Fast and Simple Character Animation

1. Introduction: Hello everyone, welcome to this course. My name is Marvin model. I'm a freelance animator. I've been doing freelancing for a few years now. So I've developed it this way. This is how I do my characters. So I think this is the fastest way that I can make a character. Because you will find out that if you want to do a complicated pre-given to do a full link to take you a week or so. If you average determines choose to speed. So that obviously is a lot of time. So if you're a freelancer, you might get a job that's requiring you to do animation. That I do as important. So I'm think anyone can, can follow along and create these drugs. If you're a beginner, if you're an absolute beginner, feel intimidated. Still you can watch this course and gained something. So this is the way I do my characters. It seemed pretty straightforward, dingy, intuitively than in less than two hours in jovial character. So, yeah. So what you're going to be covering, because adding the character design from the design research that I do, I create my characters both the front view, side view. Then going to be doing the actual hierarchy of the layers. Then we drink deformation. Then we do the actual animation for the front view and side view. Then we're going to be doing lip-sync as well. So in order for you to get the most out of this tutorial course, what you need to do is you play the video, you stop, then you go into it on your own, on your own PC or computer, that your brain remembers what you've done more than once you've watched. Hope it's making sense. Like if you do something, your brain is more likely to remember that, unlike if you just watched all federal from start to end without doing the actual exercise. So what you need to do is you play, you pause. You're going to do new PC. You play a game like for another three, for another minute or two, then you go to repeat that process on your own computer. That way when you finished all cause I guarantee you will have learned something valuable. So yeah, that's our that's how I used to live. Before that, I used to watch the whole thing just again, a way that I lean. So yeah, that's what you're going to be covering. That's the purpose that the whole course. If you have any questions in the contributions, you're more than free to contact me. So let's get into the tutorial course. She is. 2. Research and Character Design: Hi everyone. Welcome to part two of the tutorial course. So we're going to be doing character design. So these are the steps for, for, for, for character design. So we're looking at bad data sketches and the final character. So yeah, this will guide you. This is the process that I use. You can use your own. So these are the details for the for the character? No. So I'm now doing the research part. I'm going to be speeding up the video a bit so that it doesn't take much time. So I'm just looking. What I'm thinking is I'm looking for characters that I like that might fit the description. So I created a separate folder on my computer. So just look forward to see your pictures. So I just go around looking for images that represent the character that I want to design a Zoom. Just look for pictures there. Yeah, I'm looking for pictures as you can see. So just keep on doing this is because you can create, it's usually the seasons at is that include a character from nothing. So what? I usually just look and see how others are doing it. So actually, when you then create your own character, you know how, how best to go about it. It's more effective that way. If you can, you can not going to be so much connected is into total. We're looking more and more. Focus is going to be on animation quickly. Any meeting That's huge. Yeah, we get you to a place where you can comfortably animate without much difficulty. So these are the characters that I've chosen. This leading. I'm looking at the one in orange. I like this one. I like the champion for injury on his own. I like this, this thing. Um, I like the heads. Let's start two biddings in bits, long name and my PZ. Choose the destination that you want to ask if the file, the project that you want to name it appropriately so that you won't get lost. Apology. Apologize for my poor. Speeding the lids begin. Yeah, this is a fresh copy of Toon Boom. So there's this free software called PRF is amazing guys should definitely download it. It's free. It helps you in terms of overlaying off some of the pictures you can create your drawing, you somebody to look at. It's very difficult to do that without this application. It can resize the windows if you want. I'm putting together the character so that they're easily accessible. When I went in one-on-one to look at them. This is merely say seeing the pictures of the pictures that I like the most. So you can do what you want with it. You can overlay. You'll definitely see how useful it is when we start the drawing pad. Just thanking me, give you the perfect. So forgive me for taking a bit of time on this part, but it's due to save you time in the future. So trust me to definitely saves you time. Yeah. I think we are done here. Let's go back to Toon. Boom. Okay, So you need to set up your U, your, your interface the way you like it. This is like the default one. I usually use the default one. So just check the brush. The brush if it's if it's working properly and the thickness that you want. So here I'm just testing the underbrush. They usually use a red color or a blue color when they escaping, but I just use black. I usually just use blank. So you see just how PRF weeks the pictures as to on top of the window. So you can do your work, but to have a place to, to look. The aim renaming the layer, you should definitely name your layers. It makes life easier. Transmission has several layers. The youth not labeled the move Devaney live in issue. So now I'm starting with the they usually start with the head. There's a method that I'm not so sure what it's called. I think it's the luminous method where you start drawing the circle. I skipped that part. So this is mu how I do it. I just read an egg-like shape, but the two parties is obviously bigger. I start with the body proportions, because you definitely have to get the proportion is correctly if the characters to look a look believable, because if you miss the proportions, you definitely have challenges with the character. So, yeah, I'm doing it. The first one is the torso, then this is the waist area. This is the west area. Just too big. Indian definitely affect your characters or this is the skeleton part. So I'm constructing a character from scratch. So this is the way I construct it. You can find more methods that you can use, but this is the one that I like to use it simpler for me. This one, I understand it. So yeah, I'm drawing the legs and the small circles at the knees and ankles. Um, I usually put them there so as you know where the angles are, especially beneath the knees, you don't draw the knees. You didn't live challenges when you didn't try to draw the whole leg. You need to know with the with the with the Nissan. Those circles at the top, significant shoulder makes life easier using so yeah. Those are the hands. When it's like this, the skeleton is okay. I didn't move to the second part, which is now just make sure you label your the, the end. You just make sure you label the hand because the make life easier. So now moving to the second part, which is now doing the final, final character. In putting in the features, I usually don't do many passes because it takes time. Remember when we're waking time. So I just go straight into the final, final, final, final character, but at the same time doing some changes. So make sure you do the changes as you go. Don't be dark with it. With one design, just do the designs as you go. I don't say you should do about 345 designs and then choose whom they then develop it further? Yes. That's appropriate. Yes, that's what you should do? Definitely. I usually don't do it because I'm pressed for time. The lens that I have to meet, so I just do one or two passes. This is okay. Then you wait because if you do five, definitely take time for, for, for, for the purpose of this Julia, we're just going to do one because it saves us time. So you find out i'm, I'm, I'm I'm doing the while for the orange orange given to give me an orange with a paper bag there. That's the year that I'm trying to emulate. The Ada, use the one in the 10D native bees or are they too bright on PRF? That's the one that I used for, for the end. So I'm just taking features from all of these skills. Now I'm working on the body. She's going to be reading the address, is going to be reading interests. But I wanted to make it a bit shabby like the one in yellow. One is putting your hand up. But I thought to be too much, so I toned it down a bit. You really need to look at them onto me and the proportions, the proportion, who traditionally TOPO. So you can use this process to make any character that you want for anyone, for any projects and it'll still be okay. It's minimalistic, it's simple, and it's straight to the point. Receive a lot of time. Reference is a very important, especially with We think that you don't really memorize because the memory is very good. The human, the human mind. It might, you might be confident that you remember it, but you might move in by very incorrectly. So that's why you need, definitely need references because you might think you didn't know it, but you might not you might not be accurate memory. So that's why I need I was living in a n as having difficulties with the US. Why? Google did. It definitely helps. It definitely helps transmit, definitely helps. So, yeah, just use Control C and Control V should. So that's controlled peer control, coping control, paste. So that's how you save time and you'd rather than drink two legs. I just draw one, then copy to the other side. Yeah, I'm just trying to refine the character a bit more. Just trying out new things. Just try it out and see how it looks. Don't be afraid, don't be afraid even if it looks ugly. Just keep on going. Because that's how you lean. Never be afraid to try new things, just didn't see how it looks. Beer for this tutorial, the next one, so that you continue with the character and finalize. Then we move on to the side view and then we'll do the rigging and animation of the characters. Yeah, watch the next video. 3. Character Side view Design: Hi everyone, Welcome to the third part of the tutorial. So this is how the girl is looking. Now we are moving on to the side view. Side views are very important because when you're making your animation, you need to switch the directions. So that is interesting for the audience. So I drew the guidance for the eye, for the nose and the mouth so that, you know, this portion of the mouth, in these parts quintessential, it's easier for you to drop. So basically I just draw syndrome because the focus is on speed. They're not necessarily making the most amazing, but the focus is on speed. So this way, this is how I do it. It's quick and easy for me to do this. So if you want to do this, you can do this, but also some use the line tool. So you can use the line tool to draw a very, very accurate, very accurate guidance. So this is just me looking at during the side view, we can look at different images on the Internet. On the side view of a human. You will need to look at, you need to look at, you need to look at your reference of the side view of a character. So that way you know how to draw the side view. I've been doing this for some time, so I'm using my head. I'm not looking at any difference. So you definitely need to look at a reference if you are starting out. Don't worry, you'll usually get there slowly. So I would urge you to look at a reference. This is me during the, during the side view of the jaw. The jaw connect to this cow where the ear is all that's really unique to the position of the joke goes goals before the, the e. So that's where the joke when it connects to the ear. So this is just me doing the sketches as well. This is me during the eyebrow. You need to be consistent when you're doing a side view. It is to look the same. So this is, I just copied the left eye. The left eye is what we're what we're seeing. So that's the eyebrow. I'm doing the eyelashes in the eye. This is me deleting the gains, so I'm done with them. So now you're just eyeballing it out to how how it may look to you. If it's not looking quickly, switch it up. Don't be afraid to switch up. To be experimenting and changing you feel things. So this is just me. I'm now moving to refining the sketch because the lines were not two. Okay. Then enzyme that degrades because I don't I'm planning not, but I'm planning to do another pass this. So this is the final, the final part. That's the front view of the character. Now I'm doing the cause is the big patch of the head. So that's the big puzzle. If you look at a reference, you get what I'm trying to say. So if there's a method, so the top of the head is the bigger part of the head. Now I'm doing here is trying to match the front view. I'm just trying to meet defined furniture so that is in line with it. Because I remember NT has to be consistent when people look at the side view and the front of your day, you should imagine that envisions see that is the simplest and redrawn. You are doing this and v to look like a different person. So it has to be Egypt to be as accurate as much as possible. So this is the neck area. The neck area where the front part with the NIC connects to the body. That's the tricky part. With the reference designator. You, every way you'll notice out draw it. I usually do very terrible time trying to do the neck area. So this is me. I know I've done this before, so it's not that difficult for me. But I guarantee you if you are continuously doing, you get the don't be discouraged. If your drawings don't look, is great. Don't get discouraged. Everyone, everyone, even as we have been the process in time, be patient with yourself. Way if I use Key live with ease, your grid like that. So don't get discouraged. You can compare yourself to someone with ten years experience when you're starting out at all. Don't worry, you'll get there. I'm not doing the globe. For the end. I usually draw them as separate glucose. We're going to be redrawing this. So you should draw on top of the, of the body. You obviously lose some details. The hands on one of the most tricky part to draw. So make sure you get it inference for this, you can look at your end and tend to replicate how your hand looks. So this is, this is the general posts were the ones that I use. The general pose you to make sense why I drew the end. It will make sense when I start to drink easier. It's not cluttered. I use, I used the default keyboard shortcuts for the brush to its ought to be for the ETAs. It's Alt E. So those are some of the shortcut that I usually use. Then to get the selection two-bedroom silicon to it's just control. When you, when you're using the brush tool, you just press control. So next we're going to be doing redrawing and layering. So we'll be going to be redoing the whole character and putting layers then are going to be rigging. That's where we put the hierarchy and then edited format. Then from there we do the final animation. So see you next time. 4. Side view Rigging and Character Animation: Welcome everyone. This is the fourth tutorial in the course. We're going to be doing layering and bringing the normally animation for the side view. This is me redrawing. You need to redraw the character so that you can be able to, be able to layer them. So when layering, you need the layers, obviously. So I'm going to start by redrawing the layers, redrawing the parts of the body parts in the head separately. And so the first layer is the head. I named it face. Remember to name them. Don't forget to name your layers, name them. Important. The first layer is named head office. That's how I name it. You can even, you can use your own name. Then when you do the edge, you're redoing the hand, the side view, the head is also pointing to the mouth. You can draw them separately and then be able to read them later, since I'm only going to be doing any mouth movements here. So I'll just read the head on the same layer. So this time you will be refining and drink the final, the final drawing. So make sure that your line work is good. Don't be afraid to change a few things. The point is not looking. I'm trying to make it look better. If it's lonely, you put them, put it on a different layer so that you can be able to animate the disappointing, it's short. So there's money tool for animation. So I'm drawing the eyes. So the eyes I named it. But it's like the eye without the pupil. Then the eyebrows. Eyebrows. Obviously. I sold by I check if I'm drawing correctly because the sketch is still visible. So I'm drawing the pupil is a fool people. But we use when rigging within dreary fully isobar, looks more like the pacing was looking into this and this is me layering. You put a pig, you put a big, then you take everything inside the pig so that everything is nice and tidy. This is now the body. During the board. We've just the body. So it does not include the legs and it doesn't include the chest area with a different with a different layer so that we can be able to animate everything that moves. You put it in a differently. It's not moving. We can put them in the same layer. You see how I'm layering. I'm, I'm naming everything. You need to name your layers. I needed to get its interests, but I named it here so that I know which way it is. This lens at Ziggy. Now I'm drink the chest area. Now I'm doing the hand. I just drew the hand, the arm, the forearm, everything I've just written the same layer. If you're going to be doing the drink replacements, I still use the same the same midpoint. Notice how everything is looking a bit different from the sketches. Again, B35 to change anything when you see fit. Now I'm drawing the legs. The legs are going to be below this good. So you see how I would do the Iraqi even when I'm done with the drawings. You need to draw the whole leg, even though it's behind this gets me to draw it so that it's easier when you're moving it. I used to do a afflict but I hit enlighten me when it comes to animating. So if you draw the full leg, you just position it like a ligand, which won't be very difficult when it comes to animation. So I created a play called phimosis and then put all the layers inside it. So the pig is like a, it's like a, it's like a folder for the sum. I didn't create it a boot. Another pig within the, the master pink. So this pig is called body. That's where the upper bodies is placed, like the head, the hands, the upper board, everything that's that's above them is recorded in, then you are able to pause the videos is on. Just pause the video if you want to see the layering it with looking. Now move on to coloring. So the pigs are very easy. They're not that difficult. So we just checked them. My my time in my timeline. The last name I chose, the red car. Seems very mature for me. I like it. I like it. Yeah, That's the color I use. You can use any color that you like. Total of combining this does get in the body. So this is me just this is me just combining them, then deleting the lines there. So that is matched idea because the tube where the body and they get together to meet some images made everything a bit more tidy. Just to be very careful with these lines. Used to be careful with the lines looking like address. Now. Now, moving to the chest area, you find out I use the closed close to the pink bucket is close to the chest so that there's no line there's no lines on the inner side so that it looks connected. Now I drew the ends. Now moving into the boards in the proper position. I'm drawing the area where the hand meets the body. I couldn't have gotten away with it by just placing being on top, but I just wanted to make things a little bit more accurate because he moved the end that it might be feasible. We'll continue with the with the coloring of the layers. When I wake, I tried to do everything together like the layering and the NVD drink, but let's make it faster in Gf this week to give less weight, less than the people tool. So if you put people there, you can rotate the leg from the I duplicated the layer, then move it isn't the workplaces. You just duplicate the ligand, put it behind the other leg. No more than one to the head. The head, the face, the head obviously drawn in the wrong wrong position. So I'm not moving it to the line at the mouth always is a different skin color than the rest of the body or the face. Again, I'm putting the wrong layer. I'm moving into the line layer. Again, I put it in the wrong layer. The ICF is partly the reflexes, so you need to put the reflections as white dots, two dots. You put one. Enemy characters will show two of these dots. Me just use. Once you're comfortable with and what looks good to you. So I created a group, so we'll just right-click and choose Group with composite, grouping, with composite mix, everything groups, everything inside the group then creates one line like that. You can see it creates one cable to connect with the composite. This is the layer revisited in visual form. So they are called nodes. Into, if you press Enter, We can hear you can search for, for, for, for other nodes. Nodes. So this is the cutoff. So that's the general I, I, I, I link. Is this a cat? The cat is on the pupil, then the meat is the eyes. The eyes. Then you put a color, a color overlay to it. This is when you telling you tell him to moon that it should only issued only render out the white section for the cutter. So do i o be placed inside? If you're not getting it quality, just repeat the video and just copy what I'm doing and see how it's always going out. So the color override is just to make sure that the eye is only inside the white area. Again for the ions, I just duplicate it and put it down the body with a fool, with a few corrections to make sure that it looks like it's in the inside of the hand. You always look now looking like this. I know the end. Just a few corrections there. Don't worry. Oh, I would say to put all the files for this tutorial in the appropriate section so that you can give access to these Institute for yourself. Yeah, so this is the general layering and layering and the dream of the characters. So now moving on to the rigging part, just choose the deformation. I used the default one. The automatic mode is the default one. Usually when you open the deformation, this is the first one. So we just click on the positions with the rotation is in, make sure that the, that the coin is in line with the body. It covers the body. It doesn't overlap, was below the body. Aligns with the word directly. Now moving on to the digits that I don't think there's need for any deformation. They can just use the rotation tool enters through. Or I can use this tool but sharing anything that will give the illusion of movement. So this is me just testing it out. You need to first select the layer that you want to add the deformation so the face you select it, they need selling deformation to draw, to magically put the deformation on that layer that you have selected. So you see I'm selecting the layer fist, then putting the deformation on top. A busy, I'm repeating the same process again. You're missing link to 1 fifth is over. I don't want any animation in real space with the character. So now we're moving on to the animation, but the character is looking great, the deformations that day. So now we'll move on to the animation, but we need to extend the exposure. That's if I should expect, or you just go to the, to the last layer, to the last key frame. And you just go to the last frame and press F5 or right-click indexed and the exposure that to make sure that the character is feasible throughout the whole timeline. This is me. This is me looking clear reference for the walk cycle was the walk cycle and they are about six key frames. Once I have in the other side, you need to have familiar with with the walk cycle, this one off though. Parts of animation. So you need to know the will of the posteriors for the Danube region. It's available online, so just shake or you can Google works and when they'll be images of the walk cycle they use, I'm just using this tool called the animation to you just to rotate, move your flexible with the deformation and make sure that that guy in that yellow guy on the left side is marked cause that's the animation. That's the, that's the button that makes sure that woman who wore keyframe everything that you move. So this is me. Moving on to the next part. That's the frame 1616. So it's the tissue to frame walk cycle. So I scan the face, but now I'm doing the other side. I'm just changing. The head was Becky's no motion for anti field was what is now moving it back. You see, now I've in general animation looking, smoothing or k, or k for me right now. Now, you need to give him everything. He needs to keyframe everything. Make sure it's keyframe. Then I move to frame territory, then copy the face layer. You copy the first keyframe, the MPC, the keyframe theta2, it will make it to then bloop everything. Everything will be perfectly loop. That's how you make a loop. So you go in between the keyframes, actually have kids. The key poses. You move in-between the key clauses and then find the leg that's going to the front and listed a bit like this so that it mimics the actual movement of the leg. So he doesn't feel like it's sliding. Notice that the leg is just sliding. Need to change that the play regularly so as you can see how it's looking, you need to play animation so that you can see how it's looking. Ucr is important to play the animation is all the time. You need to play animations. It looks okay so far. Energy, the deformation for the, for the body, because this kid needs to interact with the with the legs. There's a ninth. I just moved the body the control board to control Justin, Justin bit so that this movement, in this move the head slightly so that it gets a little bit of character there. The final stage will be eating the deformation will be important. For the chest area is just don't want movement. That movement goes a long way. Let's see how it's moving. It's moving slightly, ever so slightly. Just increase it a bit so that it's easy. Copied them keyframe and visit it to the next. Now, moving a bit more. I think it might work eating the deformation for the body, but this time it's a different deformation is the last one there, the free form deformation. So I take everything that I want to stay stationary then that needs to move. Everything needs to be paid. If you don't use the log of this, everything will move unnecessarily. Integer will be very difficult to animate. So I'm just turning off everything else and just leaving the body deformation alone. I first keyframe the key poses, then I move that the in-betweens, we just move around. So that covers the legs. Make sure that it covers the legs. I just copy paste them all, some of these things to make life easier for me. Just copy paste the keyframes. Now looking better. See all the movement looks organic. Exclusives left, I think one or two steps left. Yeah, it's looking pretty solid. This is the pathway you'd check for the repositioning the pivot so that I can remember there's the upward movement when someone is morphing list. So in females than in females. The Bud Light upward movement makes a difference. Looking at that authentic and do more things. But this is looking decent enough to fool for animation. Principle time. We can leave it like this. But if you can, you can also do a few means like the hands and then like I usually do Easy Ease Out for everything for being specifically for the legs is in Israel does not look great. For the legs, it doesn't look great, but everything else is okay. You see now it's more smooth this out. You see how it's moving out most of the movement. So at everything it's not that hard now and it's being offered formation so that I can see clearly. It's looking pretty solid for me. You can definitely do drill or locally dispatched for me looking decent enough. Yes, we can do since enough. So now moving on to putting on the bare ground and exporting it, I'm going to be exporting it as a gift. It in the camera you edit Camila so it fits the commanding Eddie pig for you to move it. The Peggy does not need to commit it, doesn't move. Just draw the white background. Weeks when we go to the camera and the main budget next index Porsche, extended exposure. If I if you are on extended exposure, eukaryotes only visible. On the other frames. We give. The command needs to be taken and you just go exports, then choose Linda admitting key thing to remember, to remember to put in the keyframe the number of offerings on the number of frames. So I'm going to save it on the desktop. Just choose any location that you want to make sure that the loop is. That makes your loop is on exports and you are required to Linda wait for it to rain. Once it's done doing that in this shouldn't be a GIF animated GIF on the desktop or the location that you've chosen, chosen desktop. So that's the, the admitted. You could be the digging a bit of times too humid of time. But it will be faster, but it's taking a bit of time is done. Let's have a look at our masterpiece. Yeah, that's it. If you have a client, you send it to kind. But usually what I do, I just ask a few people how it's looking. So I get feedback. Feedback is very important. You need feedback. So you can correct the budget is looking okay for me. See you next time. 5. Character Rigging and Animation: Hi everyone, welcome back to the fifth tutorial grid. Now going to be doing the front view. So that will be redrawing part. The layering is the deformations. One thing to the deformations to do it, we're then able to do the animation part. So let's jump straight to it. So this is me read during the face. Usually start with the face. I don't know why, but I like starting with the fitted, gives me a very perfect way of studying the animation or the drawing patches on starting the drink pads. So this is me during the path. Don't be afraid to do some changes that you see fit because it's not the final product until you do the final one. I just decided to change to switch up the hair. Wasn't looking okay to me. The head the top of the head was looking at bit smaller than usual. So it wants to be concrete. So I decided to lower the bit. It's now looking much better now. Make sure that all the drinks are closed like so that you won't have issues with the paint paint bucket tool. Make sure to name your layers is very important so that you don't get lost or you spend time looking for the layer. Just naming them uses yellow roofing, taking infusion. Just copy pasted the eyes, makes life easier. It makes the light, the eyes. The ZD Smith to come, identical. Spilling always initially. I use one layer for the eyebrows and the nose. Don't do so many layers on the timeline. So I just combine these ones. It makes life easier. If you're not going to animate the eyes and the eyebrows that much, you can combine them. If you are using labels a lot, you definitely need to separate them. No, doing the mouth. So this is me just putting the layers in order. The bottom one is the one that's going to be beneath everything else is up there. Nike. Also be going above. The top one is the one that's going to be above everything else. The bottom one is going to be underneath. So just keep that in mind. Now moving on to the board. I'm just doing the board. So they just did Yao excluded because you're going to be animating it on a different layer. Make sure to close off so that the paint bucket weeks correctly. I'm using this close to to put lines, invisible lines so that the paint bucket again, I'm putting paint. If you please K you can feel the lines. No drawing this, this good. Um, I'm thinking mostly about eating so that the movement will be easier. We'll see how it goes if it doesn't work out, I'll combine the eschaton, the top. So that is one complete dress. Usually moving parts need to be separated. It's easier to animate it is separately than if it's one combined huge thing. So make sure you separate moving parts. You can combine them. You can combine it is it's normal. I used to draw the leg, the visible part of the leg. But you always have issues when it comes to animating because you now need to use your mind, a lot of imagination, a lot on how the leg will move. And usually it's very difficult to come up with a realistic movement. So I draw the whole leg even if it's underneath the, the dress. So that when you're animating you know exactly where the leg is. Just a matter of just watching it. Not doing the thing as Heinz are usually seek is we just make sure you can, if you look at reference when you're designing the hands. Now I think I've all the drinks that I need I can copy the hand to the other side is always the leg again, copy to the next slide. Those are my college was read for use in Baker dream, goes underneath all of the other dreams so that your line art is above. Now you can use the paint bucket. You see if it's the ordering is closed off. You want if issues when you use the paint bucket tool. Just the middle of using the paint bucket tool, clicking and say, we want to color. The mouth usually has a different color than the rest of the skin. The few reflections on the pupil. So you might want me wants to put a few white dots, though. They are helpful in giving the illusion of reflection. This is me doing the master pig, so that's the pig that contains everything. So it becomes like a folder so you can put your layers inside that. So I usually put a master pick for everything containing everything. Then I put another pig for the body. So then this is the upper bound is there to contain the hands. The board did the chest area to face is on so that when you move the pig, the body pig, everything on the top part moves as well. So this is what I am named, our body control. Then the other the rest of the legs and the schedule go into master pink. Just copy and rotate. Now. Skewed to one side so that the people do so just click on the pivot to then click where you want the people to be in. It will dramatically change that to the pupil point is easy. Not that difficulty. So this is me using the individual points to adjust the line. Is me just defending the lines. Putting everything into policy, making sure everything is nice and in line. Is me doing the shadows. Or you just do a column, they just choose a blue color, then increase the transparency. The near future nice shadows. To peek inside. The light is coming from the left side. You, obviously your your shadows will be on the right side. So don't mix. It never makes it is me putting it all on the overlay layer. So that's your shadows are separate from the drawing. It's easier to edit. If you ever make a mistake. Always your shadows should be on the same side. The one that I'd put them on the right all the time. Something exceptional. Use that to paint you can, you can adjust this later on. And you dissect all the dreams. That's the beauty of Toon Boom. When you use the palette over the, even if you've drawn so many drawings, once you change that color to automatically update all the other joints. So this is me gripping the all the layers into putting all the layers into a group. This is the node group called DAFfy more character. Does the node group code few more character? I'm just, I'm ordering the lens. That is not too crowded. They're not ordered. So it's just using that to which is pointing up one thing that will automatically order the dahlias for you, the other nodes. So these are representing the layers on the timeline. So I'm using a node called the highlights, which puts a light. I can highlight like the light. If the light is hitting from the left, you can put the eyelid seeking fame, the light, wood representing the light. So this is an easy way of adding light to the whole character. You use a light highlight node and then apply image transform when I play in play image transform node. That to transform lives like creating another instance of the character. So that will act as your mentors. So you just use the pig that is attached to the Apply Image transform. Then you will post to make sure to invade the highlight. Sure you've seen fit to meet you. Nice. I like that. You can adjust it anytime. You can make it sharper, light color that you like. The radius are fixed, the softness of the, of the highlight, then intensity. Obviously, that's the strength of the strength of the highlights. So I'm just moving around, playing around with the values. Do I find something that I like? A nice and soft? Um, I'm thinking I don't want the highlight to be on top of the lines and then trying to figure out a way of doing it. I am saying using the color override. But I thought, well, you need a lot of colors. If you want to do it. Myself. Yes, he can do it using this myth. But I'm sure that we can do it using, we can separate the line acts in the color at the alignment in the color ads, the layers. You can do it, but it may take a bit of time because you need to redo all the drawings, putting the line art on a separate drawing layer. And they are on disability during their code, the line at the color out you put it on a separate drawing, layers on. It quickly gets complicated. So this is me trying to find a way of doing it. That's easier, but I'm not getting the result that I want it all the colors. But it's just not coming out. Deleting all the lists that I've placed. Yeah. It's something that I'll need to look into his own. But yeah. For the bills of meeting everything simple and moving forward, I'm living in but it's looking great as it is. Looking great as it is. I'm liking it. So that's the group for the character. So I'm now doing the usual use the cutter, then EDS, and then put the eyes is they make it the color overrides. Don't forget to invert the cutter. So as you can see, the LAC is showing in line and slowly. Simple way to do that is just juice then color override. Hello variety than goodwill in the selected colors in one liter, Linda, Linda selected colors. So if you choose to only render or white and leave out the Blake. So that way the cut down on it lyses the whites. The alias or the pupil only short in the white. So it just go to the Transform tool, the deformation to use the the first one, that's usually the end. Click where the genes are with the arm moves and makes sure that the code is covering the whole, um, align to the drawing. So I'm just repeating the process. I'm just repeating the process. For the legs as you put a point with the joins me, it just made off clicking New click where the genes are. When you click the deformations are put automatically by the tool. When you go to the Transform tool, you everything will be moving aquatic. For the legs, make sure that the pointer is pointing downwards. The line is pointing downwards. If you put it up. For the gcd, I'm not using a deformation because I'm thinking just animate the lazy to use. Usually extend exposure. So we need to extend the exposure. You're just copying the layers. Are you making sure that the layer, all I represented present throughout the timeline was really a dream. The only appear on frame one switch one to extend to Lizzy frame to 5250, you just take the index. So just to make sure when you're working, the front leg goes back. Like when you walk in, the Zelig does going forward in the leg, back so that you maintain your balance. So just to get the way you unmute, you walk in and tried to repeat on the character. There's an issue. You attend to do what is called foreshortening. The areas that are in front of the R closer to the camera appear bigger than the areas that are behind or a bit far away from the Camila. So he just mimicking that with these trig. So this is, you mimic that you get, you get the animation. So that's what I'm trying to do here. So obviously the lake that motion for this closer to the camera, which are big, unlike the leg that's behind. I hope it's making sense. So the answer is a bit difficult because the rig is not that complicated. If you want to treat them, need to ask questions. I need to squash it a bit. Don't be afraid to experiment. So just the animations, just trimming data. So you'd saying out if it's tweaks, if he doesn't wake, you can change it a bit. So that's what I'm doing. I'm just testing out. So you need to do a keyframe. So keyframes that F6 impressive six to break key-frame. Key-frame in the first part is moved want and keyframe to the 16th, Liam. So that when you do any movement, it's automatically put a keyframe. There are two mics, keyframes for you. So the first part, so the way you animate is you go to the first frame, you put a keyframe, go to frame 16, move again. There will be automatic keyframes. Then copy the frame, the first frame, and paste it on, print it so that it repeats. It's a cycle. It's a cycle like this one, or just follow along what I'm doing so that Mason is looking a bit okay so far, but we can make it better. The legs are sliding, so let's start with that and make the legs go up a bit. So I'm just trying to figure out which leg is going forward. So when you moved up, what Moses or to compensate for the weight. So when you're walking, you're always balanced. So if you move your way with your foot forward, you need to counterbalance so that you don't fall. So we just move things around. In Davis, you are always looking. So this is me just applying a bit of squash and stretch. Because when you move you obviously if that upward, upward and don't want movement. So I'm using this reform floor three deformed tool. So you need to pin every area that's going to move in, every area that you don't want to move. Because it is not pinned, it's going to move. So I just put a lot of pins. So the leg that's moving forward beat up. So we just eating it. Beautiful movement. So just finding, tuning the, the movements and moving and moving keyframes for the big just to see how it looks. So don't be afraid to experience experiment a lot and see how it goes. I'm just adding, easing. Does that button the normal one to making the eyes blink in eye-blink. Just copy the drawing. In, paste it exactly on the same team that you copied it. So as you want, if that would be perfect in mind. What I do, I just leave the line below in the eyelashes a bit so that they are aligned to the bottom. So just looking to commit to fit the big deal. 6. Finalising and Lip sync: Welcome back everyone. Welcome to the sixth tutorial. Six to three in the course, we're going to be doing the animation for the chest area is real, is doing the final touches. Including mouth sink. That's the mouth movement where we are going to be aligning the module along with the mouth. Very simple. Boone is a very simple way of doing that. So this is just me doing the chest area. You will discover that there's a principle called squash and stretch. So as things move the squash, squash, you need to maintain the volume. So if it's stretching upwards, it becomes thinner. We need to bounces it. It's crashes. Just shake the principle called questioning stage. So that's what I'm going to be using on the test data. So I'm done with kids with this question stage for the chest area. Now for the moment you need doubled saving mode shapes. For UT, ever convincing multi-movement. You can be guided by two Booleans or you can just check the audio if importing audio and shake and shake the mode shapes that are the deep by default that day, you can just take, just open any or geom bar. I'll show you later all the microbes that are saying you can check them, just inputting audio, then double-click on the audio EQ, on the timeline name, the layer assigned. You will see the mode shape. So those are the morphemes that'll be drawing. So when I'm doing the drawing, the mouth shapes, I'm trying to keep the the top part's the same. Like the teeth, the lip, and the t for the top side. I tried to keep it the same so that everything is nice and uniform. We don't want you if you don't if you don't want every month that's going up and down, That's shaky. So if you don't keep them in identical EFF very shaky mouth. Give me a main reason why we keep the top part. The same is just because when you are talking, the jaw is the one that's moving, not the upper part is the jaw. The upper part moves slightly, but the Joyce is doing much of the movement. If not all the movements. So just check how you speak and you notice that the Jew is the one that's moving. Just go on the meter and speak. Or just open your mouth. You'll see that the Jewish law and that's moving, yeah. Move on to get a deeper understanding into these things you need to study a beautiful animal anatomy. We would discover that the mouth of mouth, lips if all muscles and you need to try and remember those muscles. So you're not necessarily naming all of them by just knowing the general outline, how they move through to form maltenes. When you're doing scheme is the one that I'm using, that string, those red lines, those are the previous drawings that I've drawn. These helps me to. Guidelines. That's Dorian scheme. So the most sibs are the most jobs and are ready. You can then use the autos, auto lip-sync feature that's glutenin to tune. So just select the audio that you want. And important once you've imported it, I'll show you the steps that you can use to use that feature. It's very awful. It's accurate to some extent here. Who might need some tweaking here and there. But for the general purposes of speech there, It's much accurate. So this is all you important. Adios. Just say go to File, Import Audio and then select the audio that you want. Again, you can record the audio. That's how I usually do. We pre-record the orchard they imported. So this is me saying anything that I want. You can choose what you want. I just spoke I just spoke a few sentences just to get the audio to show that the auto lip-sync feature. So double-clicking on the audio on the timeline, you'll give you this. Does this mean? So right-click Order, lip-sync, then right-click again the map. So you need to select the layer, the multi-layer, just go through it and select the mouth. That's the month they name it. Usually you're doing managing name, so just pick one. So if you can check the same 1234567. So that's what we're going to be aligning two. So that's the main part. That's the alignment part's going to lip-sync, maple lip-sync. So a is one. First select the layer. Don't forget to select the layer. Select the layer. The mausoleum. Then a is one, B is two, C is three. D is 45. F6, G7. Then for x, I usually repeated one. I just repeat one. When you play. I think I did not do the auto-generate feature, all done at the mouth. And then I add another month that I drew. So I think that's why or do lip-sync. Then second, MIP, the lip-sync. I need to choose multistage one month, one, month one. Yeah. This is the mode. So again, a is one, b is juices, Cs, D, D is formed, and so on. So these are the most jobs that are struggling with what they already beauty into the noise, not speaking boys. So I'm just copy pasting the walk cycle that I did. It's a theory to 32 frame walk cycle. So we just copy all the 32 frames then paste, then right-click and choose Paste cycle. You write the number of cycles that you want. A Joel's faith. So it will be a loop. Usually log the mouth layer so that you don't accidentally, I think you lip-sync. I'm sure my recording did not show the audio. This is how you export. You just right click then click Export Movie. Choose the location that you want. Choose the location. Just look for the location. Just look for the the location. Write the file name that you want, write the founding, then save, then click. Okay, it will start out is to start rendering out of the video. What you've animated deal, who will be, will be exported is a good move or debris M fee. Those are the two file types that can exports. So I usually do use any of them, but if you want to use DaVinci later on, you need to use the Move did emoji file type so that he can be important using any other, I can just use the debris MV equals I discovered that the debris empty is smaller file sizes. So if you're pressed for space, you can use the debris MV. It usually comes out smaller in terms of megabytes. So, yeah, if you have a faster machine, obviously you're rendering time Moon would take much faster than my soul. Finally, my oldest is coming out. So that's the one you mentioned. 7. Conclusion: Hello everyone. I hope you learn to enjoy yourself because you have to enjoy yourself. Again, your brain remembers what you enjoy more than what you are, what you're doing. That's not exciting to you. So if you're passionate about animation, if you're enjoying your suffering whilst doing this course, you will more likely to remember what you've done. I hope you enjoy yourself. I hope you understood everything. If you did not get if you don't understand anything, you're more than free to repeat or pause. Slow down the visual. You're more than welcome to do so. So, yeah, this is how I do make characters. It's simply now fits fast. Greatest animation. You can do something amazing with this. You can do something amazing it is. So again, please make sure that you do the exercises. And also you have any questions, suggestions, comments, anything that you want to say, you're more than welcome to get in touch or comment. Yeah, So I wish you all the best for me, Melvin model FU. Thank you for watching.