How To Make 2D Animations With Krita 5 - All You Need To Know!

1. Intro: Hello there. We ever wondered if you can make 2D Animation With Free Programs. Yes. Then this class is for you. We're going to learn to use the free program called Krita. Yes. Krita is the drawing program. And we can make Simple frame-by-frame animations. If you're a beginner or intermediate, then you are and the right place. All you need to do is to hit Twitter at their website content that and a simple graphic tablet. What you need to know about Krita is that just like Photoshop, but it's free. The class is long. Form hours. Don't be afraid to skip. The Tweening is if you think you need for our final project, you need to create it, animate your own knows Character on the skateboard. We don't like Ghost skateboard. Then try to recreate some the other characters shown in the class. There's plenty of choice in clothing is Simple Background For our handling metal house in the room. Don't be shy to share your animations in the rest of us. Thank you so much for watching this. I hope you find this process can be used, smoke all the files from the class you can download for free from the project section of the class. I cannot wait to see what you can make. See in the class 2. Lesson 1 - Move Around The Canvas: Hello, there is some chance now this is create a coincident and we're gonna work with this default setup of Krita retina. I'm going to use five. I know there's numerous hand over here, but I'm going to squeeze five. But it's probably watching this class, I'm assuming there will be a higher version pizza. Use that. Don't use an older version of tweets and electrodes for under that incidence is five. So make sure you get to five. And I showed you in the previous video. So we won't we start anything, we need to hit Canvas something control on how to get that. Well, yes, they talk from Scott area over here. I'm going to create a new file. And it will pop up this middle window for us, Let's say Docker. I'm going to use as a measurement because I mainly do create stuff, animations and banners that I usually use. The Internet space, rather dense than the amount of print. If you wanted to print and you want to get a better measurements, you can always change those premium inches or centimeters, which means moving US. Right now we are going to create something for the inside. I'm going to post. I'm going to use the full version for the H D size, which is 192080. The resolution will be 70 to the wrist and you don't have to touch. Ideally, you can change the canvas, inner landscape or portrait. I'm going to hit Create now. We have a Canvas. Before we scrapped, doing anything to that Canvas. I won't show you how you can move around your cameras because I think it's helpful. The twos here dialogue people like to jump on and explain to every single through what means, what it does and why is it there? We're not going to do this. We need to know helps move around Canvas. So I want to move around the Canvas. I'm going to use only my mouse for this. I do have a tablet, but later on in the class I will show you when we're going to use a tablet. If you don't have a tablet and not worry, you can still use quit. Just wait your mouth because there are plenty of tools that will allow you can do that. But first, let's see how it can move around here. And how would you move around with cameras is by using the middle button mouse, if you hold that little button, shows a handling, it can move like this. You can still use the middle bottom of the mouse and scroller by scrolling and scrolling out. That way, you can zoom in and zoom out. It's very nice and you can still move around like this. That's nice. Yeah, there you want to know is once you start working on the cameras, how you can rotate the canvas, prints something we'll do, like to do that, get the visual angles, especially if you're using a tablet or to rotate on the left. And six to help say the right. And if we wanted to send sense this canvas, you can hit five center. Now, this is really helpful to know, like the arm I paint this information is going to be very useful for him. The other thing that I want to take your rotation is settlement cell. This is the default setting of pizza. We have a bunch of brushes and by default creates a desk often with the brush. Yes, this is the free hand brush to all the shortcut for that is because you can immediately start drawing your Canvas. Again, I'm using my mouse for this, but it's the idea of, first of all, why? First new drawing on your background layer, which is not ideal. Second row. Once you draw something in, you realize that it's a mistake, you can easily hit. Control. Z. That is not ideal to. Neutral. Straightaway is you can pick your time here and take any bushing liking, you lose more time to do so is inverted straps and free for me, I'm going to remove them bushes from this button over here. That way. My layers that you see here, the phone molar. Right now, we have more space. The moment I Scott creating more or less. 3. Lesson 2 - Working With The Layers: How to create a new layer because this and said it's not a, you control the bathroom. If I hit a new layer from here, I can create a new layer. Now if I drawn this new layer, just like that, now looks like an alien. I'll smile that if I go back to my Transform. Now as you see there, a square around the drawing itself is not moving the whole cameras, which is very nice. If I draw something else over here. Another alien. By Scott moving on, they are on the same layer so I can move them individually because they almost same layer. I'm going to hit Control Z because we don't need that. Now we have wall there. First thing, after we know how to move around the Canvas, after we know now to, to swallow them in the burst to the other ones that moved to all the transform tool. Now let us see how the layers work. Then they will very simple. I'm going to hit the last mate for myself. Now have five lists. We're not going to call it the background layer because that layer, if I hide it, it is a land that usually cause by default. It's filled with white column and that's not important right now. It has a fill color. And it's really hard when you start drawing on it to pick only the Jones, the drawing you want. Let's just focus. Let us work just like a sandwich or hamburger if you want to imagine what I mean by that. The Box-Muller, let's say the paint layer one will be my bottom layer. The paint layer number five will be my top layer. The top layer is the visible layer. The bottom layer, the last layer. Not this one, but this will be least visible layer. The last layer will be the background. Let's try to draw something. I'm going to go back to my brush. And I can increase the size of the brush from here. Now some bigger stores. From this wheel, you see here, you can choose any color. Only choose maybe this score. We're going to try to make a sandwich. Again, I'm using my amazing mouse skills. This is the bum. That's one will have some, some lessons may be helping, yes. Now let's layer. Let me maybe if you are a vegetarian, I apologize, but I'm gonna have some meaty burger. Then maybe we can consume tomato, tomato, tomato, shame. I will want to use the same shortcut. You don't have to remember it, but once you start drawing inside, you would like to know it. That's the Control key. If you hold Control key, you can pick any color on your Canvas. I want this color right there. Hit this one, is the control key. I'm going to come here and draw in my my heavier. I know you don't see it. Let me just put that. No. Again. Yeah, good. Yeah. Perfect. I think this represents some very well how the layers here work. The bottom layers, you see my move tool shown who is behind everything. You cannot see it because it's behind all of these other layers. It's on the bottom. Now let's walk. Again. It's on top of this layer, but it's behind all of these layers here. If I do my lectures, I guess you will see that. If I move up, you don't see it. But if my movement now you'll see that it's on top of my base over here, my bump. The meat. I'm assuming he said, I will go pork. Looks like clapping for this one is somewhere in the middle. It's on top of these two. But it's on the bottom is behind this layer so it can be hide them. Then we have male tomorrow cleaners on top. I will need smear layers, but it's behind this top breadth cap layer, LLC. The top one is on top of everything that is seen here as the Finnish hamburger piece. Breadth slice. Yes. This is how our layers, unionization layers works. We can always name orders that I always say that all my small YouTube channel name unless we can coat. And if you double-click on the layer name that we call this vase, they call this Lexis. And yes, that's how you, once you're done naming, naming the layer, you can, once done with that, you can click Enter so you can basically saved the name. This is coma, and this is top. That way you will have better understanding which layer is which, what do you have on that layer? Because sometimes It's not just for animation, but we end up using layers and subtract. If you don't know the name. And we don't know what's on that layer is very confusing and very frustrating process to figure that out. We tested thing, drew a hamburger technically saying, but I mean, this was just for the explanation and I'm going to hit the Shift and select all these and I'm going to send them to the bed. By still we have a bathroom lamp still I can move around my Canvas. I know only know the burst through and move to. But since I use my mouse is better. It's better to know more than these two tools because notice, it's not very handy when the mouse and also Maxi black. Or you can hit this Muslim heat. So he said to the main colors that we have. I haven't tried the other groceries, but really if you're going to use your mouse, so in the other versions, they're not very ideal. If I use this one, does have a different texture. You can play around with that. Remember, do not drill or animate on your background. Yeah, because it's not, it's not, it's not useful to do that. Picking, showing z and always remember to create any live on your plus both. Now let's try two more. The other twos over here. That will help us to work better. We allow mouse because again, the version is not ideal co-worker who came out. And I'm assuming you don't lock having tablet. Before I jump into that stuff. Maybe he's meant to show you that there are other ways you can still join here. 4. Lesson 3 - Selection Tool And The Island: Before we start drawing, as you saw there, I did a chance to drill this island. Sketch. You'll have to do this, I will touch this or you can use any other picture well, that matter, that you want to try to color with your mouse. Yes. Use the mouse here again, I'm going to show you some other tools besides the burst to that for the people who don't have tablets. And even in people who have tablets, I do add up Musial Alpha, the other tools that they're not necessary for for the brush, for the public uses. So you saw me sketching this out. A little island here with this. So this is our sketch. You will find this in the class, extra documents. Psi, you can get it. But before you Trout's full alone, maybe you won't see how is that. This will go. As you know, I do drill, drill this on a separate layer. So once I grab my Move tool, I can move it whenever I like. Fitness on silent and see if you want to move your mouse on the side. There's this rotation. I can come up and you can, you can also move your anchor point. Moving here. And I can move from this point. Now, I will hit de-select why? De-select my movements. To remember it. On this layer, we can double-click this one and we can say sketch. We will know. The other way that you can know. You will know eventually is clue that you can move the capacity of your layers doesn't matter how many layers you have. The moment you said that any layer, you can lower the opacity. We can lower the opacity here to this color again. Now we can move this leg, can say color on this layer. You can call it any other way. And we can grab this layer and we can rearrange the order of layers. I want the color, let me behind my sketch. Sketch middle, top, and bottom. So whatever I call it, I can see the sketch constantly. So now we can scroll the other truths that we have. I'm going to start with a selection. We can make different selections. So this is really hard to work with, but it is very handy, especially if we don't have a tablet. This, if I click on it, if I scarf making a shape, so it will be much easier. Let's say I want to make this shape over here. If I zoom in, if I press, there'll be a button on whom we are at point, sorry, point. And then this handle coming out, this line, coming out on this point. If I click on it, again, this like that. Let's try to make this shape on this island. Okay. I'm going to click here. Maybe here. I'm going to click again, but this time I'm not gonna release like click my inbox and I'm going to drag this on the right. And you see that there is this weird curve happening over here. And it continues. Now. I'm going to continue over here. We try to again press and hold and pull to have this handle. Maybe this is too long. I'm going to hit the right button, disliked this, but at this point Allen made maybe around here. Here. It is very tricky too. So if you don't get the hang of it in the beginning, that's fine. It is one of the hottest years, by the way. Once I get to the same point and click it, we'll make this selection. So what this means is I cannot draw outside this selection. I can only draw inside the selection. I'm going back to my brush. Now in this Cinderella brushes, let us go back to the basic one, and I'm going to go back to me. You can pick the color flat. I have to worry about how to use my brush, how they use. It only covers the selection itself. Now as you notice here, that now we have another layer, which is the selection mask. Once we are done with the coloring, we don't even selection anymore. We want to call it the rest of it. How could these likeness though there's a couple of ways. One is actually, if you go to select Manual there, then you can say a critter, these likeness, let it show I don't need you anymore. You can just click this menu over here or you can use the shortcut. Then again, don't pressure yourself to learn all the shortcuts. Hit this. And you notice that the, the extra layer on top is gone and the selection is also gone. If I hide the sketch layer from these icons, if I zoom out, they do this Parliament. If I zoom out, we will see what we did. Bring back the sketch and we can make the other part of this. I'm gonna use the same color. I'm going to use the same two. Now if he find these two to be very hot to use, there are other theories as well as they did business, alex. It's kind of limiting U shapes. If you're one of those that you don't have a tablet and a pen. You're limited using only your mouse. Make sure you practice a lot with the Bezier curve tool. I'm going to hit Control Shift on a dislike this course there are other tools here and it can make different shapes. But then again, it's hard and don't be. Let's realize, just wanted to show you that you still use the mouse, but it does take time to learn the other trues. Now, the tree, the tree, some salt, sand. We can do this. We can choose different, maybe more warm, brown if you don't want to switch with the brush every time. There's a shortcut for this reaction shift, Control Shift and backspace. And it will call this automatically, this lightness. Now, for the coconuts, we can actually use the Elliptical selection tool, the Ellipse tool, just mentioned, calculus and different color. Here. Be very careful. I know maybe, maybe we can try to delete. Let's you duly first week face. Do leave. This is not your typical leaf. I now I know caption is very quickly, so I had a, I had some sort of sketch to show you that you can go. By the way you can use this technique. Give me know. If you can sketch on paper. You can say to you sketch on paper and then take a picture of that paper. Anything important to create some babbling? Show you later how you can actually do that. It means square over these two, obviously. This one maybe. So we have something. If I hide the sketch, this drawing, we really yet, it's very simple. There's no shadows, No nothing. But we've got these weird, very hard shapes only using our mouse. And that's why you just want to show you that it is still achieve more. We need to still use your mouse. Now these selections here, pretty much the same sort of truth, either find on top over here. You still have this Bezier curve through. But it's a bit different. And I will show you in a couple videos. 5. Lesson 4 - Using The Text Tool: So we will jump in. Let's just take a look of the other tools that we have here. Very quickly. You can do that on your own, small. But since I'm going to use only mouse, Let's just try to see what other terms we can use. I'm going to hit the new layer from here as you already know, I can't stop throwing immediately, but then again, I'm drawing the mouth and that's not ideal. What we can do is we can write text. Here. I can try to track, so I can make spiced threats and right now, cut scholars black. I'm bringing this up here. Maybe we can increase the size of sets. Can do you heard something I will plot. It doesn't appear here. If you want to see how it will look. You can see here, but you see that there's no change there. Hit Save. Now as you notice this, this, this window, this panel here, it doesn't close automatically. The moment you could say that's completely fine. You can close from here. But then again, if you want to change, let's say if I have some nice right, I can choose a font from here. Now this is my folder on my computer, but I can't choose any other false phone here that you have on your computer. We have Halle in this smoke. Now. Again, it doesn't prove it here, doesn't save. So when we click Save, now in this fast slick, I made a class from him. This is the biggest wall. This is the biggest number we can get. Now if you want to make this text bigger, we need to do this different to rather than changing number here because the, the highest number, that principle Kingo. But don't worry, we'll look into maintenance mirror, right? So once I'm done with choosing the tower and the fall, and if I want this to be bold, we can Claire, Of course I can hit Save and then I can hit Close. Now, we have this list square or rectangular lines around. So ideally, if you pull this, you shouldn't make your barrier, but not exactly okay. If you want to increase your password, make it smaller, you need to talk to the principal to remember this. It will give you a slight different rectangular lines around this. But still, if you go to the database, if you go to one of the angles on the corners and if I hit Shift so I can maintain the proportions of this, I get this. I can move this in the center. I can keep increasing this holding Shift. Remember that support. Now if I de-select this box that we have here, we can just simply click and clear. And now it's gone. Now we have a bigger class and it's black, white background. Now the moment I don't follow the, the last year, but now we have a vector layer. That's the one. This is where our pets, this obviously. And this layer is still I'm consumed. We don't have to bother with that one, but then we have a vector lamp. Usually the pets layers are less than pizza. And you can still move this little not like that. Shown and z, if you're not happy with something, you can still move this. And now I'm going to hit Enter again. Now, what happens if I want to change on the color wheel test? Well, I can go back to the pets, which is over here, which is in most programs, the text to the plus icon is the letter T, So you can't miss this. If we wanted to change the color here though, I go back to my test score, not pull. We'll pump it cool. Announced. That was a bad joke. I'm sorry. Go ahead to do I'm going to click, double-click on our text. And automatically it will pull our window, which is fantastic. Now when I say that from this, you don't know how many I can choose any other color from here. I don't know what kind of call I want around getting the call here and here. Maybe a little bit like this. Now I changed my texts. Now obviously it's not change yet. Now we have to click Save. And it's changed and I'm gonna hit Close and it's change. This is fantastic. This is great. Now I can add to your comic, maybe you can make a comment here, or you can add a new background. You can play around with this obviously. And now I can make my pencil a little bit smaller like this. Now, if resizing doesn't work the way my mind works. Obviously, we need to look up something called options. Usually is over here behind this wheel. It says two options. These I'ma, come on. These are my two options. All right, Now I have the transform from to have some options here that you can play with. This thing here is clicked. Now I will uncheck this and I'll try to again resizing this properly. If I don't hold Shift though, we'll have something like this. I don't like that model kit in this area, I help you. This is my options for the corresponding value we're looking at when I'm open for now because as Notice we have other tools here, right? So each of these two that you see here, all of them halves, half extra options. This is always there. Other effects and I can add text. I say outline here or shadow. The way you view this new it is E half note your text there. I can double-click this and let's just name this holding how they works. Now, if I wanted to add something extra steps, let's say an outline. I can hit the bottom on my mouse. I can go to Layer Style. Now I will have another window that I can add extra effects to this. I cannot, and that's the shallow. The person when you complete your how fast critter will give you the changes that you can ingest over here, the defects cannot the stroke which is the outline of the class and it takes a little time. It's not completely black doll, I say I want it to be, but how we can make the outline black is simply, you see your question here. So to find our business to a 100, it's not completely in black, so I can change the blending mode, blend mode to normal. Now should be black. That hasn't been bigger because you can hardly see the shadow, which is kind of a bummer. So I can decrease its size from, let's say eight. It can take to prevent this. But how long do you think? Nothing. Okay. Let me just go click OK. And once I'm done, obviously, check all the other stuff. We can either Inner Shadow, come on the area we can. Ultimately, it's hard to see on a white background, obviously, in a row. You can have Bevel and Emboss. A common. We go, you can play with these and all of them have extra effects to them. Then you can add and you can play with in Canaan, just annoy you want to. I can just move this the width, the outline, and the shallow for now. But this is just extra free if you want to use this. I'm gonna hide this now. And we can move our layer that we created. 6. Lesson 5 - Shape Tools: In KML to the other tools that we have here. Obviously, this is the clear which if you have a tablet, this will be useful to you. Usually adds automatically embedding layer for the calligraphy to delete this because I won't need them. Now, this is the edit shapes. If we had a shape, these to help us, help us to shape that shape. How to make shapes. Before we go to the shade too that we see here, we can go to this line. It says one says a line. Basically, if I draw a line, it will make a line. Now, interesting here. And you need to remember if you're going to use your mouse, you can take advantage of tweets, works. For example, if I'm drawing a line here, it will take the color, the first column of C here, which in our case is black, the foreground color. If I click on the form of alcohol, let's say you don't have the on the wheel here. So you can always access this from here. You can pick another color. Today, I guess violence. Now if I draw again the line, if I hit, hit, if I hold shift, so ideally I should be able to draw on how far is another line. Again, the car will change, the color will be taken for the first box that you see here. And also, if we zoom in, you will see that this one is not quite perfect. It has some cracks here. This is happening. Why won't? Because I'm using a different brush. If I choose the, the basic version control line. Well, you can see the difference now obviously this one's a bit clear because what's happening is the line hits the brush settings, so the burst twos on psi, you can take those as well, but it tastes the settings of the size and the brush itself. If I click on this muscle on this button over here, on this window for me to check out my brush. And then again, I'm using my mouse so you won't see much difference. But whatever settings we have here for the particular version that we're using, those settings will be applied to the two that we're using. So let us say this new line too. But hey, look, there's the rectangular soon let me click that. I'm going to make a rectangular here with the settings of the brush and the column that we have on emotion. And the size of my loan is now eight. Something. Always new lines will be thinner. Now, chances are you may not hit this. You may not hit the way. And the rectangular tool, Here's an outline and there's no filling inside because then again, we need to remember that every tool that HCI here has two new options. So in order to manipulate this, to play around with this, too often you two options and you need to select the clue that you won't work with, in this case in the rectangular tool. And you see here on the angle and there's the moment curving happening. Let's say I don't want to have this. Well, you can look at two options. Make sure you let your tank. In this case, there's a component and then you can look out for, first of all, the geometry options is giving you a couple ideas. I a couple options. You can either fill your shape. You don't have to feel ashamed. We can fill the shape with the foreground power you see over here. Or you can film with the background color. And I'll call, in this case, it's the second column that would see here. Or you can put a pattern inside of your shape, which is nice. But I have had this no fill with the outline. The next option that you see here is going to be the brush or you can remove the outline. And if I control whatever I told Mr. Nothing's happening because I'm not doing anything. So I want to have the brush. And if I want to have the background color, which is in this case the black color over here. I can choose this, but I'm gonna have emerged for her color over here. A rectangular tank healer shape. How to fix the angles, help to fix the corners. Go down. The size. Size now is blown this in the last slide. So I did, I did, I drew that and it will change obviously, is the ratio. Now x and y is our corner. You see here, right now they're set to 20. I believe they're not set to the default version. So I'm gonna fix this by pressing 0. So if I draw here to my head shift, if I won't have a perfect square shape, for example, I will get slight break, better, better coherence compartment these ones. That's nice to know if you want to use the shapes net off provided here. Any other cleaning see here, work the exact same way. All them, all them all nice. They have answer options you can play with and you can get different effects in different. Next one is the elliptical ellipse. Ellipse do something similar. Now if I want to fill with background color, I want to have the outlines competed. Brush. Hello, another shape over here. Well, something like this one way. Because if we're going to use the background color button will call women this one. If we go through the outline to be the brush, the brush color is this one. And the size of the brushes. Increase that and we'll get something like this. Let's say normal to have an outline. Well, simply put no offline. If I come here and just simply give them simple circle if you wanted to get a perfect shape, by the way, remember to hold shift when you're drawing your shapes on your travel, your profit lines. 7. Lesson 6 - Picking The Right Brush: Exception, throw something in here we are tablets. Maybe have a tablet you to follow along or stick around. I guess I'm using shortcuts and right now on my tablet, on your keyboard, you can use pace, whole space to move around and everything else. Control Z obviously to undo stuff. But most of the drawing we'll be done with my pen. Obviously make sure you make a new layer from here. I have my, I don't usually like to draw with full black is maybe something great shortlist. Anybody fall? We witness brush over here now because I have tried to create my own. I don't use that much. But all the emotions that you see here, all of them are free and I follow them on Twitter forums. If you look to the cruciform cutscenes, offers some people in the law is off people who post their work, their general brushes like this. But part of these versions and you will have by default when you install crisis. So don't worry if some of the bushes missing soft brush, I'm sorry. As I said in the DNA, I was very tempted when they were here, I was reading the script that I can keep them here. Obviously. It's a choice in DNA. But once you open them, I once knew scroll down and looked at all these brushes z get integrated to try all of them. Maybe you should try to see which one works the best for you. Maybe try just one version first to stall and joy with that brush, right? And see if it fits. So we'll have a couple of versions. You can charge us, catch the new ones here. And if I press harder OC zone for chromosome, what you can do is pick maybe for emotions from here. I'll try to pick a solid brush, which is this one. Try to draw three shapes. Here. I'll try to practice a little bit. Yeah, let's just do this. Let's just practice a little bit. You asked him to be precise with this. By the way, don't worry. Surf terrible like mine. I'm not showing that much, but I'm trying to get a head hang of it. Witness brush and the lighter I personally like the printer. The stroke looks. And don't forget that you have two options. Right now you can add versus smooth thing. Right now myosin LAN, very rarely I used the other options. We can experiment with those. Yeah, just just there's some cross hatching to the stand. You can play around with every brush option over here if you click on this button. And obviously this is your brush editor. And you can also close them. Push over here, you can click this. Usually I go to the size and here's a graph that even if you mess up something, that's just messing this up and let's just do this. I mean, what is this? You can always click this button over here and refresh it will bring this to the default. You'll have to worry about messing up something with your brush settings looks completely fine. Brush. This time I want more scratchy, stretchy version that has a bunch of them. You can just try, try them, try them all. They'll be afraid to try. Now, let me get a little extra choice. This one with this one. Same family willing to throw a square, triangular, triangle. And I'm trying to hatch, I would say, yes, you have to be perfect. Okay. You need to use get out of this and just get the US used to with the brush and your pen, your scriptural of the funding round brush. This one that wasn't perfect. Amazing, amazing, amazing hatching. And the brush I want to try. This one. Came push me. I liked this one to be honest. New, exact same thing. Maybe with this one, I can change the brush size to this different pressure. The pressure. The less I, I push, the thicker the lines get. Obviously doing amazing job here. Need a different fit them. This is definitely not an interesting. I could lower the size section. I didn't know the size and the beginning. This looks like at night. Then what is this? Sunday? By the way, if you press E on your keyboard or I have shortcut on my pen, I can quickly switch to the eraser, which is over here. Now are some nows off. Yeah, We have some weird shading ion, but we did try different brushes. Now I will have, this year, if I go against the brushes to another type of emergencies will show on this MOOC. Brushes over here. Let's try this one. And I will slightly go on top and you see what this is knowing, maybe it's too big. So unless you hit control and try some smoky effect going on, the shadow will have to do this. Left-right. Another version that is gonna do the same thing. Too big, too vague, and maybe it's not a show that would have the thumb effect. This is still a slight difference. Smudge tool. If we go. This is interesting right? Now in the video, I'm gonna try to sketch out a bunch of ideas for our future character. Then we're going to use to animate. But these mercy heating use even whole your background Chang's When you do inside your animations. Even if you don't do animations, you can still use different techniques and that's the idea behind this. So I hope this was helpful to see you in the next one. 8. Lesson 7 - Ideas And Inking: Hello again. Now, I forgot to record all this mindlessness. See here, I apologize. But these are my ideas on the characters that we create and unmake here in, please. I pick up free outcome these, I tried to figure out how we're going to animate them in the style and the style, but with the method of puppet animation, which means, let's say if we have this character here, we don't need to create frame-by-frame animation with him or her. But we only just move the limits of this character. That way we can create a weenie animation inside. Yes, because Training Innovation known as possible. Please encrypt a five and above. Before that we didn't have that and we only had a drawing software in which we could have created frame by frame animation. But now we can actually make some puppet animation, aka 20 animation. I want to show you how you can do that. We're going to start first with that and then we will move to frame your friend animation. Because family, family animations curve, I'm consuming simply harder. Let's say if you don't feel very confident in your drawing skills, you can get easily discouraged by frame animation, but there's nothing to worry about here. So what I did manage to record is the inking process of the character that I put up. I put them here, holder, and now you see them. You see the process when you try to add something. Despite English, probably try to do that. It takes awhile. And yes, your best friend isn't going to be Control Z because you're never gonna get the perfect angle, the profit line. And it's something that you need to practice over and over again. So if something, let's say you're inking it in particular doesn't quite work out. We all have been on this road and a lot of us are still on this row to get better and better. Today. Isn't my free chosen once over here you can give them names. I called his Susie. Hello reason if your name is Susie and Folgers. She's cool. Okay. I did manage to ink them. Susie, here. I didn't notice right now, on your right here, the layers we have now on different type of layer. In this case, this is not there, but this is a folder. This folder, if I click the arrow, books with other layers and another folder inside the folder, I'm gonna hide this and reveal some of them. Sketches, let's say if we move them around, now, all of them are processing. This one is too small. Let's say you have a couple of layers like this. And you want to put them into a group because salary increases when they attract, select multiple layers, Let's say I hold the control key and select Move Polaris. If I tried to move them. Well, Kristen doesn't allow me to move multiple colors like this. A lot for me to move a couple of stuff, a couple of layers. I need to put them into a one hoop. Now you can do this with a shortcut, but you don't have to remember the shortcut this week. My mouth, right bucks and on the mouse. And we're going to look for loop. I can say quit group, put them in. Or you can see shortcuts, individual groups here. So equipped group. All the layers will pop up a group, but also as the layers, you can rename the layers. If you could double click them all. If you double-click on the group and kcal is a horrible robots, robots call them murmurs. In Kikwit enter and you have a name of that group, that folder. Hide this now will have a folder inside in which we are going to have three different list which I did not give names for those, Meredith. Oh my God. Not be like, Okay. Now if I click on the group itself, will call this folder or group. If I click my move to transform from, in this case, can move them together. I think this is good. Thanks. Because we will try to walk you through, let's say this little character here I call this rope called a Susie and this is her all pile up. We're going to try to ink this boy because in the group itself, we will have the different lengths, different parts of the character, different layers, because that way we can actually animate everything separately. And we don't have control frame by frame each of the parts of the character. So that's the idea that we're going to go for it. Let's go with the other characters, which will be frame by frame. But let's just start with trying to. Often we ink our ideas as you see here. Now, let's see how we can make all the parts of them, all of the paths on separate layers and how we can print some color. Again, I'm going to use just the mouse for coloring them. We're going to use a lot of the selection tools and I love the shape tool here, so you don't need a tablet fullness as well. Let's get incidence. 9. Lesson 8 - Illustrating For Puppet Animation - Robo Character: Again, here we go. Here we go. Let's illustrate. I keep saying pneumonia. Illustrate this character here. You don't have to ink this, but I think if you want to try different styles, you may want to ink that the catalysts that escape shell here. But now we just first try to use a mouse. Illustrate this blue here. Hello. That's why when it's new, I'm going to use choosing their mouth. As I said. I'm going to say them free hand selection to, or you can take the natural selection from this one over here, I'm going to press hold your left books on. I'm gonna make a loop here. N my selection over here. Now I have this character, but I need to cut this character. What I want to do is put some on your selection and then put selection to a new layer mode. Now the selection state since November, if you have watched in the previously, let me island. Selection stays until we deselect that flexion. So we can do that from select this language and a shortcut on this over here, control shift on a boom. Now the selection. And now I can hide the ideas layer. I'm going to have this whole counselor over here. Now he's layer that we can choose to put him into has no name. Blank, player number one, pasted, double-click on that. Call this separable. Boy. Let me call this one. You don't have to call anyway. He kind of small here, so I wanted to make him better than once, center him maybe around here. I'll go to my church, Rome to you. I'm going to put this here and I'm gonna hit Shift X prime this more. Now if it's not in spending properly, again through options, and this is alright. Since not all this way is on. So now if I move it, move some extra inch, but if we know a whole shift, then it won't move. And z, I miss this. So make it a little bit bigger than make a small exome in this lesson. So I hit Enter, zoom in a little bit. Now when you make joins, in general, when you make them smaller, like here, always need the quantity will be lost because the list that we're using there harass good listener. I'm vector layers. So it's good to know if you want to have something big in size and you should make it bigger in the beginning. And then scaling it like derivatives, when you make it bigger, it will lose them equality. But if I make it smaller, it will lose quality. We haven't rubber boy. Now, I won't see some power sent to this boy, boy. I'll go to lower the opacity of this layer by pressing on the layer itself can be only applies to notice that not too much, because if it's too much, obviously much, can I so even if mucin yes, it's okay. Now, as I said before, I do prefer some flowers which are here. And these are the course I'm going to use. You have to use the same course. Now, my advice for coloring obviously depends on you. Your color. Notice you have two colors that will compliment each other. Then one neutral color thing, it's hard to work with bright colors and work with to. Ideally, if I bring that in my advanced car, ideally, you want to have contrast colors and you can pit opposite colors. Now, I can put just for the sample, this methane, this is one of the course I want to use. The opposite on this column will be on the opposite side of the wheel here. And this will allow concept car while these two, they compliment each other and this one's kind of neutral. You can still use these. Maybe you can try these colors, for example. You can go with the ones I have here. It's really up to you how you want to combine the course alumina, delete this now. Let's figure out how, what and why. This year has a very simple shape. I almost called this triangular rectangular shape. What we can do, since I want to see the sketch. Alright, I won't see the Roman boy. I can't put this on top here on the ideas. We don't need them though. So I'm gonna create this drop-down menu here. I'm going to add a layer, that layer, simple layer, simple layer that we're going to call this body. So on the body, my food group call this horrible. Boy, called it color maybe. Because we only have more of that group in that folder, we can start building the elements of the character. We're going to start with the body. I will use the mouse for this, as I said before, the body, let's try. Yellow is if you want to put any color on your canvas, simply control, do not release control until you see this icon. Click on the color you want and alphabetically you'll see here on your color wheel that you've got the column you want, or you can see it here as well. So this is a very simple shape. I can use the Selection Tool, or I can use these tools pretty much the same rank. Remember that every two here I just need has two options here, two options. Selection, selection. And now I can go up my brush. I can call this lilac. Or if I'm smart and want to save time, I'm going to hit Control Shift and backspace. And we're going to call his way way faster. Or I can use a two name filter. And I'll try to call this, except the filter is a bit picky in this case because the VL2 sees everything on your canvas. If you want to make sure why it doesn't work the way you want it to work. Obviously opened the two options for that. So these are my two options when they call, they try to mess around over here. Now the problem why the film is not ignoring the rest of the layers is because the field is set the sample of it to be all less, which means the field to see only as you see here. We will see this nice little extra on this layer over here. To prevent from that new, obviously you can leave this current layer. Since almost current layer that we have body, There's nothing here. It's at this selection that we have made. And when we click on this and it moves is called the selection. But show that if you go to use the field trip to color your selections, which is put on current layer. Sometimes you forget because if we tried to add lines and stuff, you want to go inside the lines, then the filter will ignore that legs at home. So maybe they'll mess up a lot when the field to in general, I'm gonna show you how to cope with the field so in the future as well. Yeah, it's a very interesting tool that not always work properly, but once you know how to manage the options here, we'll Control, Shift and deselect our selection high humans and sketch that I have done now we have this, we have this now. How to make this file, let's say another color. Let's say we've got to make listen this call here. Well, thank you for asking. We can use we can use another selection layer, which is the curve selection. And I just called the alerts. Now, it's tricky to which you have seen the video in the beginning. So I'm gonna hit a point, I'm going to click on a point. I have a point. And this line coming out from this point. I want to make a little curve over here. So let's warm, maybe it will be here. Let's move on here and this point here, here, here. Now, if I let my brush go back to this car over here, control track record. You'll see that I'm calling him a favor. I just wanted to call it the yellow box on this. Well, there's a little option here that you may not know is this middle box and the little bottom here. If I click on this, obviously makes showing you on the brush tool. Make sure it's pain. It will only cover not the selection, not just this selection will cover the hours. Whatever you have here on your layer. In this case, if I hide the sketch. I only have this yellow rectangular fee here. My brush move be able to cover only on the rectangular passed on this because it has colon. Now, why I cannot call him almost because I have a selection made over here. So once you have a selection, you can only work inside of this selection. Inside of this selection though, this part on the yellow triangular, triangular, rectangular shape, but it's all here. I wouldn't be able to call on this spot, not outside of the selection. That's a very good way to help yourself, especially if you only walk in with the mouse. So I'm gonna hit control shift and they yeah, we got this. We're currently happening on the sketch again. This is my body. Now. Obviously there's some extra path. I in the, I call this a lot. Yeah, I can't be on separate lib because if I want to move the books on site, yes, they can be on the same layer as DES. So can lower the size of the brush to remove this. Because if I tried to core here, let us, if we tried to control in general, I cannot show it because there's nothing here on this layer. On this layer, we have only this. Now, I always made a mess. I will want to make nice. I can use another tool for that. That's the line too. Now we have the same car as this. Maybe if I'm bringing back the wheel to the wheel, to the wheel, the color wheel. I can bring this. It'd be a bit darker. And I can come over here. Hit shift to maintain a straight line. And I will call again on top of the body, can make another folder. Another morning. Hi the sketch. I can maybe a bit more so I can see what am I doing really? Going there, almost there. Kids can make these weird light bulbs, I guess they are against plus o of the bone itself. I always go back to the body and not on the sketch we don't want on shoulder. And I can use other tools like the so-called the ellipse. The ellipse still I can show I can take different column, which is this one. Go to Options because I'm not sure what exactly is the function of this. Now, we have filled to be background color, which is this one. And the aldehydes will be no outline. I don't want to have that way. I wanted to have a foreground color, formula. Alcohol was in the first both Lindsey here. So if I ensure this again, if I drew, if I make a shape and the hips shift will have a hook shaped almost and I can make another one over here. Hide going somehow. Embody. We'll go back to this later. Now I can make another layer call this wheeled wheel. So we're going to create this shape over here. I didn't know about to the rectangular tool. And this time it has no fill. And only the push. Maybe we came in and asked me, what does this Control C that I want to have? The core has to be lazy to be a bit more around then what we have now, how we can do that? I'm hitting the dishwasher. Welcome. Control-c. Go back down here, near around and around. I never collected. So if I put a number, let's say 25, it will go from both. And now try to draw this. We have this nice shape that's going on here. Well, I tried to like this. The other thing that I want, I want to have background color, so I'm going to choose a background color from here. I can hit this icon and try to get this color here. Something like this. Not quite the person actually quite enjoying that. Maybe, maybe, maybe we can switch knows. It's got to have no fill. This layer, hide the ball. Hide the sketch. You can play around, obviously, can do inside Wilson side. But I just wanted to make another layer, make the hand of this, we can make this movie. We're going to put this behind the body. Can call this Hammond. We can build this bottom hand. Emotion, same thing, the same shape on this one most around 0 and x4 think that was in the color and then the filling is not the best. I think this, I think this car. And yet again, you can play with colors. Try to get the best designer yes. Higher than sketching and see how this is going, going somehow. This is pace. This hand. I might hold this base actually. Now I can make this plot over here. Whitney help. The basic curve to my case has no fill, but it has the brush mode we can build this. Can't remove the outline, so make a new layer. Behind something like this. This is all signs to be inside the loop point shifts and behind this now, this a little bit complicated for you and you don't want to make new routes to be that complicated. I mean, go ahead, have to meet your calcium is super-complicated like this. I'm trying to think about how to, what counts and we want to move. So obviously the hand will be moving. This here, can be moving. Maybe the eye here will be moving. So wherever we want to have to be moving, whichever far, who wants to be moved to make an animation with. And we need to have it on a different layer. I guess when you learn again, I will appear out didn't movements. The movements. I'm saying, I don't know anymore. This is a bit too big, but I can make it small. This will be if I hide this and this will be on top of this. I don't know if I want to help take this or am I going to make this bottom the hand to move? Mayas what I might as well just take the base and make them into one layer button. We have to tell this case all my here that I might move this shape. The rest of this has to be on the layers Miller here. And try to make the arm, the arm committing. Listen to this or this message you. Even more interesting. This arm which we could call this hand. Let us see how I'm going to call this hand plaintiffs using the Bezier curve tool. Yes. Now, turn this around. Maintenance light. Have something like this and this won't be the hand on the hidden behind the arm may be the best on the cars. And how we do this. I wanted to make list to me like a magnet so I can color these. And if I hide this now, go on. Maybe, maybe yellow. I don't want to be careful not to go outside of this, so I can just. Click here, preserve the first lesson. It says here, alpha can trunk to make a different color like that. Slept preference obviously, because I'm not doing it. I'll take this car now. Let's see how that goes. Or I can make a selection so I can have better functional over this line. And even changing slight bit slides like this actually shift. When you have something like that. This is going behind here, then you have the arm and body. So here the wheels. The wheels were missing out in the eye. The eye will be on top. Let me call this, I guess. You can call this any other way. Actually. We need a base with this, I guess, use the Ellipse. Do I move this here? This is too big though. Let me just decreasing the size. That's okay. I have to use more layers to construct this. This more layers, more color to remove this now, this smear. Yes. Now obviously, I can try to cut this. Or I can make some edges again. Go. Something like this. Let us see how I move this a little bit. Yeah, that's better. Let's just remove this. We have something like this almost here and I guess we need to add some, some waves to this, this, this and this will be together Control E to merge them. As I am base behind. We can only move this bar. And let's say if we want to animate this, if I have the transform, move this here and I can animate this like that. The best way to go, but you get the idea right. How to do the wheels, new layer. One. I'm going to copy this a couple of times. It's a bit like making smaller copy of that layer. And you can duplicate the layer. And then chemo around here, we can make these into one Control. And J. We have seen yellow video. I believe this will be easier for you. Let me try to position them like that and hit Shift. If I hide this, ideally, I'm going to have wheels. I didn't make this and this and these two congruent cheat in this term. Recall this leaves bony arm, hand, arm, and this is what is this base, base, base hand. Behind everything. Now, I guess we went to I made this. 10. Lesson 9 - Shading Robo Character: Okay, so we have our character. We have here, given the name, we have the best, I guess I'm cool with volume. This is now going to move at all, but we never know can move the wheels and the hand. Whereas the hand and the arm needs to obviously this, to animate this row like this. Now before me trying to illustrate this point, when industries in different parts of it, I also did first try, which will bring up over here, SIP, it's more here. This will be, you can also use this as well. I will leave both of them and the other characters for free. Obviously, part of the class, two trucks, I made them, even if you don't want to illustrate them, right. So you can practice with them as well. This is the first one I didn't. Cows all let small, but now if I try to make it bigger, you will see that the quality is not there yet. Now this one, I hit Control C. This one, if I compare them, you see that here we have, we have some shadows. This one is kind of plot and naming I have done, but don't worry when you, when you get this, you have an AFC appropriately. So if you want to make your characters bit more, less 2D dimensional and a bit more 3D. You can add shadows to them. How you're going to do that. Before we start animating. That's good idea to have in mind. Well obviously you have a human person separate layers. What you can do is let's say this is the more muddy the body. Baldi. Baldi, you can make a new layer on top of that Baldi. You could try to select the Boolean new layer and put those into quick group. Once they're in the group, you can push this button over here, which is the Alpha. So basically, if I grab just to showcase this, perhaps if I have that, the brush and if I tried to call her this way, it will act as a mask layers basically without me present this little button here to preserve the alphas. This layer acts exactly the same way when you check the alpha sine. So it will add as a mask for the layer beneath. The body will have a mask manage. And this one over here, I will hit Control Z. You can double-click on this API, call this mask. His sake of it. We can add some texture to this. Just to make this less, less boring. Let's just say that. So if you go to your brush library over here, scroll down, you should have some effect brushes that you can use. This one was a good brush size over here, the opacity. And if I click again, I'm using my mouse. Thanks. I think it's too much, but if I make the brush size bigger, I can make this be a little bit dirty because he's a hardworking boy. And what else I can do is on the mask layer and I can lower the opacity. And it looks like I can play with the the blending mode of the layer itself. So if I put an overlay, you'll see, if I bring out new position, you will see this effect that's going on. You can play it again with the mode, the mode multiplier, which is more, more or less than this. Usually what I like to do is to put this on the lower one and use my arrow keys on the keyboard. And I'll go through the bending modes top and I'll look at my my drawing and see how they look in. I was to pick the best one I want. The white one was interesting is in the initial, isn't the last one. Can go from screen. I think this is more this is more subtle lightness. For the top, I guess. I can change the color of white and see if this will pattern same way. Not maybe we can change the color of black. We'll see more Schaeffer there. But that's one way to add some depth to your parts of this Robert. Boy. Never though. If you want to add another mask to this body, you can again go to the bulk quick the body. Then, first another layer to that layer. And then you can again make this neck be a mask. Remember the top layer that we acted to be a mass. It could be a mask, the bottom layer. Still this is a mask, mask layer. Mask minutes to mathematics in the body. It doesn't take this layer to be anything. This can still be a mask, mask to the body as well. Now, if I try to exclusion brush, brushes, you can do that on your own force. That's scary. I can. All right, around here, this is, we're using black sprinkle here. Who is Boy? This is the stamp we not going to put mountains in this lesson is that there are other type of home purchase. Now we can use indicator also. If you want to experiment with this brush, will that matter? Stop? Stop. Can go back to new effects. Add some effects here. Again, we can change the blending mode screen. I'm just using my mouse. We weren't no, go through all of them. I usually just put this on multiply a little bit. So it won't take that much. Now in this group where the body and all the mask and hit Control E to merge everything. Once you merge a couple of list, you cannot make any changes on the layers. Now we have completely new layer, we all the masks and they did. So now I'm going to, sorry, I'm going to double-click on this. I'm going to call this body. Now on body looks like it doesn't. I'll try to do that. The same thing for the eye because the eyes is also very flat. Now, I can right-click on that layer and then I'm going to add, No, I'm gonna, I'm gonna go to Bupa instead of quickly, say, quit clipping group. With the click. Quick clipping group, you will get a mask layer automatically will be on the top of your eye layer in this case, and it will be activated to be a mask. It will be called mask layer. So this is another way to get a mask layer for your rare. Yeah, this is, this is too much. I want to be more dedicated here. Dedicate, dedicated assignment. No, it's not. I'm just going to try to make them this weird shadow effect going on. You can choose any other brush for that matter. A bit harsh. So I'm going to listen. That's an interesting course. And even inside here I can. Now, if I had had her haha, I had a pen, I would do this. I don't want to use my pen. We can make quick selection with the curve tool. If I zoom in, you'll see that we're starting to see the lipid cells. So 1 here, the curving, the way you do the curving. If I didn't mention this, you press a new pool and you get a weird curving happening here. You don't want to poke through March, which is the next point is going to be curved as well. Finishing this, we're going to go back to the brush. Maybe not the best brush. Don't be afraid to use salt purchases. Well, make this estimate very slightly. Push this. Something like this. Again, this weird going on there. You can play it at the highlights and everything. But it's getting little bit isn't getting there. Okay. That's all I'm gonna say. Like the who's who? I think the shading here was way, way better. But again, you can play with this. Once you're happy with the shading that you do here, let me just hide this one. Once you have moved that either iBooks and then convert an approach. Whereas it more control. And here, now I can double-click on this and we'll call this. We know what is this? It's an I. I will spend my attempt to shade the rest and we're going to come back here very quickly. This is another way how you can do that. You can literally use the gradient tool, which I guess I didn't introduce here. The way I'm using the gradient through. I made a mask nonstop I just saw, and then I push and pull. But if you have, if you have used the gradient, so you know what the units of this image is showing you here. Great stuff in there. Wow. Yeah, I'm gonna hide this and this is why I didn't hit slight grading from both sides. And then I came with a brush and I use that brush as a herb or as an eraser. Okay. Let's say this is our final product. We have a one folder. Can move this boy, if I had the whole folder, of course, I can move this in the middle here. Now before we start animating, obviously I'm gonna answer. Obviously. We need to have the tools to do that so far creature, the setup for pizza is drawing in. We already are drawing in a way right now. We need to get our animation to double voice. You can do that completely new. You don't try to move stuff around that much. Go to Window workspace. The first one says animation. So I guess we could call that perfect bunch of stuff disappeared and emotion stuff moved away. And now you are probably not worry, not panicking. Get you here. Yet you character still there, right? That's, that's great. We have a new window slash Docker and cryptically called the Windows Dockers and don't know why million special call this a darker. So this is an animation timeline Docker. Next to it. We haven't dimension curves. So before you start perking outlet, so that's what we need. We need to have animation timeline. I didn't order to make animation. The audience skin here is not very useful. In my opinion. We can keep it here, the person you are. If you don't have space on your tablet, Let's say I'm doing this on screen tablet and you credit seminar small, then you can remove this very easily. I'm going to keep this one on your screen, the screen that you're using it in a small setup instances too complicated and remove this. But anyway, what we need to focus on now here is to focus on itself. And last year, We are very important. I will add a little bit of ******* here. Two options also important to be here, not always with the overview. Here is the idea where if you're painting something like say, to see it from a wind the smallest size to see if you're getting your compositions right. If you're painting again, we're not going to paint now. You have more characters to work with. So I probably move this. I didn't remove the tool options by mistake. Let's just remove this assessment, remove everything. If you remove something by mistake, Lola warring can bring this back either from the worst president shows you or a little bit smaller. Like me. I know that if I go to the settings here in the Windows, windows, see here they're called bookers. We go to Settings slash blockers. And then we need our two options. Ideally, to have them here somewhere. Where are they? They're there. You can bring back the wheel, the color wheel if you want to. Maybe do. Show well here. We'll show it there, but let me explain too much space. I'm just going to grab the text. Just grab this hope left button on your mouse and just couldn't exclude the two options. I guess he made this bigger again. We almost set now. 11. Lesson 10 - Ball Animation - Frame By Frame & Tweening Animation: It since we have everything here. And also junctions that how the heck, how time works and how to make animations here, because that's why you hear. If you have skip everything else. So first, find you in the right place if you want to see how to animate. Especially if you won't see how from May 20 animation inside creates up. Before we get to the transformation, we need to understand how actually an animation works here. Hi, this character here. I get a new count. You count no new layer, right? Click Test. Going to type test. Now, let's just figure out how exactly this will help us to make a new layer. This is just for the example. I'm using my mouse again here. This one amazing drawing there. On each of these layers. Is he here? Only the list, not the groups, but this matter how many lists you go to Create. Usually this little button here, only to these layers without groups, again, only if layers and you can see here, you can make animations of those layers. Now how to make animation? Well, usually animation, making my favorite nation. Well, this means is you draw pictures, usual characters, you grow anything. You play those drawings together and you can't. The movement that you want. How to get the movement though, is to create keyframes. Or perhaps in general, that's where we need the animation timeline. Here on the two Nice Last see here they have pretty much in the same list as you see here. They just appear on your timeline. In this case, we have this test layer which will appear on our test on this Teslas. So far we have, well, first of all, who are here, we have nothing. You're always circle. Circle, shut up. Now if I hover here and we can see a circle, but on this timeline, nothing quite happens. If I can track here, we can expand and we can see some numbers. And we're going to see a little boxes here. These boxes, these are our little, It's technically speaking. If I try to drag around, nothing really happens. There is no one mentioned claim, which is we haven't created any keyframes on our test layer in order to create keyframes. And we print this little button over here. And it will say add a black key frame, clicked lists and stuff, but I cannot stop. Don't know. Yes, the amazing drone is gone. But now we can actually start making our animation. This here is a blank keyframe. And on this blank keyframe now I can draw similar amazing ball. And let's rename this bolt stays. Because in order to, if I drag this again, the other frames that we have here, the bolt symbol, both stays. It doesn't move. So in order to move the bone, look, let's frame. And I can grab my transform tool and I can go over here. Now if I remove my mock-up previous, you'll see that this square now is blue. That means we have a hat add a new key frame. In this case, we just change the position of this bowling. Yes. Now if I play this from this Play button, nothing, nothing fancy here it should happens too fast, which is not the same thing that we want. I'm going to stop this and then I'll let you some basic stuff here. If we click on this mountain, see the start of our animation and the end of our animation by default, the animation, the staff made from frame 0, which is this frame over here. By default, the end of a 100, which is frame 100. And also the numbers of the frames. It is Z over here is right here. If I move here, this frame will be nine. If I move here, this term will be 12. Now we will need cover old a 100 frames and we'll need to make on each of these little boxes to make frames on top. The other thing is the timing, the spacing here is too fast. Let's say I want to grab this and move this to frame 24. Now, come again here and click the play button. You'll see that there's a little bit of waiting. What's happening here is the timing is change, the spacing, social change. Christian explain for all these frames. These squares that you see here, by all these frames, they are in the same frame as this one. So up until this random here, this is the same drawing has displayed wall to break the child won't show another term. We need to add a new key frame. This case we just move the bowl. Again. This is a ball to another space, different location. Now, this frame completely changes from this frame over here. Now, from 2400 frame will have this sole frame playing up because we don't have any other frames here. They take the previous frame, which is this one on this RAM. This is when the old The elephant is. They take the Graeme that we have here. In this case. We have this little frame. I hope I have explained in this correctly. Now. Helping with frameworks, we'll get into this more detail. But how to make three animation this here, as you see, it's not, it's not smooth at all. How to make this? Is there like a clicker I buckling animation here. It's not there. I mentioned intrinsic worth, different. It's not that confusing if you ask me, but you need to go for some steps before you can actually make this smooth transition to, It's one to place, to place a, good place B. In order to do that. I'm going to delete this button here or remove keyframe. So right now we have only one key frame squared for the whole animation. And also from this button, we can change this to me play to consume 60th frame, let's say because we don't need our image to be that long. And you see how that changes here. It is a bit lighter space over here right now. Alright, now, frame rate, usually straightforward. I mean, you can change the frame rate, but 24 standards. And if you want to make less drawings, you can change the frame rate to 12 left same, but for now plentiful will be fine with us. How to make mention. We have already key-frame on our layer. Now, what we can do is between the animation, technically it's not a nation, but we can make animation out of this button on the layer that we want to tween to make clean innovation on I bought in here. Then we need to add something called shows full mask. This will add a mask. But unlike the other map I showed you, this mass is not above, but it's inside the layer itself. So if I hide it, you won't see it, but you see there's something here. So it's beneath the layer itself. And if I zoom out, do you see it now? Because it's a mask layer isn't true school mask layer for that matter. Automatically on our timeline, we also see the actual small mask now, but will not transform us. Now, we email if we add a key frame, doesn't do anything even if we duplicate, because not only we haven't both of lubricating frame duplicate this, it doesn't work on our transform mask now, this is because when we made three animation, we make that animation based on our transform aspirin. And we don't make that tree animation inside the cleaning, inside the integration sublime. But we do make that our animation curves, timeline, which are a bit different. We don't see any keyframes happening. We do have these weird squares, but they're not clickable on it. Make sure you're on your photo mask layer and you go to Transform electron formula. Animation curves were here. We have an alternate row mask there. And now we have different type of boxes here. Obviously we go to the books on the plus button, which says add keyframes to control scalar property. You have to remember this. This is basically how you will add a keyframe, keyframe to remember the position. Again, the position of this controlling of this test layer, I'm going to click this Plus button. And now scarier still because again, we don't want penetrable frames here we work with graphs can be a bit complicated and I can put in stance on, I'm on track maintenance by very simple. Now, we have key frames in each of these positions. In this Canvas. Let me scan. This joint has position x, position y. It has a scale position x and escape, escape scale position y, shear y and x and y rotation or X, Y and Z. Now we now going to use all these positions, but all of them we will appear once we click to add a key frame for this transform mask, in this case, script through this and maybe on this frame, which is frame. 15. Again, we can see the prints here. We can then again add a keyframe, add another dot. And under the colors of these dots, they're represented by the red one represents the position x, the green one position y. And if I scroll this down, I lost it. You will see that there are more, especially here, but we can't see them. We don't have to worry about what sleep steps can come here. We have to worry about this graph. So Bob, because we haven't shading in here on this key frame, on this spray print 15. I'm going to grab my it transformed one stone. I'm going to make sure that I don't want transform mask and click the bowl itself and I'm going to hold shift them around here. Now, notice something here a little bit. Scroll up. You'll see that this point now changing, it changes value because I changed the position of this transform mask, the position of this layer. If I go back to the animation timeline, you'll see now we have added some keyframes to all transform mask. Rare, but we didn't add any key phrase on our normal layer testing that we have here. The moment I click on the placement and you'll see that the mask layer, the transform assonance disappears for my timeline. But if I click on the mask now you'll see that, hey, actually here, there's something here. And also this movie, we notice if I go back to frame 0 and if I play this, remove artifacts were reversed super-fast because these two keyframes are very close to each other. Well, I can do is to go up more than around here. Maybe. It actually allows me to contract the key frame from this animation timeline rather than the animation curves. Because if I go back to animation curves and complicatedly, that's a little bit caught and walk with them. So that's why this is a new future by way of a creator and not everyone is happy to, to work in the animation curves and it takes time to understand them. This is how much we're going to work with them. We just go to add key frames here. We're going to go back to the timeline and we just got to change name in this case will be the position. But as the movement is way more smooth and it's not like very choppy. In the beginning of this tutorial. I'm this class. Let's just play this again and see the movement domain. Some of them, I will not look. This is one way to make the speed slower. I can meet speed faster like this. Or if I go back here, we're going to have the beginning and the end of my animation on the frame rate law, the frame essence they will get from this. Well, let's say this will slower speed right now. This isn't claw French. If I bring back 24. Move the mark on beginning Play. You see the difference when we try to change the frame rate here. 12. Lesson 11 - Robo Character Puppet Animation - Part 1: So let's try to make the eye move up and down. How are we going to do that? Well, we could look to the eye since I overhear hybrids die and then we will add to that full mask, which will appear beneath. And nothing happens because we didn't do anyway. We're going to go through our transform selection to work controlling t, but you'll need to know shortcut for that one. Didn't mention, but now are to truly see here are here on top. And I managed to have to use your thumb because they kind of go hand in hand with ease. So far we have an oil layer and on that island, an island, we have to show mass. And both of them appear here on our animation timeline. But if I move this around and you will see that it's moving around this anchor point. And that's why it's also called an anchor point. If I click Enter, it will remember the position. But if I scrub through the timeline, the club, make an animation when that didn't work. I'm going to hit control Z. I want to rotate this because I'm going to do, I want to make this go up and down, up. And now I want to rotate this around, maybe this point over here. If we zoom in a bit more, you will see in the missing pixels and we have here, but I can hover on top of my anchor for, in this icon will appear, this hand we will appear. And I can click on it and I can move anywhere else. It will not go outside. You can see it. But I want to move it around here. Now if you cannot grab it properly, it can zoom in and see the hand. Position it. Now when I move up, it will move around this anchor point, which is not ideal because I'm going off of this circle here, so it's not very believable. Nothing here is quite believe that capitalism the colors. So maybe we will limit ourselves up until here to drag this here, rotate this around here, MHC2 here, but not above that. It's just not working. It's not just breaking the illusion. So we don't want to be an illusion here, which is great and I will hit Enter, I Control Z. Even when they go to the Animation Christmas, because that's where we add key pair swale tween animation. Once I add the first keyframe, when this plus button over here, I go back on this and you'll see that reset the point. So now, now's the time for me once I added the first key frame, Now's the time to actually position the object that I will try animate in the right position if you will. So right now I just want to move this over here. And now I can rotate this and make the changes of these position, position, of these points. I'm not going to say this very heavily, but I do have a mutation. I do have a 0 already remembers the settings of each of these points, if you will. A brief of these positions of the mask itself, because successive terms Womack mask number one. This is one, this is what we are animating. Just flip through. Maybe, maybe frame ten. We can make another keyframe. Now, you can move this up and down. I will lose track of time, whereas it lose it that we're working with this sort of timeline, this server animation curve section, thinking it's devastating for me because my scar moving the points. You see that moving the position of this object, but it's really hard to maintain anything here. Control Z. I'm trying, I'm trying to use my transform fluids much as I can and not to use the points here and make curves and stuff. Now, as you notice this place here, the anchor point is in the same place as we hat and left-click before because we already had a keyframe here. Remember our positioning? Always position. Let us say this. We will have some, some may change a little bit, but now alpha is Corfu. Apparently it remembers the first loading. It didn't refresh on time. So that can happen. Since I'm recording this will take me a little bit more time, but it does have this subtle movement. Now around here, maybe around frame 14. Maybe I want this. I click on it again and again, I'm using my Transform. Zoom. Zoom keeps saying, if I rotate this down, if I zoom out a little bit, usually he's now gonna look down how this will look in animation. It will go up and go slowly and very fast down because of the positioning over here. Really hard to try to grab everything and just move something. It moved up the rotation on the y. So I believe it's due. Please controls inner ear. Not capture every single point you can hide them. Of course you can hide them from these. Now, there is no icons and right now we're going to cover just an irritation on, so maybe we can't reveal the rotation. So far we have managed to locate this on the y axis rather than not the y and z, what they might say, it's z, the z axis. And then we have the x and y. So far is we are hopefully on the z-axis and how we can improve, how we can not easy in, easy out. If you're familiar Windows, that would be great if you're not. Well, let's see how we can hide the rest of them. And I can just, I cannot select multiple points, which is a downfall. I can do select individual person. I can hit Control, select more, no, not gonna hit to try and hit Shift area. I can hit Shift to select more points. Based on these, you can have some interpolation which isn't easy in, easy out, which is over here, smooth hits and sharpen, we hit this. You will see that not a requirement, it happened and try to hit this. Now it has some effects to them. Basically what we can do is we can make Mickey curve, our graph, our points, and we can create some way of looking at x. This is what we have in this form. This is what we're going to have. So if I go back to animation timeline, you see that now today, in addition to the traditional math, we have these papers that we cannot add more from here, we can only make changes in the intervention course. Just remember that now if I play this, hopefully it won't crash, which we have a lot of problems by the way, if a new completely nucleotides on crashes. Sometimes that can be annoying. So my tip for you, if you're going to make three animation, is once in a while, either hit Control S to save or you can wait where you go to Save As, and I already have saved this as a horrible boy, dock creates a file, so I can just simply quit. Control, click, Control. Click, press scenario can show unless ideally equal CEP and you solve that very quickly there. So now if I put in a play button, it should play. Yeah, that's that's not that's okay. That's the interpolation that we did with this per store. And then that's just not showing z. If you think that's there, that's wrong. We can try to do this. Getting, showing Z a couple of terms. So we can go back to the initial, can go back to the initial animation that I did. So let's just play this one more time. And that gives him into his, he might be running and then stopping. And I can move the keyframes here to remove the spacing, which is very important. Move it, move it. Now if I play this, we'll get something else. You can play around with those to get the exact movement that you need. I'm going to stop this. 13. Lesson 12 - Robo Character Part 2: We have our personalization. She's doing this and it makes some changes. Let's just do the arm. Now. It almost comes from two elements in the arm and the hand. The magnetic. What I'm going to do is supposed to solve them the hand here. And then I'll combine that with the arm itself. Can get moved me, bring me going back and forth. Again. I would like to do this in a loop. Pink style script can be repeated. So what you can do to make a looping animation. So we can start with this top part from here, the full mask as always. And I'm going to go to animation curves. I'm going to hit they add a keyframe. Now. Now is the time to set new anchor point. If you go on our whole tank nor object. If we don't know our anchor point, I can move it around. But I'm going to rotate this around when it's new and more. I will try to centeredness around the arm over here. Mostly. I guess that's the center for this. I'm trying to look at the line center and based on that line, that's fine. Once I cut this position, maybe I can hold it this way. This is my first position. If we go to make a looping animation, if you want to make an admission that repeats itself, remember in the first position, the last position, they need to be the same. So this is my first position. So I'm going to go around 60 because I want to mention will be 60 frames long. I'm going to hit keyframe again without changing this. Somewhere in Omega wherever, somewhere in between, if I go back to my Tama customers against the trauma around frame turf to you? Yes. I can charge this on the opposite side, not that much because I break this rule to hit Control S to save me test. We had crashing Kreutzer when we're using the Ukrainian animation. Keep that in mind. I'm going to hit play and see how this will look. And since I'm recording the screen, it takes a little bit for this to render, but, you know, send us in the eye because I didn't fix the eye. But this ulcer whole tastes like it's looping, right? That's all I want. Now once I got that, I want to hold take the arm as well and getting that back and forth movement. But I cannot move the arm. I mean, I can move the arm without the top part, but I didn't want them to move together. What I can do, you can do this. You cannot undo this. I'm trying to say here is, I will try to merge the top arm, the hand, and the arm itself to be on one layer. The problem here is that we already have from full mask layer. Once we merge everything together because we can't, we cannot go back and change stuff. We can now go back and make this into two layers. Since we have it, we will have one layer. And let's say if we want to shade of color who kwame, it, will be hot and almost impossible to do so. So my advice to you is to duplicate, to have duplicate layers. Or before you start animating is good to come to your folder where your character and duplicate that folder. You could call this copy right before you start merging layers. We call this copy. Because when you try to change your color, again, you can't change even not calling me to change the part that swell simply caught. Once we have this, I'm gonna go tomorrow. One. I'm going to grab the hand. We have the full mask layer, the hidden layer, and the omelette going to hold Control, select more than one layers. I'm gonna hit Control. And of course this color move time for critical to process this. Because again, I'm recording my screen is slower than usual. But ideally, by the end of this, we'll have one layer than we can. Do motoring and dimension on top of that layer. To see I have a bunch of keyframes. Now, every little movement that we're having here, now we have one layer. Only. This top part is moving. And now we're gonna move the whole left again on the whole, the whole hand. Again. Add a mask layer, boom. Format where we are on a frame 0, which is our first keyframe. We're going to go to animation curves, click Plus button, and we're going to have a keyframe. And I go back to your Transform weakness around here, maybe rotation point, zoom out, go back to your animation timeline. Again, I want this to loop. So maybe we can go back to the curves and go back to the last frame, hit the plus key frame button. We had the same position on line 15. Guess we can go and make this slide here. In here. Maybe we could go back and change this to bureau hip. The hip flight. Getting some really cool movement. I think it's very looping. Keeps saying that it's going okay. I think I can animate isn't the body? Body, it's not connected to the eye, which is completely fine. I'm going to try to make the body animation. We're gonna make a simple frame by frame animation with the body. So no trainee on the body. So I'm gonna hit this button over here again, we own our animation. I'm going to duplicate the frame because if I click a new key frame, it will delete whatever drawing I have on this layer. So I want to delete what I have here. I just wanted to duplicate it in order for me to start animating with a keyframe here. So, so far we have one key frame, which is the body itself. Around here. Maybe I can duplicate again. Here. Maybe I can duplicate again. I'm not moving the ball itself yet. I'm going to make some movement slim volume second now around here, because I have all of them are duplicated. Frames. While he's looking down. Now can hold shift and move this a little bit. His movie up, he's looking at shift there down. Let's see what we actually have. You can play around with the pacing, can make this movement has faster. Let's say the in-between frames will be frame. So we can copy and paste keyframes on this timeline, unlikely animation curves. We can do that on all animation timeline. So what I can do is to basically copy this frame and this frame and then repeat them. This one, there's another one over here, the in-between the world right now if I look at this segment over here, over here, I will see that up until here first, I will see that I'm animating your ***** frames. One frame. This frame is reasonable for 1234 frames. This frame over here is there's multiple 1234. This one over here, 1234. Now, this one is almost invisible, way more than four. We need to fix that. Because if I play this from here, it's like he's moving from her old I'm going to stop coping with this one, this one and this one. I will try to repeat them. It can feel there's a shortcut if we want to ultimately coffee your keyframes, which is OK on your keyboard, or you can do it old school way. I brought on the team if you want to copy, copy keyframes. And then after this 11234, so here I'm going to hit Hide button again. I'm going to say Paste keepers. Here. I'll do that same thing. Almost there. Now obviously here, I'm missing somebody else. It's not enough space. So I might leave this as it is, and let's see how this will go smoothly. I wanted to do is to move the wheels from here that we have. 14. Lesson 13 - Robo Character Part 3: Against having this moving, but we need to make the wave moving. Since I problem its own now, writes them four-star. Or having him what happened when the weirdness and we have the we're certainly not doing well. I should say that Walmart was news. I actually need to redo this layer. So I'm going to draw out the selection tool over here. It doesn't matter which selection. I going to have me burst up to me the eraser MO, Control Shift, de-select here. On this, the lonely wheel there. I'll try to make a shape like this. Rectangular to actually put a foreground color but with no outline. For Hurricane Cora and I was black. We can coerce should we add here, make the size smaller. But I thought this, and I have added the rounding around the the angle. So undo that. Control Z here. Now if I should be more rectangular shape, but this is just to black is very strong. So I'm going to hit Control. Click this car from here. I'm just going to do this instead. Yeah, I think this is better. Now on this wheel, I'm going to try to add it to troll mask. Initial frame. We'll go clinician at a keyframe. It's always 60. Whole plate. This this is me always and this won't be the same center. But saying I was just crypt this r2. Now, I don't know if you can see on the screen because my home is being annoying. So back here, I didn't say about print the kind of crashed. So what I end up doing is combining these two, then copy and pasting the other two and the other one layer. I'm going to leave this in the working part while using this instead of trying to do it by yourself, but greater than person one UPC. So it may not UPC by your CPU is only made crash when you try to do a couple, a couple of small dimensions. But in a way, now we have something like this. I'm just going to scrub through. I mean, it's not that bad. Yeah. I mean, I want to do is to make smoke coming up and the wheels. What we can do is try our first applause. Yeah, our first frame by frame animation. Gonna be, you can still use the mouse, but you can use some of the clues here or sample the Ellipse tool we'll do puffing shop. But I'm really use my pen because you have a tablet, so I will try to use that. So far I will give you some one folder, but I would like to do and you fall a new, a new layer and call this layer Smoke. My time. Remember simple button way. I really hate brush for that. Key is the simplest brush. By the way. I'm looking to find my pen. That's my dependent here. We can know more about the color for now. We're going to go convert frame 0. I'm just going to click create a new keyframe because even though if I Control anywhere on the frames here, I need to have a blank keyframe in all her to stop making animation on the alias for that matter, because right now with this layer has no animation. The moment I create a new keyframe from over here. Now you will notice that this symbol pops up. And also we have this little light bulb. A light bulb is our onion skin does, if you follow this, obviously mention in the previous meeting is not the norm. I'm gonna walk you from my hand here. If I move my marker, you'll see that we have a blank square, has a little applies. A blue frame around. This means we have a black key frame. The moment I started drawing something. This is terrible. This is very terrible. You can do in this slide. I will try to adjust this. Here's the size. That's why it's still. If I move my marker again, you will see now my square, my keyframe is filled with blue. That's fantastic. I think the next key frame I can hit the new key, blank keyframe from here. The previous keyframe that we will disappear. It is still there. If I move Hammacher back again, you will still see it. The Mach and the blank keyframe. We won't see it as good when you use favorite Herman innovation is to activate your own your skin. Not always the principle, ie do, but right now I don't want to see my previous frame. This is our amazing smoke. Now, if my skin, if I play this, you will look at those very fast. What we can do is to fix our facing. Facing. Right now we're animating smoke on one. So basically our drawing, any of these trials for that matter is miserable for only one. We can do this. You can try to do it on, let's say, two frames. So what I wanted to hit shift the last key frame and move one frame on the right track to do that for every single frame that we see here. The black key frame as well. Awesome plaintiffs, it should be a bit of timing. Now, we want to repeat this. We can just grab all these keyframes and hit Open your keyboard and interest track this, and be around here and release. Same thing here. And now when we play, that way, we can always call your smoke. You can leave it like this. 15. Lesson 14 - Robo Character Part 4: It usually when we have our amazing anyway happened a year. Now what else we can do? We cannot advise them onto this white background, to be honest, I'm a huge fan. It is a good contrast. Sure. It's just maybe along with the background change, we can add some speed lines and we can show that this little buddies traveling time and also keep changing smoke and were driven depends on what kind of background we're going to put it back. The background. I think that's pretty obvious. We can trace and borrowed from here, we can change a couple of ways. First, I need to figure out what kind of car. And I was thinking about like this, dark, grayish, blackish. The fastest way he can cover anything on your catalyst is to hit Control Shift and backspace. And wallah, you're gonna get something like this. And also in the small pizza, finding it's too small progress, try, let me teach it from there, but I can see the color here. So this isn't to get eight. I will spend my time with this. It's this ideal. I'll take my color. I won't keep you waiting, but yeah, this is the fastest way and you can color. I will encourage you to use your shortcut for that because there's obviously other ways to do so. Fill tool again. But with that, you will see that if you look to new options, two options over here, you see that the symbol here, so two owners, we want this to be a color layer. Now when I press this, again, ignore this platform. After he had control of times and now my paint and posting the whole layer, I think that's the column go for are always teach my smoke color. I'm going to go to the small players a couple of ways you can do that. Now remember that we already haven't mentioned here on this layer, which is coal smoke. If I color, let's say it's going to be like not quite white button Pilar. If I tried to call her now, again with my filter is not gonna be ideal patrols me there. How to do them. We can go over here and we can call this My once we look in and lets, you will see that lean machine using the exact same thing and the color is not the same, isn't it? That method, hello warmer control. It doesn't work. How to call this efficiently? Efficiently means thank you. Smoke layer or I books in their group and go to clipping, which means we will have one of those, yes, those mask layers. On my mask layer. Let's say this is the colon worked for. I can just simply click anywhere on the screen. It will call on my mask. The mask layer. This is the mask layer that we're working on here. You see that in the method doesn't have any dimension, so on. Isn't going to work with all these frames here for this small Claire. Well, let's find out this, this isn't the most, this is the fastest way you can call it. We can change the color to something. That's the best way, yes. Oci, if you have only one color, all the animation layer is the best way to add a mask. Now it's often just call up the mask where I can just pick this one. I can just change the color and immediately, and now I can curve. You will see that all of them are still changing their car, still the same color as our mascot, which is very handy to know this. Change that to white. I think that way, so it's a fine. Now the other thing I wanted to do before we export this, when we earned our amazing animation, is to create a new layer. And I'm just going to call this lab VG Erin men. That's not how you spell it. I guess. I just want to add a ground or my boy, way I'm gonna do that. I'm going to take the line to like. This brush, it's my personal confession. I call this in keep. You won't have this, whereas previously the same version, this one, something different. I'm going to take this merge and we'll try to see how it moves. Hit couldn't hit Shift, right? I'm going to add this line to add as my as my floor for this horrible boy. Maybe here, maybe here, holding shift to adjust this and maybe can use your arrow keys on your keyboard. Mooney, I just know what you want to press Enter. Business, Not bad. My floor now gonna hit another layer. I'm going to call this. Lines. Will go again to the line too. I'm just going to make them the size of the motion. This way. Yeah, this one is fine. Maybe we can use the yellow color. Now here's a very simple speed lines. Just pass by cell, click Shift, making, clip shift, click Shift, straight line. Here maybe we'll create a new keyframe from here, as you know, will disappear if I want to see the previous one. So whether my own skin and I'm just going to maybe continue this one over here. Maybe a new one we'll pop over here. This one will continue here, maybe around here. So we're animating own fives. We're animating on 5512345. This one woman and one new keyframe over there. I'm going to continue following the why. So we have here, this one will come here, this one here, there'll be a new one over here. We can hide the onion skin. Try to copy and paste them from now on. Select Multiple with Control Shift. Now once you select all your key frames and hit ultimately keyframe on your, on your keyboard and then drag around the same spacing as the previous one. Oops, I missed them. Shift all all to try to copy them faster that way. I think we went down here. I'm going to hit Lay. Want to do now, this is still very static. And I want to move this block. I think the lines are okay. Go back to the rhomboid folder and we have the wheels now, they are in the folder because we have, as I told you, I had problems here. A critical trash close good reminder to save control S. Once in a while, we'll send the chain, I guess, are on separate layers and now they are in one folder. What I need to do is I want to merge this bolus or a button there, merchant hoop from E. It will take lot of time because I'm recording this and always more and almost same now we have a new layer here called wheels worse, because when the group now is, we have little keyframes. Now I'm not going to move the keyframes themselves. I am just going to do another three-dimensional multimode this to add h of four mask here and go to animation curves. The first, the first frame and a P frame. I'll try to get my transform to hit the Shift. Move this up. Here. Down. Yeah, it looks okay, but it's not a looping which I made a mistake over here. I'm gonna move this frame over here. And over here I'm just clicked. So we'll go add automatic keyframe. And I'm going to move this to me, the last one, this one like that. Basically this frame, this way in this RAM, they are both the same. Now it's looping 12. Obviously, the Wilson laba, I gave up on them. I just gave up on them. But now let's do this. Let's just call it n The smoke. How to do that? Obviously, I need to hide the span-wise because they are in my way. I want to see is this smoke and we can double-click on that. Call this smoke or no. Smoke will have to go through every single frame to color. And the smoke going to do that is to put my field to grab this color and changing all layers and simple the photo on the tool in the tool options. And I'm just going to go through them. I'm going to use my shortcuts on my keyboard. Dct, use them if you want to move slowly one by one. I will try to call this. It's like he's like this from this hole here. Nothing fancy by painting the effects. Yeah, Pretty much. Now if you cannot call something properly, either, zoom in to see the pixels, then you do it when the brush is up to you, how you want to do this constant, I want to be fast, super fast. So I'm gonna use my fill to be prettier. Now to see you that day. These ones now if I go from gamma, they always call it y because in the beginning, if you remember, I didn't manage to have all these windows Shift and welcome to split all the frames. Once they basically call cologne them with the old book, then there are these waves over here. Emotion same frames. This one. Now if I print from duplicate frame this room have the same effect. The only way you can duplicate or clone A-frame pizza that we will not know. Let's say I make a change from this frame here. The exact same change will be made in the first frame as well. Because doctrines, if we zoom in just to see, I'm selecting this frame, but this ramp and this swim, they're highlighted, which means they're on the same frame, their copies or clones. But let's just say that way they're clones of this frame. If I take this frame, you'll see which are the close of this frame. If this wall over here and this one over here, pretty much the same price. But you can achieve that effect only if you hold the old bottom. Even if you decide to duplicate the frame, it will not have the same effect as these frames over here. I hope that clears up any confusion, just let me know, ask questions I will try to better maybe. 16. Lesson 15 - Robo Character - Render: That's it. For this. I'm not going to change anything here. I have a lot of layers, but I'll leave you with this whole document. Now you can play around, try to make new animations over this. Once you build the robot yourself, helps you ask for others. Finally, we managed to make something. We can't let say, well, it looks File Export, Venus voice study animations 1015. So this must be it. Well, it's not it. So here it says Render Animation. Alto has the worst. Rather than innovation pop-up window for us with some extra seconds now we can play with, but there's this one, cohere FFM PEG, if we go to the view section. Yeah, that's fine over here. And you can find it on the official website. X a buildup that helps convert basically your animations in QA VU format or click here you will have video. We have P&G. P&g wealth animation, again, simple format. So here we'll give him a very common use format to showcase your animation. Now if we wanted to showcase your animation, let's say you own this theorem, maybe give him which will not walk up to you. So you have to form this MPEG4. Maybe you can even try this. This format as well. This one will work for MPEG-2 is for the win. Now, if you don't, if for whatever reason you will build them, doesn't walk in. You'll see that very early on was the church video section over here. And start loading and then pop up an error message more level that error message, the error message is, chances are maybe you MPG, FFM, PAG build up, moving out and tried to fitness. I have made a couple of minutes on that topic, but I cannot guarantee you that you have a successful job. This, because it's RNA up to me. Sometimes I notice when I update my codecs, my PC call this, you can do that and see if it's safe to do to update UPC, call it. When I do that, sometimes build an action works. Same class because when my buildup doesn't work because I also experienced that I tried to, they might call next on my PC and then it works tasks. But for some people that doesn't work suffers. You have to re-install the bill itself. How to install the buildup may mean, well, twisting normal thing, a folder from the internet and putting the location of that folder over here. So if I click on the folder here and the only thing I need to do is to build up my buildup is in this folder, like this double-click here. And the thing that you need to look out for, bid foam here. And there's a buildup. You press on it plus plus, press Open, and then you will have your build up working in the jail. But again, if it doesn't work, try to get on different trenching, get it from nothing place. In my previous class I did attaching in the working files on the side. So maybe I can do that for you here as well. So if you build up this wall, you can bold that form the files. It will be for Windows. Just let me know because I'm using Windows. We are on the window, the window on video section over here it says the first frame is frame 0, as we notice, once we put this button over here, the last one is the pipe 16. The width is 1920 byte and 18, which was the size of our canvas. The frames per second is 24. Focus by cubic location. That home for 1 second. We have 2424 fresh spraying. This is one Second, one dimension. Kim, that in mind, if you want to make the size of your canvas more, more, we can do that here. You can put this to be 7, seven, twenty seven, twenty by. Predict will calculate what's the other side stream from the video location or we can change our location. I have crisscross here. Boy, Let's say false, like this. And I'm going to click OK. didn't have any error message which we felt chassis. I'm willing to get to the folder. I have this, which is over here. First scenario. This is all horrible. Boy. Pulsatile for my other window. And it's in the smallest size is not 192720 by 4405. If I'm correct, I did this in smaller size because it down we don't need to cover the whole size of my screen. Yeah, I can share this on the Internet. It's up Instagram flash Arizona is three or more YouTube. The way I can share that on this theorem on YouTube, no, I can. Once again go through her there animation. Instead of GIF image, I can scroll in this, in this format. Now, again, if you're told this on your piece, it does not allow any of the other formats because of your color. So you see so many issues. Take a look and update them. You can ask, well how to do that and it will walk you through. So now we will call this whatever. Save I'm going to hit. Okay, again, I'm going to find this beautiful here. Now, I have sent this to be on the hook by five and move this. You'll see that in cocoa myelination is two seconds, which means we have 16 frames around. Here's the 1 second. Second, Second. If you are going to post this on YouTube, will be a bit short. And also the file, the seventh, 20 sizes smaller. Maybe you can bring back the 19 clean by 1018, but this will play only once. So, so far we have seconds where you can make your animation longer and added into video editing program and just copy and paste it. The combo of times you will have an animation. 17. Lesson 16 - Frame By Frame Animation: I am going to do a very simple frame-by-frame animation bowl, smart dimensions here. You can use the dimensions for that matter. Yeah, I'm still hit Create. Okay, So we have a challenge. I didn't remove my onion skin. Now, you'll need that speaking because it shows you the current frame is on forecasting. Famous on this much. Then this much. Again, I removed that just because I want more space here for my timeline. How to add more keyframes to your timer helped make your camera and over. Because we're just going to solve this question on Walmart revenues. When you open this icon over here, show script starts and ends. If you want to have more keyframes right now, more frames in general. Now we have another frame so we can put them anymore to 200 frames, 600 friends or whatever. Now, if I play this, now you see that this is slightly, slightly different. Tone, these frames, it needs a lighter and darker. We can always add more maps that way. Or you come here, you shouldn't push the button over here to add a blank keyframe. It will add a keyframe. From this button. I felt that that was a good thing to show you. I do not need though. I don't need to a key first because I'm not going to animate on my bedroom because it's a fill layer. First things first create a new layer. Call this the background, if you will. Not back wealth as we have, but I'm gonna go with this are, all right, well, let me show you why I'm going to call this are all the bad wrong about some part won't change the color here. Yes. Your line tool and make a line. I'm using my my mouse from this and only use my mouse, Let's use my pen. Let me slightly thinner. This will be on our background. We're not going to change this on the art layer. I'm gonna create an alarm because I will create a impulse involved from one space to another. I want to help myself to enter at how the animation will go. I won't create know why you don't have to do this, okay, you can skip for the actual animating plot. Again, it's a good practice. Just what I needed to do. I can't recall her from here. Then we can use our proof to current ratio to true option. We didn't have some extra options. Right now. This two has no fill, but the Alpine isn't a brush and the brush right now from me is 6.74. Pixels. Can decrease business plans on you. I'm gonna stock from here. I'm gonna come over here, click and drag to make the curve. Maybe I'll pull two here, will be my end of my curve. Now this continues to have a handle because I clicked on it. But I want to stop my, my shape here. So I'm gonna hit Enter. Enter to stop the shape where we stopped it. And it will have the size of the version that we are using, which is over here because of our two options. Anyway, I'm going to lock this layer because I don't want to draw the morning lock your layer from here. You cannot draw on that layer. Now, I can't go here and create a new layer. I'll call this. Can you guess what we're going to call it? I'm going to call this both. On my arc layer. I want to lose your prostate is I just want us, I want to see it, right, follow this off. But I don't want to be too bright. I want to see it as a guideline in a way. Welcome back to the ball. Maybe change your color. Blocking. Yes, or this car doesn't matter. Okay. Go back to your brush. From the brush. I come over here, we can choose any brush. Let's just go with the default one. The default one. No, help him or her on the canvas, we can zoom in a little bit. I think around the 100% that you saw up on the screen, It's a nice quality. And if I go beyond that, you will see that the quantity column breaks 100 pixels and 100th Zoom. It's fine. I can literally Scott throwing a ball, maybe a bigger ball. I'm using Control Z, by the way. Understood the adult like 18. Lesson 17 - Ball Animation: So the idea for this bolt to jump this AUC and land over here. There are a couple of ways you can do that. And the arc as we did. And we can try to make pose to pose, good to decide where I'm going to be our main process. Yes, for this little ball. That way, if you follow along, you will have seemingly saved size. I think that's listen to somebody for one of the main posts will be on top over here. My ball layer. We'll go to frame this frame which I can check the name, the number, and the name, the numbers on number six. And over here, touch on microphone. Here I can press you frame now Boeri in both. Gone forever. If I go back here, this wall here is visible for 123456. Since I always notice there's nothing here. Now I can turn on my onion skin. The more you start adding frames to your own layer. This layer and this layer on the same layer. By the way, if you don't know, the more I start adding keyframes from his Muslim here, it will pop up this little light bulb. So if I click on this little MBA alumni, I will have the onion skin on. From here. I could sell that off. I click on this. You can keep it all. You can keep an office up to you. Now, what we're going to do is to try to trace on top of this bowl. I'm amazing. I'm drawing both name. I am all about you, maybe you, I'm doing great job at Nouveau. I hope you do. It is for me today and every day I have a bowl here. Now I got my transform tool here. Crap, this is the Go button brush. And I can either do this in again from this side or I can hit, maybe come over here, which I can click this button which will walk to duplicate my frame. Will not make a copy of the favorite, duplicate the difference. So I'm gonna grab my Move to move this over here. Maybe I hit Enter. So I'm gonna hide this will go from this frame. And if I use the shortcuts on my keyboard, these here on your screen, and if I go from the frames I have, if I didn't see very, very bad animation, it is sort of moving. It, I can hit play. This will happen. It will not repeat. Because right now I have, if I click on this button over here, I have 209 frames that I always use all of them. Maybe around frame. Here. I can tell creates a Hey, I want to end my animation of frame 5050. Now I've hit Play. So the repeating will be faster and you can see the marker itself goes very fast, repeats itself, which is nice. Obviously, animation is not the best, but hey, we didn't know. What else I need to point out, your attention is the frame rate. The lower the frame rate is the Shopee your animation will look the higher the favorite is the standard for primary federal emissions, 20 for the better. You can lower this to make this eight minutes 12, or you can make this 24 subjective. You can experiment with this later. Why this frame here is longer, it's visible because you see the frame after this key frame, right? If you've seen the frames after the way, much more than these two, right? So keep that in mind. But right now you don't have to worry about the timing on the spacing in general, he needs to figure out how you're going to make this whole are filled with the animation principles. But right now I'm not going to go through them. This class is likely, we will mention them, but it's not our main focus. My focus is to use this whole problem as a two to meet. A animations. Right now, I want to focus on the next frame. This one. I want my bulb to have this anticipation before it jumps up, we need to see the bump going down. And I came to make a new frame, my onion skin again. And now you see that, you see the previous frame and we see the net swim. But I'm gonna talk a little bit. Cautious. Amazing showing you as always. Let's frame over here it was okay for me to make This bowl. In a way. Now I don't want to make this to be smaller. Around the same size. Let's frame PS I can make around here, again, postpartum trying to appear and draw on top of this one. So take the size trap, this mistake, this pulse over here, and over here, the next frame, I can duplicate the previous frame from this button. And I can grab this and put it here. Now, almost I don't want this, I want this to be after clicking, drag and drop around. Maybe here. We can. We can make our lives easier if I have done this wrong beginning. Well, I mean by that we can Brooklyn on our frames and our keyframes and we can and give them colors. This will have the same column, this will have the same color. The main poses of our bulk colors that you don't have to do this course. This is just a simple animation. Not important to label your keyframes, but for you to understand. These are the face when football will be all main poses. To phrase this one. Click button there. I guess green on this women as well to make green, these are opposites in a way. These are also poses. Will be after. They have the same, there'll be opposite poses. But they also add as a guideline for me to decide for the timing of the animation. Now if I play this very fast improvement, that pretty bolus and what we have so far. I mean, it does look a little bit more alive, right? We have one thing happens very fast, right? We can fix that later on, but it does have more movement rather than the previous free poses where we have one bowl here, one here, and one here. Now we have some, some sort of moving very fast again because we didn't fix all timing. But we do have an idea what more can do. So from this frame to this frame, we need to have the transition. So far. Transitions happening very fast. Let's say from this frame, from this end to this reinvestment fixed space. So I would like to fix that somehow. Very lazy way to do that. By the way, if I click on new frame over here, doesn't break because pizza, but it is fine. If I told that it is fine. From this pose to this pose, I would like to have some in-between move at my amazing brush and I'm gonna be lazy witness and you can play around, we can actually, after you're done with this or maybe this is the oldest class, you can play around and Boudreau, ball animation exercise, something online. And you see all lots of other exercises because this is some sort of exercise for you to understand. A lot about timing, about, about why the balls bouncing back and not just jumps straight down. Let's close. If you can learn a lot. Let's see what we have here. Different. Now obviously on this side we didn't do much, but so far we have some rocket launcher or that side. From this, from this to this, we can make a new frame. The onion skin can make the in-between. It's very simple, nothing fancy here. But you're getting the idea behind this hopefully from this frame to this frame and this frame over here. The last people who can move this last in-between, maybe here, maybe the nitrile, these spacing, as I said. Don't mind this eraser again. This is a bowl. Looks like nothing like combo by, couldn't be a bot. Maybe I can move this in the middle here to deselect. That. Looks like a warm smile. Okay, so let's see what we have. We can hide the R, maybe zoom in. This chaotic. This is one of the key audit, both, while some can do is when it lands, there could be some salt over here. Bring back the community to navigate myself. Squash, squash. Now, this, okay, if you add more first in-between those, we look smaller. You make simple, very ugly. If I might say ball animation. If we remove the Arkin. Again, we'll have something like this. 19. Lesson 18 - Simple Ghost Character Animation: Is try to do first frame animation with arbitrary. Yes. I'm going to use these administrations, you know, hit create a canvas. I'm going to move this down naturalists, often the onion skin from here, I'm not going to hide it from here. Click again and make a new layer. And as you know, what we want to do is to a counter. First lengthen the first week's knew that. Now it's not a bad coast character, so it's going to be something complicated. I didn't want to try something. Maybe the size of this, this doesn't have to be super clean or wherever something very simple. I mean, this looks like some eyes maybe maybe make this a little bit like this. What do I have here? I have sent them burst of doing this. This. Britain has no business in your brush. Quickly, you can draw that first. Thanks. If you mess up something, click this button. Let's just try the beginning. A couple of times or new layer. New layer. Let's just make a simple, simple, simple. I'm using a tablet for this obviously. Doesn't look like a ghost. I know. I know, but think of something. Look like the snow mainly, yes. I'm switching between the Burgess and within inversion duration with the shortcut. I have a short clip on my my, I guess you make this more wavy on Bolton. There's nothing there. Maybe not celebrate. Some are simple kind of don't don't don't worry about it. Now. I want to I mean, is this part over here? Let's first try on the next frame over here. Put a key frame. I'm gonna hit my own skin and I can actually zoom in a little bit. Now they're buttons on your keyboard and risk-free. That's 4456. You can rotate and seltzer with five. But I believe yeah, for instance, num. So I'm going to try to pick the line is now this animation would have been had that clean on these Lindbergh. We can try to have some movement in the beginning. And then when, once we're happy with our movement, our frame-by-frame animation, we can start cleaning out my frame animation. This. I can use the shortcuts on my keyboard to see what's happening obviously. And it goes, Let's rape, obviously shortcut again, I'm going to hit Control Z. I had a blank keyframe. Try to repeat the eyes. The eyes. Now, I did change some heal my onion skin. I didn't activate the previous previous frame. Looking up to me by pretty on there. So now we can see the frame, the previous frame, and let's frame. Just wondering how to do that. Now I know something, maybe just a bit. And this can be smaller and smaller. Right now we are animated constraint ahead, which is not always in here. Unlike the ball animation that we did. With the ball animation we have postponed. We had a little with planning. Here. I just made this limousine character. You see here around Skelter. He is definitely definitely not keeping up with the shape of the child. That's not always ideal, isn't it? Popular from healing? Skin? Use my short cuts down on the keyboard and hit this. Now I can do sulfur here. I will click on this frame and this frame. Then I'll click the play button. That's happening very fast. Let us say if we're happy, we're finish. Well animation. Let's say this is our automation goes amazing. Clean up this. Let's say this is it. Obviously, we want to fix the pacing around these frames so they're not that fast. A couple of ways you can do that is to click on this Matson and decide your frame rate. Usually the standard is 24. Maybe you shouldn't cash that, but if you're completely, you can try some, some frames per second. If I change that and I put this mountain here again, you see that inhibition self, it's displaying slow. Because retina, we're playing eighth animations per second. That's somewhat slower. We can actually keep the ink frames. I'm not quite happy. Animation. Looks on the bottom. But I'm not quite happy with this. Him, I'm going to hit high book. Then I moved frame. I'm going to grab my life and Watson, I saw annoyed to grab frames here on your timeline on pizza. I mean, maybe, maybe this way is better. This is very, very simple. All you're amazing character. Let's say now we're going to clean up this. I want the artist stay the same. When we're going to use, we're going to have a couple of layers. One layer, I'm gonna double-click on that layer. I'm going to call this layer. Hit Enter there. And I have another layer, call this layer body. I guess we could call this new layer and we'll call this name bottom. Just technically, the bottom is the one that's moving in the tail on the eyes. And the opacity of our double-click here. Designers can say we can on your past now, this on the eyes without creating a frame on what the First Amendment. I don't think putting the eyes, the shape here. I don't want to find the Alpha and we want to have a fill color. Just keep them. Yes, that's nice. The hosts are done. Actually honest anymore. Now the body, I'm going to use this, I guess somebody use this same version obviously. There. Maybe zoom in a little bit. I'm just drilled this top part from here. This problem won't be changing. Now, I can play around with the versions before I can play size and I can put the graph over here. It will take us a little bit of time. Now if you don't have a tablet, I'm just kind of a bummer. Tried to use the other half shoulder here. I'm not looking at me. Perfect. Stop around here on the bottom. And we're going to do this animation over here. On the first frame, on the bottom, you see a new frame right here. If I move my mako citizen, the last key frame, I'm just going to continue. I'm just trying to follow this, foster the body as much as I can this way. And we will have a better visual of our animation. Something here and there. Now let's frame. Come here and create a new key frame. We can unable Ni skin. All right? Because we can see it, whereas the blue Here's an animation. Can change it. We, if we didn't do well enough, I can change completeness. You can see how the animation changes, which is not ideal. I mess up. I guess straight ahead. But once you got new clean up, you can see your mistakes and maybe the tail will go. Maybe, maybe we'll have something like this and then brought him. Let's keep frame. This is the last key frame. So now if I hide the main animation, I love this. I hit Shift last paper so I can set the scarf again. But I think this was faster. The better, a bit more clean. Then again, remember that we have our framework to be 824. You see the change or here? 12? I guess crew office better that way. We don't have to worry about the pacing over here. 20. Lesson 19 - Simple Ghost Character - Working With Frames: It's an awesome. We have three different layers and not all of them. We have animation. We have only on this layer. You have animation going, well, this little icon over here, not this icon. It has no played box, implies that there is an animation of that bucket little layer, so that's the bottom layer. Now what happens is amazing. My, my family I mentioned with a character. Now, what happens is if we want to move this calcium home screen, how we can do that? Well, first of all, we need to have all there for that character. What I like to do is if that care is never simple. But I like to copy the elements. Hitting shift by the way, to select multiple or all control layers and hit Control and J or i bottom over here. Cake layer mask. I'm gonna hide this previous layers and these new ones, I can hit high books in here again. We can move to them or you can see the shortcuts over here. Now we have one layer. I'm going to call this. Now I know that he doesn't have color, who were anything but not that helpful, had the power. Well, that's a topic for another time, but I will show you obviously in the last video right now, and we'll show you how you can move your character around the screen. Yes, the animation so far it's only four frames, or we have to be exactly a five because first ran the count is 0, but please A-frame there. That's fine. While to make this animation longer, what we can do is to have the first frame I put in there and hit this color. So notice in the first frame, the quick note on the last frame, I bought some fitness as you don't have to do this, right? I'm just showing you that you won't lose the track of which frame is first, which one was last? Because what are we going to do now is I want to make this animation longer. So I'll hit the first frame and going to hit Shift grab the last frame. We can hit the high Boltzmann here, and we can copy this frame. So let's frame over here. I can hit bottom face frames. So we have these health standpoint. If we want this to be faster, faster, we can use the shortcuts. Keyboard. Shift last frame over here on your keyboard, and then move them, grab them and move them that way with the old command while we grabbing them and moving them, it will literally make a copy of all of these rapes over here. You'll notice if I click on this frame, this one will be highlighted is little coffee of this frame. This frame, this is the first one, right? I hope you don't get to wherever wherever this if I may change this frame or the drains, all the gains frames and who have that change. Same thing applies for the move frames. And the frames. Make sure if you want to use the Alt command for your frames and you hit Open your keyboard and then you move them around. And then you look at only made a one-on-one coffee of this frame. If I click on this room, all of the other phrase will be highlight. This one. In this world because they are, because the way we copy these five friends was selecting them with the Shift button. The last one, we copy them using the coffee frames from here. We didn't use the alt key for them. When you're using the old key, you'll literally copying the making an actual coffee or the friend that if you make a change on that copy, now that change will be applied to every single call. Prefer that frame I hold. That makes sense. Now. We have three frames. If I come and select these and anyway, play this, you'll see that you don't see it, but sadly, I want to mention became longer now. Now, ideally, I'm gonna make my, my actual animation because right now my actual animation frame a 100. I want to prove this to you by going on the first frame play button over here. And once the mocker passes this rent and you'll see that the cows and stops. We need to make our animation to end on this frame. How we can do that, and we go to this bottom over here and click N. We're going to add this key frame, the mode of this frame, which is 29 over here. Enter. And now if I click here, again, this will loop. This will look inside. We export this, I mean, not loop. It will play only once. Unless we add fullness or 100 million. Asking if you have seen before. In this class. Let's try to move this little character across the screen. How I do that? Well, I have shown this is basically all amazing, amazing frame-by-frame animation. But now I want to move the whole counter. I do have the keratin on one layer. What I can do is click on that layer on with my hand button, go to Add Mask. And as I showed you before in the previous videos, we just got to animate the stretch more masks. So we will need to go to animation curves. If you don't have animation curves, place and person. These are the first week. I'm gonna glue on my transform tool. I'm moving. I'm going to look to the first frame, aka our 0 frame from this Muslim gonna add a keyframe. Well my transform ask, so I want my ghost characters go from here. We know that Alan animation insult 29th frame over here. So over here, the moment I click now on my terms for mass with my transform tool, it automatically adds a key frame. I'm gonna move this, I'm going to hold Shift to maintain industry line. I'm going to move this on the other side. If I move around here, yeah, that's all right. If I go to my animation channel length from here to the first frame, play this, have this body. 21. Lesson 20 - Simple Ghost Character - How To Color: Okay. So we're Hernandez. I thought. Why not? We can call our little ghost. Yes, sir. Why go with 11 column? We see them in shells and stuff like that, but I won't show you how you can holler. Maybe we can call this heroes and yellow because he didn't wash himself. I guess that means wash. You girls. Okay. But the thing is with this animation before we render it, we cannot call this right now because right now and this goes, this goes there has a trust for a mask on it. So if I grab my fill to business, how we get the kilohertz and it gets, I'm going to switch this on the first column in blue. Let's just put slightly. Slightly I see. This car yes or no. And if I try to harness my on my dose there and yeah, it color. Now I'm going to hit Control Z or is it because that's not what I want. They are a couple of ways we can call this fellow over here, but we have the crucible mass console. We can turn this off or we can hide it. For the time being. From this icon. The icon can hide the layers, right? So we're going to hide the truth full mask layer. But the thing is, if we want to color this, we can. The problem, the problem is that we don't really have too many frames here. And I stopped calling the first one. You will see that there are a couple of problems that will occur. Obviously the sides here and it will look like this, not maybe yours won't look like this. You can look to, to Options, make sure you own your fill tool and you can expand this a little bit so we can see better. So my fill options right now, we have the threshold before the girls men should be to the feathering to be 0. And the sample which is the most crucial one over here, is to be all layers. Now I'm not going to go through this again. What this means, yellow video. We're going to cover more in the future videos, but otherwise, this is not the ultimate coloring video. The ultimate colleague less than here. But it's not that bad. I think it's very hard edges over here. So what I can do is to grow the radius of the feathering marriage. Maybe it's a free three layers. They're just made a mistake there. And maybe two. Okay, So hit control and C to this. And now with these new options I can order again. And it gets this cool effect inside, like it's glowing inside. And I kinda like that. Now always I cannot change the colon. Like sound shouldn't be a bummer, but let's just call this. Let's just go. Oh, these will take me awhile. The fastball, I'm going for all the French. Now, the thing is, I'm going to go from these frames and we'll call this. Okay. We're going to live with them. And if I go here and here, and this is the last ramus we know, right, Because we call this trailer to be read me the last one. Now, as you remember, our friends, they will duplicate differently. For example, this next frame here won't be color because the idea was when we use the O key to have to create an identical copy on a frame. So whatever changes we make these frames, the rest of the phrase to have the exact same change. Problem is that these 4412345 frames here, D is fine. They will not copy it with the O key. They will populate the way we copy them, we use the select. All of them will shift the ribosome and then hoping we didn't clone them the way, the way the rest of the keyframes. Because when it comes to this key frame, you'll see it's called because it's literally a clone of this frame over here. And you can see we shall keep them is clone. The one that has a fraction on top. Which means these ones are not closed. We need to go through these again. Call him again. So yeah. Keep the animation to be consistent. All I'm using my mouse here. By the way, these, these frames are shown over here. And now if I play this, it should play. More. And obviously decent girls didn't wash itself how their heat. And we're going to stop this out. Now when I review my mask, it will apply. Let's see if it applies. Worm does. Now, we can export this fella. I don't want I know like the white background. So I call here and change the color. Like the dark gray. I'm going to use shortcut. I can use my bucket to assist the bucket tool on the sample. All layers, I can hit Control Z. Because if I hit this right, if I call this again, if I go for the phrase, you will see that it didn't see this one. That's ideal. So in order to call the whole frame the whole canvas, I can finish the current frame again and again, basically. Now, I guess we can export this fellow over here. Obviously he's outlines. I go back to transform us. They are black. Maybe the dark background doesn't quite work. Keep an actually I'm going to keep that. I'm going to export this. I'm going to show you how you can export this video if you want an image sequence. I'm going to show you all of these because sometimes when we go to File and then we go to Render, that's how you export your animation. I know I say the term surrender. So random animation. And it will pop up this middle Docker Hub with the way you want to call it high. And you have a couple of options. Now, the first one is in a sequence, which means you explore every single frame as you see here as a, as a separate image. This will be entitled like this. I think it's by default. Now the image sequence is not. Everyone wants to use an image sequence because people like to have the right file like the GIF image or video, or sometimes we look in the video because this is where you can handle this S here or a video or I haven't used this one, but this is the video that you're looking for, the MPEG-4 video, or the given image, depends on your colors on your computer. So you can research this and if you have your, you can update your products on your PC by the way, you can Google that and see how that's done. Sometimes you don't have the updated codecs and your FFM PEG file over here doesn't work. We'll do have that problem in the fail to export this, to handle this as a GIF or a video. So whatever this file doesn't work in build-up, doesn't work, is very crucial for creativity away. You cannot export your, you cannot render your animations intro video. But this doesn't mean that you have to give up, right? So that's why I'm want to show you how you can export this image sequence. Sequence. The file format usually go with PNG. It's a bigger file as a file or the JPEG JPEG image. And you pick your location and your name, or in this case will be, alright. And you pick the, the, the image location. I didn't make a separate folder in that location is going to make and hit Okay, it will export this in. No problem. Now since my buildup, this little thing here works perfectly, I can export this as, as again. Let's try to export this as a GIF. Obviously the size is too big for me. So I'm going to size this over here to 70. To remember that you can always scale down union your image, your canvas when you want to add form or you can not expand your image. I mean you can, but you lose the quality. So here it says the first frame here says the last frame. The way we have here, the frames per second. The FFmpeg EEG buildup is here as well. You cannot, if you don't have this, you can click on the folder. And if you have almost a new creature version, it will direct you to the website where you can go home that you choose what kind of format you're going to handedness this as a GIF. And obviously you choose the location now I know it says venue, but as we said, it will be a gift. So I don't know about the video. Pop over here. Excuse this. And I guess we'll do this with the Herbert Boy hit. Okay? And we're going to wait a little bit. So we're back. Make me some claim bigger, size. Here's our gift. We can pull this into prettier or whatever you want. Bolus and your animation. You can pull this into our into kindle skill share and then this cushion where you can post your projects and you can share your amazing, amazing work with us so we can see what it did. Alright, so this is one of the ways you can explore this amazing animation we just made. And I was in the girls in wash itself. So that's another topic for another day. 22. Lesson 21 - Drawing A Background: So we're going to create a new file. New file. The dimensions are nice. I'm going to use here is to create a background for the girls. So that's one word. I'm going to create a room. Now her at first i inside to use this new tool which will help them to set knee perspective. But it seems very complicated and Adelphi I had the idea, so I decided to use that tool. So what I'm doing here is she used the basic things like new line tool. I'm trying to draw a room. So you'll have control room. You don't have to put your background can be anything else. But I'm going to just create room for the girls to pass by. And right now, this is use, you can call this. As you can see, that I am drawing on top of lines, right? So this is only the sketching phase. Because nature home, once I'm down, you see that kinda make some mistakes. For example, right now I think contain door they're making there. It will be too short and too small. The girls, even though the small enough, once they knew the window that I will do a window later on, you'll see that the window is bigger than the orange doesn't quite fit for the hoops that have huge windows and doors. I mean, maybe it can be as bright now. I'm not trying to have a perfect lines, perfect lives in general. I'm just trying to lay down the idea of walk where and why. I'm even doing the tyler tells the person centered whole from this angle. And I'm using all the tools that have shown along. We'll use the rectangular to obviously no field there. The outline woman, the brush. I'm just lowering the burst size. From now. You see that? Yeah, it's, it's a big, it's a big window and it's a soul. So we know compresses the door. Yeah, that definitely know there's a door will ask me why how door. I do use Control Z here. But again, this is like a sketching stage where you just sketch out stuff and see where they can go. So I am going to use this to identify, I think I have showed him for this tool allows you, this one over there, allows you to, wanting draw one side. Obviously to draw on the other side can be symmetrical on the other side as well. The other two. The other two, the other icon next to it does the exact same thing. That's why I wish to use from the twos. Basically when you draw, the drawing would be symmetrical. So I'm going to make them the most rare and just go try to make a couch or the ghost to sit down, I guess. I'm not quite sure if this is the house of the girls, but I'm just trying to make living room on one side and another on the other side so we can have some sort of background noise on this. Symmetrical, symmetrical too is great when you try to save yourself a little bit of time. I'm going to make a table for the lamp, nomial lamp on that table. So now I'm going to create, we need some Capra L'Oreal. I don't know why I deleted the one of the windows of the window. But we'll fix that later. And yeah, I'm just going to try to make a little small car park over there. Because, why not? Feel free to draw whatever you feel like? Again, this is just a concept stage like sketching. Sketching stage where you lay off your ideas. And actually we're done with this. We'll get going again. And we'll try to fix the mistakes that we made. But also to finalize a good lines like these. You see here. What else we can do is we can create a painting. Yeah. Or I guess it's been real painting. I'm going to position my role there. And I will try to draw a frame. Fancy praying. Well my painting, and it will take me a couple of tries to her to see what exactly I have there. Feel free to experiment. Obviously draw the room the way you see it. You have to draw a couch in the room, but it's good to, if you're following this, we will create a background for your goals that you made. I think it's good. Maybe try to make a couple of rooms, maybe not just because they might case right now, we see two rooms here, right? Well, live at home and the other one I want It's just another room. But you can try to make more than one and see the goals passing through maybe the walls as well. Because we need to head toward their goals. They're on the painting or picture there. What else we can do is to, again, everything that you see that the way I'm drawing it is a one layer, wholesome enjoying on top of stuff and calls the meeting stuff to plant because every room deserves to have a plants. Yes. This is my plot. Now I know that I'm trying to plan on top of the couch, but I'm going to go in and delete the path when the couch and very shortcut. The shortcut for symmetry between the brush and the eraser is E. Once you click E, you activate here is that once you press E, my screen again, you deactivate the eraser or you can press V to go back to your brush. So after we're done with the Romans to save that rumor has it as a JPEG. Jpeg, JPEG file. That's the name of the file. Or you can save this as a PNG file. Once you have that, you can either open the girls file itself. Is it goes from the last time. Now we're not going to use the toast, okay, yeah, hello goes, goes in one go. I'm going to play in this just to see if everything goes well and thus, I'm not going to need that goes with this one. So I'm going to click on this icon over there. It's like a pin icon. When I click on the plus button, I'm going to find where is my background, and here it is. So I have, I haven't go here. And I call this concept, and I think this is my first course and by binding the corner so as you can see the door, There's slightly better. I guess. We can lower the opacity on that file. I'm going to change the color and the background functional and I to invert the colors. Because the reference image now that I have the room, the concept that I have is on top, I'm going to create a new layer so I can talk in yellow there whom the elements I will be, let's say the window, the, the picture, the couch and the lamp, and maybe be the coffin there. They will be in the back arrow so I can draw them on one layer. Why I'm doing this, one, drone and drone different objects on different layers is because I want to create some parallax effect. But once the girls class by, let's say from the door, want the, the, the wall that's that's closest to the camera, that's closer to us. To be on top of the ghost or the plant there, to be on top of the cost. So the cost to go behind that plant. So everything that's in the background, we will see the bone on top. You will see that later on. 23. Lesson 22 - Coloring And Assembling Background: So I finished my drawing. As you see, I'm going to walk you through what happens here. Close right now, so I'm going to hide it goes. As you watch the video before, if you haven't watched that, I'm going to hide this this two I finishing this up. But if I scar or for the layers that we have a couple of colors we have with the back row are wrong. We have telephone, which on its own layer, the flower which on its own layer. And then we have a wolf pack. The way I tried to do this, because my idea is, as I said before, when I drank, like when the girls pass through this point, I want this, I want this, this wall to be informed. The ghosts, ghost to create the illusion to the grocery store from the door. In order to do that, I need to have this part of the wall to be on separate layer, which in my case here. Now, if I had the girls, now I decided to create a new layer. I like to call this layer core base. So what I did is grab more fuel to here. When these options, I move this around here. I have the threshold to be, to grocers, to be four-fifths those and to the sample, which is also very important to be o layers. Now, this layer over here, behind all of these layers. And I will use this layer to be, my asset says can be my car and buy. So what I'm going to do is I'm going to call ischium this individual objects to own their own individual layer. And I will use this core base layer as a reference because they are all behind everything. And I want the plant to be on its own. And the way I call this, I cannot do that because I do have the plant or a flower on and solve their problems. I cannot cook this part. So his smile is okay. Why isn't this too? Let's, let's try this with the plot. I'm going to hit control. Click on the plan. Hi, my color vase. And I'm going to go to the plan. We're going to hit the new layer. And I'm going to put this new layer behind my plan, right? And then I'm going to call this again. Now, this doesn't work well here. Why? Because we have a little gap over here. So I'm going to hit Control Z. I'm going to color these, these, these, these again. But I'm out here, I'm going to grab my mouse. And yellow tried to call this lambda. And then when I come here, I will have a proper housing and the smaller plots, I can hear my mouse again, colonies as well. I'm using my mouse right now, but I feel like I won't be needing years my, my, my pen, but I'm too lazy to do that, so I will try my best to use, use the mouse look. That doesn't rhyme anyway. Star Wars and Keats, anyone just meeting? But as I said, this is what we have here. Now. Skilled flowers on Sunday, the Alliance of the flower, only its own Did I miss something here? I guess it looks all right. The license on its own layer and the color is, and so on. And so once I'm done with the coloring of the object, I can hit Control and select the flower and the flower scholar. I'm going to hit Control E to make this into one layer. Now, it's going to be on my layer and double-click on that and the coldest flower. And that's why I tried to do the rest of the other stuff. So I can hide the flower because I don't need that. This is the wall that's in front here. We can color the background. The background won't be moving. So I'm going to come now go a new layer. I'm going to open my current base and I'm going to choose this color, hi, my color base. And then we will try to call this every hour. I think we did a good job on this again. Then we call the window hit Control to select Quick branded colors on your canvas. This and then, then this, and then missing in pink, this. Is this I'm going to speed up this video. Let me know. I have to watch me do this all over again. Now let me reveal the phone. I think we're done here. We have the wall back. I think we can call hello back as well. This color right now. This colon, the whole thing though. Maybe we can stop the color brown here. I'm going to grab the line tool. We still want our color layer that we created. A graph, something like this. Maybe you're all here. And then I'm going to call this looks all right to me. Reveal the other column. I mean, to use this stuff without the telephone that will be in the background, the color stuff so that we can take the wound back in the background, making one there. And then, then, then, then, then we can make a new layer for this block of wool. And we can call this my taking the same power. Here. She makes sense. Yeah. Alright, we can merge these two rock wall. We can call this room. I can't type today. And this we can merge together as well. This back wall, yes. Now, here's the flower and you're feeling we didn't call them. What's the phones and create a new layer for the phone to call on the phone. And we're almost done, I think, pull this telephone and we can kind of call them base. So now what we have got moving around and don't come out, we have the wall. We have flower in a new color here, but because that's in the planet will be visible. We have the phone and have the rest of them. So now what we can do is to move to the front wall to be on top of everything including the ghost, hold and drag on top. There will the gills and just behind that wall. So now we go back. We see this. Yeah, this, but it goes on top of the flower, so I don't want to do that. So we're going to move the flower on top of it, goes and then the phone on top of the dose, right? So now when I play this hopefully looks amazing. Now we confusion is no automation on the girls try loops of curves, phone mask on first frame, control mask, the move through here, the transform tool. And we can change this to be off screen and go to the last frame. Is your mouth, move it. Move this to be off screen as well. Holding shift to maintain proper line. Let's play this. Yeah, he's running around the house and it looks like a looping animation. But, you know, I think it's fun using the door from now. Okay. He knows how close the door. And he's running in circles. Uh, yes. Yeah, this is how you make them pellagra for your simple animation. 24. Lesson 23 - Ghost On A Skateboard Part 1: So in this one, I'm just going to show you what I did. I manage the zombie, ghosts and anxiety, my gross jazz keyboard. Now I'm going to put this out in separate layer height. My other ghosts are going to focus on this one over here. What we do is try to do, I will try to do straight ahead animation because I already have a design in my head. I will be animating on the sale of the character and maybe the head a little bit. So what I will do is to first focus on the tail. So I will load your question the keratin and we'll make a new layer, which I will try to make, exhale movement. And furthers VUCA, I will change the names and the layers. So first we got to try to do straight ahead animation with Excel. So I'm not going to be shown how body there is no need for me to draw the whole body. Hi, The tailwind behind the hoodie. So I can draw the hoodie on top. But that will happen on different layers. So first we're going to animate the tail, and then slowly we will move to T head and then show itself. This is the moment we've got here. It's not the best, but I mean, maybe if I spend more time to try to make this more fluid, it will do. The idea behind this was to make this to repeat. So again, I tried to copy the first frame and try to make in-between In-between the first man, the previous frame so I can have a proper last frame if that makes sense. So it wasn't a tail is animated. I'm going to make a new layer for that. And I will show the hoodie. Now, don't be alarmed by the names on the life of the layers. So far we have only one layer that has animation on. And now we're going to have a static layer, the layer with the hoodie. And obviously that will take me a lot of trial and error to get the profit line. No worry, have to hit control Z a couple of times. But at some point you have to be like, Okay, this is good enough, right? Okay, so once the hoodie is done, I will make a new layer again, but this one will be for the head of the fastener will see there. So I will try to make smooth animation like animation of the head. Moving behind the whole day itself. Again, I don't want to do shoulder over and over again. Once we're done with the basic animation. Then finally we can go to this role, the skateboard. And later on, you'll see that again, this is a little separate layer on some. Again, increasing, we want to do animation. We make sure we do it on the proper layer that we want to do this animation, Right? Surette, No, I tried to delete this. Sounds all things for me to show you. But I said to draw the scale bar on separate layer. And I gave up on that. Now let's keyboard. And I think it's time for me to stop adding the cars. So I decided to do is I already had designed this character with the colors. So what I'm going to do is to bring the ready design on the character to the canvas. So it will be easier for me to get the colors I need to call on this feller faster. Now I'm figuring out how I want this to white, which lasts and wants to be visible. So first I'm going to start coloring the body of the character. So when I call the body of the calcium, that color will be on one layer. I need to go through the frames and it cover all these frames. Now, the tail of the council is, once the head of the character is serious, which ways? I think to keep the consistency of the tail itself, because it will be changing every single frame. Unlike the head of the character, really use my fill tool and using shortcut from trope, pick the color I need the first frame, 0 frame. We're going to create a blank frame older and I will start coloring the course itself. 25. Lesson 24 - Ghost On A Skateboard - Final Project: So once we have the basic colors of the girls, who did this just to see if everything works out well. I'm not adding any shadows quiz yet. So the hoodie, the color of the hoodies on separate layer, and the color of the ghosts, those on a separate layer. Now, I will make a clipping mask, a clipping group. I'll try. When you do that, you will be able to have a mask layer on top. And that way you can start adding the shadows and the highlights of your animation in this case, will be your character. If you want to animate that, maybe because let's say, if I want to add highlights to my ghost, it leaves the body of the girls, not the hoodie. Maybe the best way to do that is not wearing a mask layer, but with a, another layer on top and go again through the frames and add the highlights. You need. To just select the different body parts and add a slight gradient effect. Then later on I drop that idea in a way. Now give me my, I'm not trying to replicate the exact the exact concept that I have on the right there, the illustration that I have there. So yeah, occasionally who the color and make sure to give different types of shadows to calc. So I do keep slightly the cost me the same. And as the lowly get the glow of the character as well, once we get all the shadows and the highlights in place, this is just optional. Of course. I will leave you this file and you go in and open it and see what has been done, how you want to do as well. By the end of this, I will make sure to have a group layer with a character. And you have a group of the calcium with the separate elements combining making this character. But also you will have one layer, which is the character itself. Because I will ask some trainee animation hello side. Now I'm adding some blur effects to the power of the goals that I duplicated that power. So now we have to call two layers with the color. And on one of the layers, I decided to add motion blur to be able to make this effect. Now, this adds to only one on the frame. So you need to go through all of the rest of the frames to hit Control and left. It's a shortcut to repeat the last effect you did. I'm going to move this blur effect to be on top of the lines in the character. I think the effect there is. More interesting. Then Denton be on the O can be behind. And I will try to make, I'll try my best to change the blending mode of that layer on the copy of that layer to get a different effect as well. And I will move this on top so we can have the glowing head of the character as well. And I will just play with them, see which one. I like. Again, I'm not trying to be tricky to the Today illustration I have on the right, I just want to make something better. Now the ratio works fine. We have glow on every single frame, which is great. That's why we also see slightly more slight movement on the head. Now, I will try to add some shadows and some highlights to the hurry with the different brushes we have Susan who these now I made it. I can add a couple of stroke, strokes of highlights, which will help me see. I don't have this weird illustration. Holy. This is again optional. You don't have to do this. It really depends on the style you Lord for. And that's plenty machines. So simple as that to make the lines of the tail and the head of the post can be white or slightly brighter pink because again we have a pink nose. So I felt that this will make the characters pop up, especially on the dark background that we have. Again, this is just optional. You don't have to do it. Have you follow your account and design that you made and you try to duplicate that. But again, it's just optional and I think it looks better that way when you have white lines. So once the animation with keratin is done, every single animation for that counter, including with the hoodie, to be on one in one group. So after I've done that, I decided to duplicate that group. That group that allows me to have my character twice. Now, I'm not going to use the group of the character, the group of character for me there if I want to change something. But once I have this one layer of the character, I can make the whole character, although we didn't mention on the eyes, along with the animation of the tail and the head to move together. That way. Now we have all the animations of the character 01 layer, so we can move that carrot, but I need to duplicate the animation base going to make my animation to be longer than the French then we have here. So I managed to put the last frame to be read so I know where the animation ends. So I nowhere the frames, the frames after, so you can clone them or you can duplicate them. You can use the shortcuts. Sometimes I use the shortcut, sometimes I didn't. Just use shifted one to select multiple frames or control worth the same way. And that's pretty much it. I tried to make this animation to be a bit longer by duplicate the frame. This is the only way you can make your animations. As of now, there's no command to say loop yet. So the way you can look something is to duplicate your frame so they can repeat and you play them. That's what we have. Minus glow is you make wake up and they'll love to do that now with streaming from animation that I have, I will add a mask as I showed you before in the previous lessons, in the previous videos. I will try to rename. Again. There was a lot of memory renaming. Here. You can name your layers and when you want, as long as you know what they mean and where they are, and what day, what you have on them. You can name them potatoes if you want that at all. I don't know. Yeah, but that's pretty machine, so I will make sure that I have the first one and the last minute to be the same in order for this guy to loop. And I will move up and down. And later on I will probably put some shadows beneath him as well. Let's see how that looks. Fine to me. It's not that bad. Let's not the fast. Right now i'm, I'm making 12 frames per second, but you can always change that as I showed you before. But in general, that's my final result from this whole class. If you are eager, you can make this or you can try to fold other class, Daniela classes. The healthy is, I have shown you your final pose you, this I think, is to try to make one of the characters, of the many characters now shows you here. It tries to animate them. If you love very calm, confident with frame-by-frame, then try to make an animation, tried to make the puppet animation, right, with the little robots there. And I showed you in the beginning. If you want to try frame by frame and try to make this maybe a simpler version of this goes character. Maybe you don't have to give him to have a fancy hoodie or a skateboard. Skateboard is actually to be elevated. You just need to animate sneak lines. And yeah, I mean, just try to do something and share with the class, share your amazing ghost or your amazing robot guy and girl in the, that's my ****. I hope this was helpful to you. I did manage to finish this very It took me a while to finish this class, so thank you so much if we actually had gotten to the end of this, I have really a lot of fun making this. I hope you had a loss of it today. And I hope you use what you learn from this. So make sure you share your projects. And I hope I'll see you in the future. Bye.