating. You can play around, you can play around, or you could have a weaker also try one way. Maybe it might be better if in the middle there. Right now I work at two years. Sorry. Let's keep it like it was originally. So we've got that kind of up and down going. Alright. We could do the same thing like we did with their hands. Let's have a little experiment SER, looks. This is how it looks. Let's bring it down a bit. Let's keep it a bit subtle, slightly moving. Now we can do here. We can use, we can select all of these keys, make sure you mark is on zero. Select all the keys, copy, and go and select the next free. Delete the end frame. Come back and select all the expectations and it can go to edit, paste. And then the cycle that see now you've got all. But what you wanna do is, I think each one you do, you just want to reduce, reduce a little bit. Next one, you might want to reduce that a bit more. Then the last one. So each one is less than c. You can see like a little chain effect. The other thing I want to do is if we go back here, you might want to just offset that by one. Offset this by 2/1 to make cycling. And then the last 1123. So you'll get that looseness here. There's a little bit of looseness there. Then it was too much doin, doin, doing. So it's a bit we're going to use up man was happening. So wherever it is we're doing. And you might just want to take them all. You can do is just select them all. And then come back here and then just go like halfway. And just scale it, scale it halfway to scale it down. Just to make it a bit more subtle than if you're not happy with that. Scale it back up. Scale it a bit more down. You could play around with that. Then we might be like, Alright, You know what? Let's play around with this. Also get this bit communism on the public agenda in the policy. Okay, that's fine. So you've got a nice So if you look here now, you've got a nice bubble going on and you know what, you might also need to come forget about the headman. Let's keep down. So if we go down this top, copy that to the end, down, up, down, up. So that adds a little bit of downstream. But if we go back to go for it and we can just play around with this again, psychosis. So you can add more or less this 11234. So you could choose, you could leave it. How it is that? That seems that seems bit cool. We'll do we can just turn this down. Yes. That feels that feels like a bobble head, doesn't it? Hopefully it will probably hit. Okay. Now we can do it. Now we can go to the next video and then we'll do the policy will policy on tonight to bear the eyes, the jaw. Bring it out a bit. Just bring it up a bit. Yeah. And then also work a bit more of the feet. Have it stopped down a bit more with the spacing and timing. All right, guys, I'll see you in the next video. 7. Polishing: Okay guys, we're going to be doing the policy now. Let's check out. Let's just get this, get this one out the way you do this. All right, So let's animate this control. Let's go in here. So let's try and keep this one simple. This control, this control, this control here. You know what, we'll use. This control tastes like this one. And this one. We want. Let's try and rotate this like this. We rotate that back to swallow. It goes back and it's bent one. Okay, It's gonna be a bit different. And then that goes back. That one. Alright, let's see. We'll do this works slightly forward. Alright. We'll do is select all of these controls. Make sure so fat number, flood cycle. Then when we start offsetting, let's go to this volume. Say let's do it. Offset it by one. Offset this by 12. By 123. You can already see is the laying there 1234. And then five, Let's see, 1234. Okay, cool. That's fine. What we can do that for us bouncing, going with omentum, which is cool, okay, now what we can do, the come back here for the controls back all. Let's check out the i's second control. Yeah, we want the second one. The second one here. Let's do one at a time. Let's go to the eyelids. The controls. Select this one. So let's have a null. And also we give it a sad, angry. Everyone in this series. Taylor's delete the end keys here, so it doesn't go back to neutral. Let's see how this works. I agree he's got an AI today is calling for someone see how the eyes can just completely change the attitude of the character. So what we can do is either so important. Mentor used to say the I is never lie. Or I got an idea, why don't we do this? Why don't we open a bit? And this is where the final column, they often have done all the mechanics and everything. Now you can. Well, now you can keep it neutral. We will have side, side is cool and a lower could be like that right? Now. We can do is they could pay. So let's check this one out. All right. And then now we can do is as he comes down, the jaw could slowly come up. And then down. Then you get in that personality coming through. Now, it's like it's like, I don't know, tired and sleepy. Offset the job. A couple of frames that look like he's breathing. So if you didn't want to have a look, one to four frames, sorry, what I'm doing here is just moving the keys back to see how that looks. That's 100. No offset, couple of frames. It just makes him look like he's breathing. Three frames. Even free friends is cool to Fresco. And then you can just play around with it. Alright, I can lift the that's a bit too much, but always better to push there. So you got a little subtle movement, which is nice. We can just bring this down. Just a little bit down. So that works nicely. And then the last thing we can do is if we go back to the feet. So Bender, go back to the feet. Go to the Start. Select the foot. We could select this foot. We could be like, Okay, let's break these joints. Maybe have it come down a bit more abrupt. Look now, it's a bit more solid the way it comes down. Maybe, maybe, hey, that's fine. We have to worry about that because like Coda, that's fine. This one too. We can come back foot roll. Unlike here where it lands. We can break. So you can, what you can do is at the moment the handles are like this. If you want a break or you just go to here break, but then you want to go to Keys. Nor wait, sorry, Q is get this one wrong. Weighted, weighted tangents lets you control some people like it, some people don't. I swear by it. Then I'll go shortcuts for this on my keyboard. So let's keep our choice. We can see, but let me just try and play around and see. Is it gives more of an impact there. See, there's less spacing. So it's more of an impact. Then you can just come in and be like, All right, let me clean. Let me clean. Little bit like this up. So this is all lining up. You can come here, maybe clean it up if you want. Then that's fine. They look cool here. And then this one is the same. You go to this one, we could do this lining up. This is just when you just finessing. What is that? 9.61 will go to the end and just type in a 9.61. Then you can go through each frame and be like, Okay, that's fine. That's fine. Maybe I want it to be a bit more like that. Oh, sorry. Like that. That's fine. That was in-between. Then it is just adding little bits like that. And the other thing you can do is once you have it saved as quickly as polishing policy and zeros 01. Now you've got it all working. You might. This is cool. So we can do, we can make it into solid phase. As we come down, bring it down a bit. Sad face Vasco is red brick is amazing. You can scale the Isaiah was cool. We can add a bit of scale as well when he lands, just to give it that little bit of polish. But Again, what we can do here is you've got this route control, and as you can see, the route control here, It's going straight. So we do this is going straight. So what we do, we can copy this. This is what we are doing games, so we copy this. So people add me on the spot. But this is how I do it. If you want it on the spot, it is select the root controller, the main one, go to the delete all the keys makes what is key is that the star, I literally just paste, paste it in. But the value at the end, it just put in a minus here. And make sure that's posted video just in case you would make it move every level. Now if you notice when it works is on the spot. So that's how you get it on the spot. Daycare, explore. Then you can put it in game. Now, Let's call it back here. We're talking about the eyes. So let's look at this scale here. So what we can do, we can be loud, right? When it lands. When he steps in key. Maybe slightly big. And then back to zero or whatever that are adapted to copy that over. And in same thing we can do, same thing we can do copy all these keys and when he steps again here, just paste it. If you look now, it's a little bit of a scores there right? Now we can do as a bit too much, but we can do, we can select the controls. And here's the scales. We just want a very subtle one. It's almost like it's not there, but you can feel it. If we look now, there's very subtle, isn't it? So we can even move it down a bit more. It just gives it that much more life. And there you have it. So you've got a little walk cycle there, cartoony. You can do all kinds of things. You can speed it up if you want. You can come here and go to select all the keys, move it, then do it. You could do a really slow one. You can check out. So if I select everything and just snap here, you can see where it ends. It ends here. So if you just type in dirty, it should cycle from dad and we now might be a little few glitches day, but you can sort that out. That's not a problem. But then you got sad, right? Yeah. You can go in. If you go, what I normally do is all the ways I would do it would be select all the geo, go to the store, duplicate that. Control PI. Control pre brings everything out, then group them. So when you press, when you duplicate a credit, number one inside that group, you press Control. P, It comes up when you group, it will get rid of that because I've already got one there. So in order for you to match and see which one, you just keep playing it until it matches. So let's see. If we go to, let's go to, Let's put this layer. Just hide it. Select everything. Will be okay. Everything cycling, which is good. Okay. This is I can forward. You can cycle this, recycle the feet. Make sure everything's on cycle. Otherwise, we want the feet to be forward. This cycle. That's the only one. Okay. And then unhide, I like to go into side view. And I used to like to go to wireframe and C until it matches completely. Let's go 259. So we've got 259. That frame looks like everything is much. Oh, it's not properly matching. Alright, let's check out. Okay, cycle to this. That seems to be alright. Oh, it's this. Let's have a look. See that's what it is. Look. Rotate. Cc little glitches like this. And then what we can do this 11111111. Okay. There you go. So that's basically you can just really slow, but you can play around with the timing. You can bring it back, love you. But yeah, that's basically how you do walk. And then just by changing the face, the eyes. I'll talk more about this in a conclusion. But when the next shape, the shape below, it is a sad character. So all you can do if you've got existing Walker and if you want to change it to the x-axis and just start ordinal. Can you rotate? You rotate it now? You can start rotating it like this. You're already changing the attitude like that. Yeah. It's sad, isn't it? Then you can even have the arms less rolling them just forward, like this. That's a simple walk cycle with a call to the characters. I'll do some more animations with this, really enjoying this pro rigs definitely were subsequently to get into r6. Brilliant. The guy who created this Ricky, I'd met him, he was an animator. I met him at my graduation at Animation Mentor. And he broke off doing his own thing now and he's made pro rigs is brilliant. It's a great animator. I remember one of his lectures that animation mentor. I'll see you in the next video and we'll conclude on this class. So let's, let's go. 8. Conclusion: Congratulations my friends, you have just finished how to animate a cartoony war, and now you can go ahead and apply that to other models. Pay around, play around with the poses, timing, what have you? The basic fundamentals are there, what you need to do to get a decent work? And then you can go on from there. So what did we learn? We learn how to do the contact pose, the down pose, the passing pose, and the highest pose, and then back to contact. And then we create that same cycle the other way, the other leg. And that gave us the continuous cycle. We also learned how to, how to do a walk going forward constantly, and also how to make a go on the spot, which is very useful when you're doing video games. So I hope you post your projects. I'll be in the discussions. Just post your projects on Skillshare. And it's all gonna be double feedback and all tried to improve together as a community are our guys. There will be more classes come in, check out my fundamentals, principles of animations, whole lot of courses or go on Skillshare. But there will be more coming in the cartoon series Nasmyth focus. And I will also be looking at lip-sync in as well. We're gonna be doing a lot more these kinds of classes this year. I also got a YouTube channel where I share a lot more tutorials and also share my fitness journey. And also reviewing animations on TV shows and video games, and also book reviews, as well as the militia painting, which is part of my hobbies as well. In the meantime, happy and the main, and most importantly, have fun animating, stay healthy, love you See you later.