Learn Frame-by-Frame Hand-Drawn 2D Digital Animation by Creating A Basic Walk Cycle

1. Introduction: Hello everyone. I'm Emily. And in this tutorial, I'm gonna show you how to animate a walk cycle. 2. Tools: Free tools you can use any animation program you have. I'm using krista. You can download it for free. You can also use programs like Adobe Animate, Clip, Studio Paint, perhaps even flip a clip. Mostly what I'm going to be focusing on is how to draw or what to draw. In order to get your image moving. You can use any kind of brush that is going to be pretty clear in showing your lines. And think you will see why very soon. It's better to draw with very clear lines. Like just, at least for this tutorial. Probably don't want any messy lines like this. Because otherwise it's good to be tougher on you later. More like this and not like this. If you're using credit. The default workspace is the big paint workspace. To get to the animation workspace, you go to Window Workspace animation. This version of credit is crucified beta. By default. I don't actually really like this workspace, but the most important thing is the animation timeline, the playback, the playback stuff. But I will show you how to optimize your workspace in the next part. 3. Workspace Setup: This part is mostly going to be useful for credit users since I'm gonna be a lot more specific about the software. If you have an easy enough workflow and whatever program you're using, then just go with that as long as you have a good view of the timeline and perhaps your layers and this authorial, I don't think leaders are gonna be very important. But definitely your animation timeline, your playback buttons, and probably your onion skins are among the most important. I'm Krista. I never click on Window Workspace animation because usually criticize default animation. Workspace is just so ugly to me. I mean, I'm not sure if by default they really, really put the tools up here just like really ugly like this. Like this space is incredibly narrow. So I'm not going to show you exactly how to do everything all the way till my ideal workspace. I'm just going to show you how to remove some windows on dock. The windows or the individual panels. Rather, they are called Dockers here. So in order to get doctors to show up or check the Dockers, you go to settings. Docker's. For example, the animation timeline is the most important thing about the animation workspace. When it's checked, it's showing, if I uncheck it, it should disappear. And then there's animation curves. If I check it, again, it's under settings. Docker's animation timeline. It's in this long panel, but the Docker is over here actually. So doctors can be piled in in tabs, in their own tabs. Like up here, I have pallet for colors which I never use. Tool options. Probably also never really used that overview for seeing my whole imagine stuff. But the way the tools are up here, that's very, very ugly. So I'm going to move them from up here to over here. And that's gonna be another tab in this panel over here. I like my layers where they are. I don't really like him credibly. Like claustrophobic. This feels, I think I can just move the onion skins over. Maybe stick them in a panel on the side. I think I'm more okay with two sides like this. This is how I would narrow it down to be flatter since right now at least I'm going to have just one animation layer for now. But this can get very, very messy and cluttered very quickly if you're doing a very complex animation with lots of layers. But here, I like to have onion skins. Maybe your brushes to Settings, Docker's brush presets. And by default it appears over here, this is fine. Basically, I do like to have my layers here. I like to have my onion skins brushes for now. I guess you don't really have to have this here, but my, my ideal workspace looks like this. I sometimes like to change my colors, especially if I'm doing demonstrations and I want to point out something like highlights, something with a different color. I like to have my onion skins here. I can just take this little dotted button thing here and increase or decrease the height over here if it'll allow me to, at a certain point, my color wheel isn't gonna get any smaller. I like layers over here in case I'm gonna do sketches and then clean lines. My tools. I don't think they're terribly important. I tend to just hotkey them anyway. But yeah, basically, your most important things here are gonna be your canvas area, your timeline, and five, Beta. Your settings for clip's start and end and your frame rate are actually hidden away with this button over here. And in case your onion skins go away. I believe you can just toggle this, this button over here for onion skins and also your, your playback stuff. One more important thing, once you have your ideal setup, like however you want your workspace to look. This applies not only to animation, but in case you do painting or drawing. Whenever. When you have your panels and your dockers all in your ideal spaces and you can save your workspace by going to Window Workspace, new workspace. You click on it and you name it, whatever. Something that is not too general, like you can put down your name and then the animation your name and then drawing or your name and painting, whatever, and then hit Okay. Then it should be under Window Workspace. So for example, I just named mine animate for real. Then you could just keep switching out from it. And it'll change the workspace to another one. You can come back to it by going to Window Workspace, enemy for real. And you'll have your preferred panel settings back. 4. Ball Bouncing Animation (quick): This will be a much shorter version of this ball bouncing animation. Just really, really briefly mentioning keyframes and in-between frames. First. Make a new frame. Then draw a ball on the upper-left corner. Nice and round. It doesn't have to be perfect. Then I'm going to skip a frame, leave it empty frame inbetween, make a new frame. I'm going to turn on onion skin with his light bulb over here. Make a squashed ball. Squashed because of impact on the ground. Then skip another frame. So third keyframe here. Keyframe as key moments in your movement. That you have a beginning, middle, and end. And you know where you're going. Try to keep this ball roughly same shape and sizes the first ball. Now I'm gonna go back for the in-betweens. In-betweens are just frames that are in-between your keyframes for key moments scenario, trying to smooth out these key moments. I'm going to create a new frame, this empty frame between the keyframes. I'm going to draw it like this for squash and stretch to exaggerate the movement. Then in the next empty frame, in-between or to even frame in-between or twin frame between the last two keyframes. It was glitchy like this. I'm just going to switch up the frames a bit and come back to this one. Then I'm going to again squash and stretch. Now playback settings. Just going to set my frame rate down to six and right-click on the last frame. Set N time. Hit Play. There is the ball bouncing animation. 5. Onion Skins: I'm going to talk very briefly about onion skins. I think it's pretty important to keep things more convenient for you instead of confusing. Right now I can see in the onion skin one frame before and one frame ahead. That's indicated here in Christa by seeing the negative one and positive one being selected. Now if I select the two, the negative two rather, and then the positive two. Now we can see two frames ahead and two frames before. I can keep continuing with that. But right now, I only have two frames before and after this current frame I'm looking at. Right now, I'm drawing in black. Then the current frame that I'm looking at is going to be in black. And the previous ones are in red by default, and the next ones are in green. The bars over here indicate their opacity. So if I don't want them so visible, I can lower these bars to make them less opaque. If I want them more visible, then I just raised these bars. You can also just skip the one before and one after altogether and only see just the two before and two after frames. If in case the color that you're using is not black, but instead the same color as your onion skin frames. Avoid any confusion. I would switch these so you can make your before frame blue, something like that. And then you can make your after frames ideally something visible and something clearly different from your before frame colors. It looks like you can see onion skins ten frames before and ten frames after the current frame that you are looking at. 6. Keyboard Shortcuts: I'm going to go over keyboard shortcuts to ease your workflow so that you don't have to keep going between here and then here and constantly actually scrubbing like this all the time. If you want a more snappy kind of workflow. What I like to do is use my keyboard to scrub my frames, go backwards and forwards. And then if I want to add a new frame, actually, I can't just go to the next one over here unless my playback, my set N time is over here as well. But if it allows me to, and my cursor is over, strike through here where there's no unique frame here. I can hotkey it and create a new frame that way. Now let me show you how to set your hotkeys. Go to Settings, configure Crito, then go to keyboard shortcuts. I probably go to the search. Then type in Crete. Then click on this. And this should show which button you're going to use. You should check or bubbling custom. So instead of default bubbling custom, then click on, click on this or whatever it says over here. Then I usually like to use the button, the Tilda button or the backwards apostrophe thing, which is to the left of your number one key. That's what I like to use for Create blank frame. To scrub my frames. If I want to move my animation cursor on my timeline with a key, then I go to next frame and change that. I like to change it to number two. And then for the before frame or go backwards. I believe it's previous, its previous. You click on previous bubbling custom. I like to put in the number one. And then there's also another useful one. Insert, insert keyframe, right? That means you can come into the middle of all these frames and just insert a new frame instead of having to click and drag them all to insert a new one. And I like to, you can fill in these if you want. If you're F5 button doesn't work. I like to just put in the number three for that. Let's say for example, I just want to add a new frame over here. Without having to do this. It might be a bit of a pain to just select and then click and drag all of them. You can simply come over here and either you can right-click on it, go to key-frames, insert keyframe, right? Or I can simply, in my case, it's F5 for inserting the key. So I think that those are the most important keyboard shortcuts for a more easy animation workflow. Now actually a problem that you might run into if you really want to use the numbers 12 on your keyboard for scrubbing your frames. Credit by default usually uses the numbers 12 for shortcuts to certain zooms. Like a 100% zoom or fitting to your screen. So to get rid of that, I'll go to Settings, configure Krista Canvas input settings. Then go to Zoom Canvas. Then scroll around over here. If it says the number is one or two, like over here it says three for the input. But instead, if it says one or two, then you click on it, double-click on it, and then click on this delete button. If it still says like, let's say for example, yeah, it'll say plus over here. So for me I got rid of that. I think by default usually the numbers 12 keys are actually for rosette zoom, fit to page or something like that. Again, that is if you want numbers 12, if you don't, then you could find another key on your keyboard that is not already set as a shortcut for some other thing in Krita. But once you set it to none for 12 in Canvas input settings, then whatever you set for keyboard shortcuts here. It should work for the numbers 12. 7. Detailed Animation Overview: In this video, I'm going to give some more general instructions before I jump into specifically how to animate a walk cycle. One quick caveat about proto. Instead of starting on frame number one, it starts on frame number 0, which is extremely annoying because if I mentioned the first frame, incredible. I mean frame number 0. But I will try to be as clear as possible because as I've been using Crito with students, I will often say first frame or frame number 0 if the student is using Christa. So perhaps it's best to just watch which frame I am selecting or focused on. Instead of just taking my word for whether its frame 0 or the first frame, I will do my best to be as clear as possible. Maybe in case you guys aren't using Krita, I will actually say the first, second, or third frame. But then I guess if you get to the later frames, it'll be pretty confusing. But I'll do my best with that. Anyway. The first thing that you want to do over here is get familiar with your timeline. So if you're going to scrub your timeline, which means you're going to click and drag either with your pen or your mouse. Click and drag over the ruler. This area with the numbers above the worthy actual frames are, this area is what I call the ruler. Try not to scrub down here. Because otherwise you might accidentally mess up your frames when you're not trying to switch them or anything like that. If you want to scrub your frames, scrub on the ruler and not down here. This is a very common, common mistake with students. At least in five Beta. If you want a new frame, you click on Add blank frame, which is down over here. And you can tell that there's another frame because there's these rectangles here that are highlighted here. But right now there's nothing in them, so they're empty. But let me show you what happens if I draw something in this frame. This is how you switch between the frames you can overhear, as long as you're not clicking, dragging. You can just click on them and you will go to those frames right now they're all empty. Let me fill one in with something, literally anything. This is what it looks like when it's filled. It's solid, blue right now. Then I will draw something else. It doesn't matter. And now I have two frames with drawings in them. Then the third one has nothing in it. Because I haven't drawn in it yet. Let's say I draw something in here as well. Now there's a strikethrough through all these frames after the third frame. At least in Crito. So incredible and there's a strikethrough through all these frames. It means that the third frame is exposed. In all these frameworks. There's a strike through. Let me show you when there's no strike through. I create a new frame. In this frame over here. From the third frame to this one is free number 22 for me. There is no strike through over here. This one, this frame over here is completely empty. So then the third frame is exposed as it's the same frame, the same Smiley face. All the way till frame number 22 where it is empty. Now I'm going to draw another thing in here. Draw a star. The star is exposed for however many more frames you have. Until I create a new frame. If you want a new blank frame, you again click on this button. There's star from 22 to frame number 42. You can tell either from the ruler, What's the frame number or you can look over here for the frame number. Now, I can either scrub on the ruler to quickly look through my pictures. Or I could hit the play button. Now by default, my frame rate is 24. For pretty much most of the time when I've taught animation, I haven't been doing it like most people do. What I tend to do is just keep everything together. But most people tend to like like this where they don't, they don't touch the frame rate at all. And say, if they just want to not have the pictures change that quickly than you space the pictures. Are you space the frames apart a lot more so that they won't change so fast. If I do this, but keep them far apart. At the same high frame rate, it'll just still play Not so fast. You don't have to just put them right next to each other on the timeline. But the way I'm going to teach it is the way I've been teaching it. What I'm gonna do is actually lower my frame rate down to six for now. I'm actually so that I don't have to go through the trouble of deleting everything. I'm actually going to make a new layer. I'm going to hide paint layer one. New layer. In case you forget to make a new frame. And you draw something. Right now you see that there are no frames in this layer over here, this paint layer two. If you make a new frame over here and you already have a drawing, it'll disappear. But a quick fix to that just hit Control Z. It will come back and you have the frame. Anyway. I'm actually going to erase this. And we still have the frame. I'm going to show you how to do a really quick ball bouncing. First, we're gonna do keyframes. The keyframes just mean the key moments in a given movement. First one is the ball's going to start up here. Then for now I'm going to skip one frame and go to the third frame and create a new frame there. Now, this is where onion skin comes in. Onion Skin is where you can see the previous or the next frame while you're viewing another frame. So in red is my ball that I drew in the first frame. And because there's a strike through in the frame before the first frame is still exposed. And you could see the previous frame. Now I'm going to put in the second key frame, the second key moment. I'm going to draw the third keyframe, or the third key moment here. I'm going to skip a frame, make a new frame, and have it end over here and do my best to keep this ball roughly the same size and shape as this bowl over here. Now, this is going to be rather jerky. And that's because it's only keyframes. We have not done all the moments in-between. But this is usually how professionals do it to keep things from getting all wonky and to have more control over the pacing of the movement. Now, my preferred settings for playback is going into clip end. I could see that the clip ends at frame over four. Another way you could do this is right-click on it, click on it, right-click on it, set in time. Then make sure that it's slow enough. This is just how I like to do it. You could space them out more and not change the frame rate. Keep it at 24 or 12, Whatever. I believe that the animation industry of their standard frame rate is something like 12 frames per second. But for now I go with six, especially since most of my animation experience has been in video games. And I usually do a long list frames for my animations. But anyway, now I can hit the play button. It's pretty jerky right now because I haven't smoothed it out yet. That is the next part here. Now I'm going to go into the first in-between frame, between the first two key frames and create a new frame. Now we could see before the red and the after the green. In order to give a sense of speed. Because if I do this, it's gonna be kind of awkward. And if I don't stretch it out, because I need to feel the exaggeration of the feeling of speed here. So my next frame is gonna be like this. Then with the next in-between frame. Another new frame over here. Five is glitchy still. So I'm just going to fix that by going backwards and forwards. Then come up here like that with the in-between ball here. Now I'm going to play it back again. So it's a lot smoother. But now I'm actually going to show you what the difference is like if I were to do it without the principles of squash and stretch, at least for the in-between frames. Let's say I duplicate this and I hide this, and I erase this ball. And instead do what perhaps most people would do. See if you can feel fuel a difference. Now, I feel like this doesn't have as much impact. Few of the principles of animation. I would say that these principles I'm going to mention are more like kind of Disney based sort of animation based off of that kind of quote, unquote traditional animation. It doesn't mean that you absolutely have to follow all these principles, but for now, they might be good to follow, to really get a good feel of how to exaggerate these movements and to really get your audience to register them. Now I'm going to show again what I did with my original ball animation. Now you feel, you should feel a lot more of the impact of the ball. Kind of like it's being thrown and impacting and squashing from the impact on the ground. And then it coming back up and decelerating when it comes back up here into the air. What I just did is called pose to pose animation. As you choose, what are the key poses or positions are the key moments in a given movement so that you figure out what are your starting points, your key midpoints, and your endpoint. The most important parts are the beginning point and the endpoint. So this is, this, here is the starting point, and this is the end point. However, I needed another key moment in my animation. The main thing that it's doing is it is bouncing. It needs to start somewhere. It's got a bounce and then you have a bit of a follow through so that it has a place to bounce through. Then after doing your keys, you put your in-between frames, which I call them twins. You put your tween frames in and it smooths out your animation. You can try to add even more in-between. If you want. If you want to encrypt a, then you can just right-click on this frame after you've selected it. Keyframe. Insert keyframe right? Then it'll immediately just push all your existing frames forward. And then you could do this. But I would say you probably want to experiment with it to get the desired pacing. You want. Same idea over here, I guess. Maybe keyframe right here. And perhaps I can give another stage of kind of morphing and even more. Maybe we should see what happens when I do this. I've never actually done this many frames before with ball bouncing because this is supposed to be a really quick demo. Set N time, hit Play. Now this, this over here is pretty awkward. It feels a little bit more like kind of like a water droplet rather than a ball actually bouncing on the ground and coming back up. But it looks kind of cool and it's definitely smoother. Perhaps if you feel like it's a little too slow, then you can increase the frame rate. I haven't really had much of a problem doing this. Again, because the frame rate, I feel like it's more variable in video games. That's why I'm not as bothered doing my animation frames like this. Whereas if you're doing your animation for TV and movies, then you should not at all change your frame rate and keep it up something like 12 over 24. And then keep spacing all your keyframes appropriately so that you give some room for yourself to put however much twins it takes or readjust where you put your keys. But I am more okay with just keeping them close together because I don't expect that many of them. The pacing is not something I'm especially attentive with. Since I'm mostly, I mostly specialized in volume animation. Anyway. I mentioned pose, the pose animation which involves your keyframes and then tweening in-between those keyframes to smooth it out. Now, the other way instead of pose to pose is straight ahead, which is what most people would think to do. Let me show you what posts poses. Frame one, frame to frame three. Frame for frame five. Frame six, frames seven, something like that. With this, the problem is, you're not really looking at the size. I mean, you could turn on onion skin. However, you're more likely to run into inconsistencies. There's no planning. You're just blindly moving forward and not really seeing an endpoint. It's just like making a shot in the dark and you're not even sure where you're shooting. And hoping that your ball over here just ends up the same size and shape. However, this straight ahead method is useful for like, for example, for hair or anything that is like more organic. So let's say we have something that kind of drags off of this ball. We've looked at how this primary object makes. This other object that's attached to it reacts to the primary objects movement. Now, this could be hair, this could be Fabric, whatever, a cape. And then I'm going to say it's going to squish whatever this is and it'll react. Then. Now it's changing, but still kind of trailing behind. Then maybe it'll start to squish like this or something like that. I really don't know how this is gonna look, but but yeah, it's It's got a lot more character to it, whatever it is it could be. I don't know if fireball or flame or it could be fabric is going to be hair, it could be anything. But I would say that straight ahead animation. I would say you want to reserve that for objects that don't have rigid structure, like maybe grass or hair or tails or fabrics that kind of drag behind another objects. That is doing the primary motion. 8. Walking Key Frames: Let's get into the keyframes of the walk cycle. Actually to make it a lot easier on yourself, I'm going to make a new layer and call it ground. I'm going to draw a straight line across. In credit, you just hold down the letter V and then click and drag from your starting point, then to your endpoint and hold down Shift to snap to the straight horizontal line. This should make it a lot easier for you to get a feel for where under the ground is, for your stick figure to make contact with the ground? We're doing a stick figure because you don't want to get straight into detail. You want to get this moving as quickly as possible rather than focusing too much on small details. First, actually, I want to make a new frame. You hit this button over here. Then you draw a circle, leave some room above. Actually, I'll just download a little bit over here. Then I will draw the torso, leave some room for the legs. Then for simplicity sake, I'm not gonna do anything too complex with this stick figure, but I do want some thickness. I will show you in a bit why. But make sure that the length and the thickness is roughly the same. Then with the legs, I'm going to also make it really simple and a little bit exaggerated so that it's as simple as possible for you to copy. I'm trying to make sure that a point of contact is consistent and that I'm not doing something like this or doing something like this. I think the points of contact needs to be consistent with the ground. Now, here's the reason why I would like for there to be thickness with the limbs. I'm going to make a clear indication as to which of the limbs or this figure's left limbs and this figure is right limbs. I'm mostly going to refer to them as black limbs and white blooms just to try to avoid confusion. But I'm going to hitler F for Phil. If you want to skip out on the little white lines and credit. If you get that, then you go to Tool Options. And then for one I am actually should sample on current layer. I don't color everywhere according to all layers. And then grow selection by at least maybe one or two, perhaps three, to get rid of the anti-aliasing or the little white sliver of line that you get. Anyway. Then I'm going to fill in the opposite limb. Because you can actually do this experiment right now. You can get up and you could try just walking like normal. Notice that it's more normal for you to swing your right hand forward and then your left foot is in front. When your right hand is in front of you, you can try to walk with your right hand in front at the same time as when your right foot is in front. Butt, that's going to feel weird and you're going to feel like a toy soldier or something like that. It is actually more natural to have opposite limbs going front to back together. When right hand is in front, then left leg is in front. Let me make this more clear over here. Because the white limb is always going to obstruct the black one. So I am making it so that white limb is this figure's right limb. But I'm mostly not going to refer to them as right or left, just black or white. Anyway, second key, I'm going to skip one and go to the third frame and make a new frame. I'm going to turn on my onion skin. The second keyframe. I'm going to draw a head, appear about half a head height up. Try to make sure that it is the same size and shape because your head does not change in size and shape when you're walking. Most of the time, it should never change the size and shape. Then as this person is bobbing up and down due to the different angling of the legs. When the leg one of the legs is straight up and down, the person will appear to be taller. I might've exaggerated by how much, but for the sake of simplicity, I'm just making this figure taller by about half a head height. I already drew in this leg. I'm going to draw an arm. It doesn't really matter if you draw both arms here because the black one will be obstructed. And also the shoulder will also be moving up. Because if the hip is moving up indefinitely, the shoulder is going to be moving up because we're going from the black leg is in front before it's gonna be coming back. So I'm going to fill this in. Then do the other leg. I'm going to bend it and make sure that it looks like this right leg is obstructing the black leg. In the interest of speed. I'm actually going to have you cheat a little bit just for simplicity sake, because this doesn't have to be that complicated. So instead of redrawing these, I mean, you can redraw these if you want. But what I'm gonna do is I'm going to take the first frame. I'm gonna right-click on it. I'm going to copy the keyframe. Go into 1234, fifth frame, right-click on it and paste keyframes. It's going to be the same exact thing as the first frame for now. But I'm going to now switch the limbs just as a shortcut. Now. The limbs have switched places. The ones that were front before are now in the back and vice versa. Fill these in, groups. Fill those in. And again, make sure that the white limb obstructs the black button. Now I'm gonna do the same thing with the other frame. The second keyframe. Right-click on that. Copy keyframes. Skip another one after the last one. These keyframes, and do the same thing. There's pretty much nothing to be done with the arms. So all you need to do pretty much is just erase the standing leg, but makes sure it is obstructing the black leg because the black leg is always in the back because this person is walking to our right and the black limbs are this figure's left wounds. You can take a look at how this looks. Maybe I'll set it down to 46 somewhere. Like a pretty low frame rate. If it's too fast and you can always lower it. If it's too slow, you can always increase it. And then I'm going to right-click on the last frame, certain time growth from the beginning and hit play. These are the keys. But basically, the reason why I have black limbs and white limbs is because if I keep them all the same color or fill or not filled at all. If I don't differentiate their colors, it's just going to look like a person who's spreading the legs and then putting the backend strength and kind of dancing. But you can at least see that the white foot, for example, is coming forward and back and coming back forward and pulling the ground back behind this figure. It is Shirky right now, but once you tween it, it'll be a lot smoother. 9. Walking In-Between Frames: Now let's move out this animation by doing the in-betweens, or I usually call them tweens. Probably not the only one who caused some trainings, but I'll just call them tweens. I'm going to go to the second frame that doesn't have a keyframe yet, and I'm going to make a new frame. Now things can easily become very confusing. The key thing to do is don't look at the whole thing and realize that it's a lot because at first, yes, it is a lot. Just tackle one thing at a time. First, the head, the new head that you want to draw should be right in between the green and the red. Makes sure that you don't end up with a head that is way wider or bigger than either a head that's already been there. The most common mistake that I see is students drawing the head a lot wider or a lot taller, narrower, but it should maintain roughly the same size and shape as the other heads. But you see in the before and after. Next, I'm going to do the torso from neck to pelvis. And I'm going to end it right between the green and the red pelvis. Because we're trying to fill in the moment between these two moments. When the figure is low enough down here, and when the next figure is high over here. Then looking at the arms, start with one arm, start with a white arm. The shoulder is going up and down before it was lower and the green one is higher. So then I'm going to tween that, find the point that's in-between the green one and the red one. And I'm also going to look at the angling of both of these arms, the green one and the red one. I know that the shoulder is probably gonna be around here. And just think of it as like a clock hand. The red one is pointing to three o'clock and the green one is pointing towards six o'clock. Around 430 ish is where this new arms should be pointing approximately. Now, in this animation, you could just cheat and just make it symmetrical on the other side for your own convenience. Just try to maintain roughly the same thickness and length. Fill this one in groups. I'll fill this one in. Then I'm gonna do the legs. The most straightforward one that you can work on first is the black one. Before. It's approximately at five or four o'clock, something like that. And then the next one is at six o'clock. Then I'm just going to put the new one right in between. Then I'm going to fill it in. The other one. I'm going to say first, get to the knee, figure with an E is the red one is over here, the green one is over here. So then the new one is probably going to be over here. Just trying to judge the halfway point between the red and the green. So I'll just do the thigh first, then the foot. I think it's more natural for the foot to not be so flexed. Then I'm just going to draw the foot more like this rather than at that angle. So then I will connect that. Drew it over here because I looked at the red foot and the green foot and put the new one RANDBETWEEN in pretty much in location. Just figure out what's the path of motion, whereas it going. Then this is a lot more smoothed out. You'd probably play this back. It's just a tiny, tiny bit more smooth. Now I'm gonna go over to the next, an empty frame over here after the third frame and make a new frame. Gonna do pretty much the same thing. Again, head first, halfway between approximately the same size and shape than the new torso and running between the green and the red pelvis. Then again, I'll just do the white own first and put the shoulder right in between the black arm with that. Again, the black leg is gonna be pretty straightforward. We'll just put the new one in like this. Then for the white leg. This one, I usually make an exception. I'm not going to put the new ni over here, actually. I'm going to put it up here. So it's not exactly tween, But I think that it fits in this moment as it's unravelling to allow the foot to not get so low that it's gonna scrape the ground. I'm going to put the knee up here for this one. Then. I'm going to put the new foot over here. This one's gonna be the white leg and this one's going to be the black leg. Make sure that the white leg obstructs the other one. Now you can probably play. Again. It is also pretty smooth. Now, you could go ahead and do your exercise and just make a new frame here and do pretty much the same thing. Or you could probably copy and paste. All you would have to do is literally just take the second frame, right-click. Copy the keyframe, go to the second last empty one, paste it, and then switch the lens. But then also making sure that the white leg, the white limb always obstructs the other one. Now I have that one and then you can either copy and paste frame 0 into two frames after the last one. Then just literally between, between the last frame and the first frame. So I could do that. The key frame. And then to after the last frame, pieces key frame and then make a new frame in-between those. Then again, you can do the same old thing or you can copy and paste again and just switch the lens. But I believe you could just take the fourth frame, my click on it, copy the keyframe, paste it into its frame over aid or in credits for number seven, key frame. And just again switch the lens in case you did the thing where you copied and pasted for a number 0 or the first rain into the frame after the last one or the last frame, you could delete that. Or you can just sit your playback to this frame here. Remove this and making sure that I have a total of 12345678 frames for this walk cycle. Going to make sure that this is the EGN time. I'm going to play it back. That is the very, very basic walk cycle. You could speed it up if you want, if you feel like maybe looks more natural for this to be faster. Or perhaps if you want a standard like 12 frames per second, you could space these apart and just add even more frames to make sure that it doesn't look too fast at the standard finish per second. Yeah, This would be this would be a pretty prescribed OK. But yeah, anyway, I would say that this walk cycle is pretty good for beginners. Especially a good base for a video game sprite, a walk cycle for a video game, because it loops nice and smoothly. I hope you enjoyed this tutorial and I hope you also found it useful. Thank you so much for watching.