Transcripts
1. Introduction: Welcome to motion
in Adobe Fresco, bring illustrations to
life with easy ammunition. [MUSIC] My name is Sarah Nelson. I am an artist and
illustrator in Los Angeles. I am so excited to
introduce you to the world of Adobe
Fresco motion. It has been such an amazing
journey to learn these tools. For so much in my life, I have admired animation. But I've never felt like I could accessibly bring that to
life with my own work, even on a small scale. Now it's possible. I've actually been using
these tools to boost both my creative play
and my creative career. These tools have
allowed me to think differently about my
creative practice. Then in the career world, I've actually been
able to be hired to bring illustrations to life, to do music videos, to do promotional content. There's so many different
ways that this can be useful. It's been so much fun. No matter what you're here for, whether you're here
because you're just curious and you want to
try something new or because you're
trying to add some new skill sets to your tool belt so that you can get
hired and broaden your ability to
meet client needs, this class is for you. If you're new to
Fresco, I've got a whole lesson that walks you
through the whole program. If you're new to animation, we're going to walk through
those tools step-by-step, and by the end of this
class you're going to have put all of this
knowledge together into one beautiful animation of a character of
your own design. Having a wonderful little
living room dance party full of ambiance, color,
lights, everything. It's going to be
really, really fun. I had a blast working on this. I really think you're
going to enjoy this class. For this class, you're
going to need an iPad, an Apple pencil or something similar like a
tablet or a stylus, and then you're going to need
the program Adobe Fresco. I highly recommend
having a playlist, full of dance party
inspired music. This class is going to teach
you the things you need, but it's also just
meant to be really fun. Follow what makes you smile and just let yourself have fun. I'm really, really excited
to see what you'll make. I cannot wait to celebrate your projects with you in
the class project section. Please share them with me. Let's get this party started. [MUSIC]
2. Your Class Project: [MUSIC] I'm so excited to talk
about this class project. We are going to create a living room dance party for the character
of your own design, from start to finish. We're going to use pads,
we're going to use frames, both of Adobe
Fresco's motion tools to create spinning disco balls, falling confetti, lights
in the background. We're going to create a dancer that is busting a move and we're going to
add color to them, we're going to add
patterns to them. We're really going to figure
out how to bring as much of our illustration to life in the motion settings as possible. Then we're going to press Play and bust and move
ourselves perhaps, and share it with the world. I'll walk through how you can
share it on social media, I'll walk through how you
can share it on Skillshare because the world needs to
see your amazing creation. I cannot wait to see the Project
Gallery full of dancers. You'll need a tablet or an iPad, an Apple pencil or a
stylus of some kind. You'll need to
have Adobe Fresco. You can find that
in the App Store. I am so excited to
see what you create. Let's put on some party music and hop into the Adobe tutorial, and if you're familiar
with Adobe Fresco, feel free to skip that lesson. I'll see you in pads.
3. Adobe Fresco Tutorial: [MUSIC] Let's open up Adobe
Fresco and get started. Let's talk about
this home screen. You can see current projects are stacked below the
Canvas options. Click "Create New", and
make sure that yours is 9 by 16 portrait
instead of landscape. This is a perfect Canvas
option for Tiktok or Reels. I also really like to
have my DPI to 300, which is just talking
about your resolution. The higher that number is, the higher your
resolution will be. Three-hundred is my
preferred option, just so that I can
get more detail into my Canvas as I work. When I have all my
settings in order, I can click "Done" and
my Canvas appears with my program menu wrapped around
the edges of my screen. First things first,
in the top middle, there's this untitled title. If I tap on that, it allows
me to rename my file. With the little
keyboard that shows up, I can type in what I want
the name of the file to be. Then under that naming area, there's also this
option to save. I like to save
regularly throughout my project just in case
something happens. Next up we have brushes. You can find our brushes on the top left side of our screen. The first one is our
Pixel Brush menu. I have a long set of
brush categories. I have the ones that Adobe
Fresco naturally comes with, but then I also have
a whole bunch of additional Kyle's brushes
and Adobe Fresco brushes, which you can do also by
clicking that fancy plus. It'll open up a window
where all of their sets of brushes are available just
by clicking on the Follow, and it'll import the
brushes into your program. Now let's look at some
of the pixel brushes. You can see there are two menus, one that is a list of my brush categories and then another one that says favorites. This is a shortcut to a list of brushes that I use the most. You can select
favorites by going to any brush that you like, then when you select brush, you'll see a little
star that appears. If you click on the star, it will automatically enter that brush into your
Favorites menu. I'm going to start with one
of my favorite brushes, Kyle AM watercolor paper brush. Pixel brushes can hold so much variety in how they handle and express the texture, opacity, and even how they respond to pressure
and layering. Every single pixel brush acts
a little bit differently. The thing that pixel
brushes cannot do is to create infinitely
scalable illustrations. At some point, the pixel
image does start to pixelate, meaning you can see
the individual pixels and the image looks less clear. You can obviously still create incredibly large images by
working with high-resolution, aka DPI Canvases, but they'll still
eventually reach a limit in their printable size. You'll always know when you're working with a
pixel brush because you'll see that on the layer that you're
actually working on, we'll have a little symbol with the pixel grid
inside of the circle. If you are on that layer, it'll tell you by showing
it with a blue rim. Knowing what layer you are working on can be
super important when you're working
on complex projects or using a variety
of brush types. Make sure that the one
that you think you're working on is
actually highlighted. Next up, we have our
live brush menu. They are made to mix, look like, bleed like actual
watercolor and oil paints. There's a small selection
of each of these types of brushes in the watercolor
and oil menus. You can see when I use the watercolor brush
that it starts to bleed and expand and interact
with my previous marks, almost exactly like watercolor
can actually do on paper. Now when I add an oil brush, you can see the texture that it naturally comes with really follows the same as a
brushstroke on a Canvas. They also blend
really similarly too. Side-note as I'm demonstrating, you may have noticed
that I'm pinching in and out in order to zoom in
and out of my Canvas. This is an amazing
shortcut tool. Next up we have vector brushes. These are exciting and
unique to Adobe Fresco. When I select and start
drawing with a vector brush, you can see that it immediately
adds a new layer on top of my pixel layers
and has a new label, which is that little icon, but it's a filled-in circle this time instead of that grid. Vector and pixel brushes are two very different
types of brushes and cannot mingle on a single layer without the vector
becoming a pixel stroke, which will happen if I merge this layer down into
the other two layers. When we look at the
Vector Brush menu, you can see that there
are a few brushes. The variation is not
really textural, but actually in
the line quality. They are magical because
they do not lose any clarity no matter
how far you zoom in. Under vector brushes,
we also have erasers. The first thing that
I want you to notice is that our erasers will shift. If we have selected
a vector layer, we will get vector erasers. If we select our pixel layer, we'll get [LAUGHTER]
pixel eraser. The Smudge tool only works on pixel layers and can
be adopted to mimic any smudge quality that we have referenced in our
pixel brush types. Then we have our transform
tool that allows us to transform objects
on our selected layer. We can move, scale,
mirror, flip. There's so many options and so many things we can
do with this tool to make sure that our marks are able to do their best work. One thing to note is that vector and pixel layers
transform differently. Pixel layers are
restricted to the Canvas. If you scale a pixel layer beyond the limits of the
Canvas and tap Done, the pixel layer will be cropped
to fit that Canvas size. Vector layers can
be scaled and moved outside of the Canvas
and will not be cropped. But if you decide to
export the piece, anything that is not
shown on a Canvas will not be exported
along with the image. Let's talk about
our selection tool. You have a few options here. If you double-tap the icon, it will offer several types
of selection options. For this demonstration, I'll just use the general
selection tool where I can trace the outline or the shape I want
to have selected. Once I've done that, you will
see another menu specific to my selection appear in the
bottom part of the screen. I can transform, erase, or mask my selected area. Just remember that
it will only select on the layer you're actually on. You can adjust your
selected layer by again, tapping on the layer you
actually want to work from. Next we have the
famous Fill Bucket. There are many ways to use this tool to create backgrounds, fill in shapes or linework with a new color, but for now, I'm going to fill in an
entire Canvas on a new layer. As soon as I click on
the entire Canvas, there's menu that pops up asking if I want vector
or a pixel fill. This is important if you're
working with vector brushes, and you want to keep
your file consistent. It's time for our Shape tools. Just like with brushes, you can tap on the Plus
button to follow new shapes. I like to use the
comic strip images. I'm going to use this
pow type symbol. I'm going to select
a new color so that my symbol actually shows up. It'll give me options
to erase, fill. You can discover many
different ways to use this. The next menu item on our
sidebar is the Text tool. I can select this and
then tap on my Canvas and a little text box filled with gibberish is
going to appear. It will also open a new menu on the right
side of my screen, which is going to be
specific to the Text tool. It's going to have font
options, general text settings. When I tap on the
actual textbox, a keyboard image will appear, and I can tap that in order to type in my
preferred texts. Also notice that it
automatically creates a new layer and that
layer is marked with a T, which indicates that it is
specifically a text layer. Next, this is our color picker. When selected, we get a little
circle divided in half, and as we drag it
over our Canvas, we can see that the
colors inside of the top half are changing and the bottom half is consistent with the currently
selected color. In the top right as
you're doing this, it will also give you your hue saturation and
brightness numbers just in case you want to
find a matching color. There's also this new
setting on the color picker, it looks like a pie shape, and you start to drag
your sphere over the Canvas just
like we did before. You'll start to see
that it's picking up a whole bunch of colors, starting to select
everything that it sees within the half-sphere shape. In the color preview circle where it shows you what
color is selected, you'll start to see a sample of this wide range of
color selection. To demonstrate what
this can look like, I'm going to start to draw, and you can see
that it's painting with all of those colors. Lastly, when I tap on that
circle with the color sample, I also want you to
see that it now shows up in my recent
color selections. Below the color picker, we have a Picture icon. If we tap on that, it creates this menu where we can
access our camera, we can access photos or files, or even our Adobe
Cloud in order to import something specific
onto our Canvas. We're finally to our
color selection sphere. This icon shows us the
currently selected color. If we tap on it, the entire color wheel opens up. The sphere helps us find colors and hues that we're looking for. Once we have selected a color
that we're excited about, all we need to do is
adjust the tone by moving the second dot in that square that's inside of the circle. Below the color wheel, we
also have our opacity scale, and then we have the hue
saturation and brightness, which can help us find a more exact color if we are trying to reference something
specific from a different file or
a different project. We also have our Recents menu which logs our colors that
we've used throughout this Canvas and even remembers the level of opacity
that we use it at. Then beneath the color
selection sphere, we have a whole bunch of brush settings
where we can change our brush size and we have
smoothness and flow settings. Let's move to the top
right corner next. These arrows are probably
very familiar; undo and redo. Next we have our Help button, which includes access
to helpful tutorials, has inventory to the shortcuts, and gestures that
will help us gain easy access to
things like eraser, zooming in, zooming out. Then we have an exciting
ability to share in-progress work by creating virtual
links to our current work. If you're working with a client or collaborating
with another artist, this is a great
way to share work without constantly
exploiting new files. Any comments that are left by stakeholders or
collaborators will show up in a little
speech-bubble that's on the right-hand menu. Next step we have a big one. It's the box with the
arrow coming out of it. This is the Export menu. It has so many options. We'll go into this menu more
in depth in a later lesson. Next, we have our Canvas
settings and we can revisit our basics
like Canvas size, resolution, some
of the things that we set up right
at the beginning. If we need to change those,
we can do that here. The two diagonal arrows allow us to change our screen
into full-screen. We have a layer
stack button that allows us to reveal
or hide our layers. Then we have our Layer
Properties menu, depending on the layer
type that you've selected, your menu will change. The Layer Opacity tool will affect everything that's
contained in that layer. Then we have this icon
with a grid in it. This is a Drawing Grid tool. You can create a general grid, but it also gives us the opportunity to
work in one-point, two-point, or
three-point perspective. You can even change
the horizon line and the vanishing points. Next up, we have
that speech bubble, which is where you
can find the comments left by those that you've
shared your file with. Then we have a box
with a plus sign which allows us to create
new blank layers. As a side note
[LAUGHTER] on layers, you can reorganize layers by holding down on the
layer you want to move, and you can move them
up or down in order. Just remember that
whatever layer is at the top of that stack, that is going to cover up
whatever remains underneath it. The Eye icon allows
you to hide or reveal your selected layers
or groups of layers. Then you have the
Mask Creation button, which will allow you to
create a mask for the layer below using the current
layer that you've selected. After that, we have
the Color Balance menu that allows you to
change the brightness, saturation, and it
will affect all of the layers below the one that
you've currently selected. It appears as its own layer and you can drag it up and
down in-between your layers. It's not necessarily only applying to the layer that
you've selected at the moment, it's a setting that you
can shift throughout your stack just by holding
it and dragging it. We have finally made it to our Menu option that
is specific to motion. This whole class is
about this menu, and I'm very excited
to dive into it. When we click on the layer, we want to use the motion
components for it. Then you can tap on
the Motion icon. You'll see this new menu appear at the base of the screen. It offers Play, Pause, Path, and then if you tap on Path, an Effects menu will open. Then we also have
the Setting menu. Above the selections, there's a new series of what look like layers in a horizontal row
and a plus sign next to them. These are frames. Below the Motion Menu button, there is our Ruler icon. If I tap on that twice, I can see that there
are a few options and my traditional shape options are tucked into this icon as well. We have the circle, square, and a polygon along
with the ruler. My goodness. That
was a lot to cover. Thanks for sticking with me. I hope this has helped
you feel pretty equipped to navigate
this platform before we dive into the rest
of this class and more specifically into motion. I am so excited to see what
you create in Adobe Fresco, and I'm so excited to dive
into this class with you. Let's do this. Next step, we're going to talk about paths and we're going to start
our motion journey. [MUSIC]
4. Paths: [MUSIC] It's time for paths. I am so excited to
dive into motion in this great and wonderful world
of Adobe Fresco with you. Let's start by opening up a brand new canvas
with the settings of nine by 16 in the real
or Tiktok format. We want to make sure it's at
300 DPI for high-resolution. Add that new layer right away by clicking on that little
box with the plus sign. There are two types
of motion tools that we're going to
talk about in Fresco and we're going to use
both of them in order to complete this class project. In the last lesson we went through all of the menu options, and towards the end
of the run-through, we saw all of the
different motion tools, including this fancy
thing called paths, which is the first type of animation that we're
going to talk about. I'm going to use my
pencil pixel brush. This is one of the standard
Adobe Fresco brushes. You can find it in
the sketching menu. We're going to test the
paths animation effects. To do so I'm just going to
draw a super basic flower. Feel free to do the same if you want to try this for yourself. Now that I have my flower, I can tap the motion menu icon, and this menu at the bottom
of my screen is going to appear and it's going to have this icon that says paths. Once I click on that,
it will open up an additional side menu that we're going to
look at shortly. But for now I need to create my starting point for my path, AKA my anchor point. Then I'm going to draw a path. I'm going to do this
winding line down to the bottom of my canvas,
and when I've done that, I can tap play all
and you're going to see this flower
follows this line that I've created and
then just pops back up to the anchor point in order to restart that path
all over again. Now, let's look at
the menu button that appears when I touch
the effects button. I can see I have these
blending modes which really won't affect
this drawing too much because there's
not enough going on. Under that we're going to see familiar settings like opacity. This could be really,
really helpful in order to help an element not
pop quite as much. We also have some
fun and new effects, add multiples, scatter,
fun things like that. Add multiples will literally
add multiple versions of my flower drawing and have them move along the path
simultaneously. You can use the sliding scale
underneath to determine how many copies you want to
add to the motion effect. Then we have this cool
thing called scatter, which allows the
flower to change its interpretation of the path, making it more of a
general reference and not a strict
following of the path. If you've created multiples, it's going to do that effect on all of the multiples as well. The higher the bar goes
on the scatter scale, the less strict it will be about following the path I created. We're also given these
cool speed controls. It gives us some loose
control over how the drawing might interpret the speed in
which it travels the path. The original speed setting
allows the way that I've drawn the path to be the interpretation of the speed, almost like I'm
incorporating an element of gravity into the interpretation. Uniform speed
regulates that speed, keeping it really consistent
throughout the path. The easy in, easy out toggle, affects the way it starts and ends the journey along the path, and the frames element
on this particular menu increases the rate
in which you go through the frames
or slows it down. This functions differently
from other animation settings, which we'll see later. Next, we are given this
aligned to pass toggle. When we turn that on, the image is going to turn and always face forward
along the path, which is part of the
reason we needed to draw our flowers so that we can see that it's actually
changing its direction. Randomize, is going to change the way it
interprets the path, which is pretty
similar to scatter and depending on how you
have drawn the path, its interpretation will vary. Now you know that there are
ways that you can actually draw that path that can
affect your motion settings. You may want to practice
redrawing your path and in order to reset
your path drawing, you can always click the X of your starting point
and redraw the path. You can use turns, ups, downs, even variations on how quickly
you make your lines in order to affect how your
drawing navigates the path. Now though we have the basics of our paths well figured out, we can hide or delete our testing layer and
add a brand new layer to start working on our fabulous living room style dance party. I'm so excited. I personally want
a disco ball at my dance party so
I'm going to draw a circle and start
to add a grid of shiny and colorful
tiles to my disco ball. You can use your
pencil brush and on a new layer you
can draw a circle, add your tiles just
like I'm doing here. The disco ball doesn't
have to be perfect. This is just for fun. If you need more
time to finish up, please feel free to pause, put on some fun dancing tunes and rejoin me when
you've finished drawing. Once I'm done with
my disco ball, I'm going to keep
that layer selected and I'm going to click on
that motion tool again, and go straight to
the paths option. I'm going to use my Apple
pencil to draw the path that in my mind best reflects this
slow spinning of a disco ball. Because I want just this
small range of motion, I'm going to create a small
loop and I'm going to start my path in the center of the ball just so
that it doesn't move the ball up or down
too much on my canvas. When I lift my pencil up, I can see that it's created
just a slight sway. If you want to readjust
your rotation, you don't like the
way that it ended up, just feel free to click
that X and try again. Also, note that how
you draw the loop, left to right or right to left, is going to be the direction
in which it starts to spin. I'm going to add
a static line on a separate layer just so that the ball is actually attached to something on the ceiling
and then next I want to add confetti to this party vibe. I'm going to revisit some of the colors I used
in the disco ball, and on a new layer, I'm going to draw
a scattered pieces of floating confetti. I'm going to draw them
as if they are in various stages of falling. I'm going to add
my anchor point, that fancy X in the relative
middle of my confetti drawing and then I'm going to do a path moving straight down. Then I'm going to
click on the paths, and I'm going to revisit that side menu that
appears when I click on the Fx button and turn up the sliding scale for multiples. I'm going to increase
the scatter field to spread out my multiples
so that it looks like a lot of confetti
falling fairly spread out but evenly from the ceiling. Then I can press play all, and watch the confetti
lightly falling as my disco ball spins its magic. When I hit pause, it returns
to that still image where only what I've actually
drawn is visible. We did it. We have some super
important party elements ready to go and in motion. This is so cool and
now you also have a great understanding
of how paths work. Now it's time to talk about frames and bring in our dancer. I cannot wait to see
you in the next lesson. [MUSIC]
5. Frames: [MUSIC] Yay, it's frames time. This is personally
my favorite form of animation on Fresco, and I'm so excited to dive in. Before we fully dive in, I want to talk
about the basics of creating motion with frames. We're going to start
on this new layer, we're going to tap the
motion icon right away this time and instead
of tapping paths, we're going to focus on that
highlighted box that looks like a new layer with the
plus sign next to it. These are our frames, and they're only frames for this layer that we're
working off of. I'm going to hit the plus button until we have a total
of five frames. It's going to show you
how many frames you have, and which frame you're
working on out of that total frame set
next to the plus sign. Then we're going to scroll to the first frame and make
sure that it's selected, and I'm going to draw a circle in the middle of my canvas, and give it a horizon line behind it in order
to show the floor. Then I'm going to tap
on the next frame, so two out of five, and I'm going to
tap on my settings options so that I can
turn on my onion skin. I'm going to flip
that toggle on, and then there's
a sliding scale, and I'm going to
set it down to one. This scale determines how
many layers will be lightly visible in the background
while I work on this frame. This is an awesome tool to
make sure that you create gradual transitions and
keep details consistent. For this particular set though, I'm going to move it
down to one so that I can only see the
previous drawing. From here, I'm going to
draw the same circle, but I'm going to draw
it just hovering slightly above where
the last circle was. Then, I'm going to redraw
my horizon line in the same place as it
was in the first frame. Then I'm going to
select the third frame, and repeat the same transition. I'm going to make the sphere
just a little bit higher, and I'm going to keep the
horizon line consistent. I'm going to repeat this again
for the next two frames, and then when I press "Play", it's going to look like
a ball that's bouncing. It looks really fast, so I'm going to tap the
settings menu again, and I'm going to
change my frame rate. Frame rate determines
how quickly it's going to move through
the frames per second. Right, now it's set for
15 frames per second, but I only have five frames, so it's going to move
extremely quickly. I'm going to move it down
to five frames per second, and watch it bounce at a little less nauseating of a speed. Let's add a new layer, and hide or delete the layer
with the bouncing sphere. It's time to take
what we've learned, and translate it into a
very basic moving figure. To go over this, I'm going to just
draw a stick figure, you can do this with me. I'm going to go back
to my motion menu for this brand new frame, and I'm going to add
those five frames just like I did for this sphere, and after I've done that, I'm going to draw my
very first stick figure drawing on the first
of the five frames. Then I'm going to click
on my second frame. I'm going to make sure that
onion skin is on again with slide scale just revealing
the most recent frame, and then I'm going to look at all the things that I can move. Unlike the sphere
which could go up or down or sideways or
change in shape, I can move the spine, I can move the arms and legs in, out, up, down, there's a lot of
range of motion, and I can do even a slight
combo of all of the above. It's up to me how I want
to move my character, but I want to make sure
that in each frame the range of motion
is relatively small. I'm going to shift the movable elements just
bit by bit each frame. I'm going to turn
the head slightly by changing the shape of the
head just a little bit. I'll shift where
the face appears on the circle to emphasize
that it's turning, and then I'll curve
the back a bit, and move each arm and
leg a little bit too. Then when I move on
to my third frame, I'm going to see the faint
lines from the second frame, and I'm going to use that
as a reference to redraw my character in a slightly
different position yet again. I'm going to move the head
down just a little bit more, and then I'm going to
use the position of the face to emphasize
that again. I'm going to stretch
out the arms a little bit more on both sides. I'm going to angle the back, move the left leg out a bit more and bring the right
leg back a little bit. Now I'm onto frame 4, so this is my second to last
frame I haven't selected, I'm keeping in mind that I'm one frame away from my final pose. Now I'm going to
have him look up, and I'll raise the
arm a little bit. I'll even shift his
expression a little bit, and I'm going to move every
limb a little bit more again. On my final frame, I'll move every movable feature
a little bit more. Let's press "Play" and see
how this character is moving. I may want to adjust something
and I can do that just by going back through each frame and adjusting them as I see fit. I can adjust the
frame rate again too to find the timing
that looks best. We are equipped
and ready to pull this together and bring
our dancer to life. [MUSIC]
6. Create Your Dancer: [MUSIC] We're equipped and ready to pull this together
and bring our dancer to life. Delete this stick figure or hide it and add yet
another new layer. Let's start from the beginning. As a reminder for this project, this is really important. I highly recommend that you
keep your character simple. Think one step
above stick figure. You don't have to do a person, but you do want to have
movable elements like limbs. You want to be able
to move a face, arms and legs, the back. You want things that you can adjust throughout each frame. I'm going to, for fun,
create a Cyclops. You do whatever will
make you smile, but that you can also replicate over and over without
too much of a headache. For my dancer, I'm going to
add a total of 17 frames. In my first frame, I'm going to draw my
Cyclops in some motion, but also as a starting position. Here we go. I'm
just going to draw a circle for the head and
a circle for the eye. I'm going to give my
dancer a small single curl on the top of the head. A little bit of a baggy sweater, clubby hands just for minimal details, and
wide-legged pants. Let's do some simple loafers. Again, I am keeping it simple, but I'm still giving
it some personality. I'm going to set that onion
skin to one frame at a time. I like to improvise
my dance moves. If you have a
specific move, pose, or jump you want your
character to make, have that in the
back of your mind. You want every single frame to move you a little bit
closer to that position. You want to hit that
main pose somewhere between the middle and the
end of your 17 frames. Just remember to keep
it within the range of your drawing capacity and
don't make it too complicated. I decided I wanted a bit of a single leg lift and to end the move with
an elegant bow. Simple, classy, but
it is two poses. In my second frame,
I'm going to start moving towards this
leg lift pose. I'm going to try and keep my
character pretty consistent. I'm keeping those rosy cheeks, hair is always going
to move a little bit. Eye is going to move
a little bit too. The mouth is shifting slightly
and I'm going to adjust the movable body parts so that the arms go
down a little bit, the legs move out a little bit, and maybe the other one's
going to just increase in the bend and the feet will
start to adjust slightly too. I'm going to follow
this pattern throughout my next 15 additional frames
for the total of the 17. I'm going to move on to Frame 3. I'm going to angle the arms, adjust the shirt to
fit the shifting pose, and turn the head
a little bit too. There's a lot of fun
facial expressions that I'm going to really work
on throughout these moves. Then I'm going to
move the legs out in the motion that I
started them in again, just taking it a step
further every time. In Frame 4, I'm shaking things up a little
bit more by dropping the eyelid and shifting the
smile to a new expression, allowing the arm to fold
over the chest and kick out the leg that's headed
towards that final pose, lifting it a little bit further, and the supporting
leg is going to get a little bit more
of a dramatic bend. In the next frame, I'm going for that full blink and
increasing that wobbly smile. The arm is going to get close to the heart in this next frame, and the other arm is going
to fold in a bit more. I'm going to have
the leg kick up a little bit more
and I'm going to shift the feet into a position that helps it look more lifted. I'm going to keep making
these slight adjustments across the next few
frames until I've brought the leg all the
way up and I have that supporting leg's foot
fully on its toes. I'm going to adjust the eye and the facial
expression too, to keep my character's
personality shining, and I'll move those arms out. I'll even tilt the head
back a little bit. I'm about halfway
to my final frame. I'm letting that eye
slowly open again, tilting the face, and
we'll stretch out that back arm to really
help keep the balance. The other arm is helping
balance as well and we had the leg at full lift
and that pointed toe. The Cyclops has nailed the move. Next, I want to go
from this pose to an elegant employed bow. They're getting ready to accept the inevitable
resounding applause. [APPLAUSE] It's time
to start moving the arms and legs back down. Everything's coming
back to center, which is going to take us a
few frames to accomplish. We can add some bend
back into those knees, flatten the supporting
leg's foot. I'm bringing the arms back
a bit towards center, keeping in mind that I
want one of those arms out for the bow and one
folded in over the body, making sure that
as they fold in, they're moving towards this new pose that I'm looking for. Now, to start moving
into the bow, I'm going to have the
Cyclops fold over. In order to do that, I'm going
to move the head down into the body and I'm going to show more of
the back of the head. In order to emphasize that, the face is going to move
down and the hair is going to feel more towards
the center of the circle. Because our point of view in this dance scene is
really straight on, so I know that I'm
going to see more of the back of the
head as they bow. I'm folding in the hand even further and allowing the
hand to stretch wider. Now, I have to
bring them back up and I'm going to start
to have that head moves backward and the eye and the face is going to start
becoming more visible. To improve the loop
ability of this animation, I'm going to use
this little trick. I'm going to bring my
character back to what is a very similar pose
to the starting pose. In order to do
that, I'm going to scroll back to that
very first frame. I'm going to tap on it and
this frame menu will appear. I'm going to select
"Copy Frame". Then I'm going to scroll
all the way back to the last frame that I've
done and click it twice that the same type of
frame menu appears and I'm going to
select "Paste Frame". Then I'm going to increase the
onion skins that I can see very faintly both the
previous and the upcoming, aka the final frame. This way as I'm drawing, I can create a couple
of good in-between or transitional frames so that
I end on that final frame. [MUSIC] We did it. Let's press "Play" and see how our dancer does.
It looks so good. [APPLAUSE] I hope you're so
proud of your little dancer. You made an animation. Oh my gosh, this is so exciting. This is so great on its own. But there is so
much more that we can do, and for the heck of it, we're going to keep pushing
forward and we're going to elaborate on this animation
by adding some color, and later on, some zhuzh
in the following lesson, so don't go anywhere. Hit that "Save" button. I'll see you in the next lesson. [MUSIC]
7. Adding Color: We have our dancing character, we have a disco ball,
we have confetti. It is time to add some colors. I want to add a little vibe to this dance party and there's
a disco ball involved. We know that the
lights are turned low. I want to add a
darker background. I'm going to select my Kyle
AM watercolor paper brush. Honestly, you can use any
brush that you prefer. I found this one in the
Megapack brush set. I'm going to make it this dark
grayish red for the room, and I'm going to add multiple
layers of this color, not new digital layers, just layers of color. Every time I covered
the background, I want to be sure that
I'm not picking up my Apple Pencil so that the layer looks smooth
and consistent, and when I'm done with the mark, I can pick it up and add
another layer of color. Just making it slightly
lighter around my dancer, giving them a bit
of a spotlight. I don't need to do anything
with the motion menu for this because it's
going to stay static. On a separate layer,
I can emphasize the darker aspects of the walls. This is just going
to help the room have a feeling of depth. Yes, the setting has been set. Now it's time to start adding
some colors to my dancer. I'm adding a new layer, and I'm making sure it's right underneath the outline
of my cyclops. When I'm going to
go ahead and go to the motion menu and add all
of my extra frames that I need in order to keep
it consistent with the original 17 frames
of the Cyclops drawing. Then I'm going to use
Kyle's letterers dreamy color brush because I really liked the
way that it layers. It's not really the
ideal brush for this type of work just
because of the line shape, but what I really like about it is that when I
pick up my pen, it's not going to show an
overlap in color layers. Use whatever brush you
prefer for this process, our goal for now
is just to create a simple base color layer for all of the different
parts of our dancer. I'm going to make the cyclops's
skin this bluish color. I'm going to use the color to fill in the face, the hands, the feet, and then
I'm going to clean up the edges using my
eraser tool as I go. Before I move on to any
of the other colors, I'm just going to make this
easy on myself and go through all the 17 layers with that blue brush and
add that skin tone. This color works really
well within my palette, helps my character stand out
from the dark background. I'm going to turn off
that background color for now just to help me get a more accurate idea
of how my edges are looking to allow that white from the background
to shine through. For this work, I'm just going
to turn off the onion skin. I don't need to see
previous frames while I'm adding color. I can press Play and
see how they overlap, and when I press Play, I'll also see that all of the motion layers are
working together. Now I'm going to go through on the same layer as my blue face, and I'm going to
fill in the sweater, the pants, the
cuffs, the loafers, all with different
colors, and again, I'm going to keep everything
in my current palette. For my own preference, I'm going to make
everything slightly dulled. The color that I imagine if
you're in a dimly lit room, I'm going to go
with a dusty coral. I love how that looks
with the blue skin tone, and then I'm going to add some greenish khaki
color to the pants, slightly lighter version
of that for the cuff, and add some darker
red to these loafers, and then I'm going
to go ahead and fill in the eyes with
that bright white. Yes, I'm happy with this. We've just leveled up
our dancer and brought them into the flat
2D color world, which is super exciting. We're going to do one
more step of leveling up. If you're ready, which I
know you are, let's do this. In our next lesson, we're
going to add some refinement. We're going to add a little
bit extra personality, some simple textures, and some shadows just
to help it all flow together be this extra
special animation. I'm so excited, I'll see
you in the next lesson. [MUSIC]
8. Zhuzh: [MUSIC] We have come so far. We're going to level
up just one more time by adding a little bit of what I like to call it a zhuzh, which in the
dictionary just means that we're going to
make it more lively, more appealing, more stylish. Basically, we're just
going to elevate our character with a little
bit more refinement. How you want to add to your character is
really up to you. I'm going to walk you through
the areas in which I'm going to be adding the zhuzh. I'm just going to add
some basic elements on all new layers that I know are relatively small additions, but they're really
going to go a long way. I'm going to add some
texture to that sweater. I'm going to refine my lines and make sure that
they're sharp and really intentional and I'm going to add some extra personality
to my character. Lastly, I'm going to add
some light shadows to the clothes and also on the ground to really
emphasize the moves. I love the clothes
I gave my Cyclops, but you could totally make
your character anything, a farmer, a fancy
butler, truly anything. In this phase, you may opt
to add eyebrows, freckles, a nice, a hairdo, a peg leg, the world
is your oyster. I really find that what makes you smile should be your guide. I'm going to make my Cyclops
a little bit more feminine. I'm going to add
a brand new layer above the initial
Cyclops drawing, and as you guessed, I'm going to go to the
motion section and add 17 frames to keep consistent with the rest of the
framed animations. I'm going to use my
pencil, pixel brush, and start adding some
personality to that first frame. I'm going to make that little
curl, a little red hair. They'll also help it pop
against the darker background. I'm going to add a
simple pattern to that sweater using
a halftone brush. You can find the
halftone brush sets with that plus sign at the bottom of your
pixel brush menu. I'm going to add some eyelashes. I'm going to go over some of
my lines to sharpen them. I'm going to clean
up the area around the eye and mouth and friends, [LAUGHTER] I'm going to give
her adorable buck teeth. I think they look
amazing on her. They make me smile, add things that make you smile. Also note that I'm going to
give her some eye shadow to emphasize some of
the emotions that she's going to express
throughout the dance. Might even add a
little gesture line to show creases where the
elbows are bending or the knees are bending
and I'm going to repeat this for all 17 frames. This is exciting.
[LAUGHTER] Now I want to add another new layer on
top of the last one that I just did and add
another 17 frames and I'm going to use my Kyle
am watercolor brush. I recommend any non live brush that has a watercolor setting
because they naturally have a lower opacity and
they're just perfect for this next edition of light shadows that we'll be adding to the clothing and face. I'm going to think through where the shadows usually are and add a relatively soft shadow
using slightly darken colors, but I'm going to lower their
opacity and I'm going to add it to every part
of the clothing. A slightly darker blue for the face then a slightly
darker version of the sweater and add it under the armpits or where I
think there are creases. I'm going to do the
same for the pants with a slightly darker
version of that green. In order to get those
darker versions, I'm just pressing on the
color that I actually used, lowering that dot in the tone square and using one
of those colors. I'm going to do this
for every single frame. Then on a new layer
with new 17 frames, this time I'm going to
drag that layer to be underneath all of the
Cyclops layers and I'm going to add a floor shadow that looks a bit blob
like and is going to emphasize the changes
in motion that our Cyclops makes an each frame. This is a lot of zhuzh but relatively simple additions that are really leveling up
what we've worked on. Let's press Play and see
how it all came together. [LAUGHTER] This is so fun. There's just one
last thing that I'm realizing I'm missing and it's the way that the
light reflects off the disco ball when
it's rotating. I really want to add
some of that magic. On a new layer, once again, 17 new frames, I'm going to use this brush
called noise control, and it has this
spluttery effect. Any brush with that various
size splatter would work. I'm going to find
some of the colors that I used in the disco ball, and I'm going to make my
brush size pretty large. If I put this layer underneath the Cyclops and above
the darker background, I'm going to just scatter the reflected color
around the room. Also going to change
the opacity on every single one of
these frames as I go. I'm doing this because I think
that they look too bright when they're at
full opacity and I like them better at 29 percent. I'm going to be sure
to correct that for each frame because if I don't, it won't look consistent. This is a really good reminder
of how consistency in motion generation
is so important. Let's see how it
feels when all of our hard work comes together
and let's press Play. We have our disco ball, we have our confetti, and most importantly, we have our fancy and wonderful dancer. It's time to share
this with the world. To pure slice of joy and it's going to make
everybody's day better. Join me in the next lesson
where we're going to talk about exploiting and
sharing your work. [MUSIC]
9. Export + Share: [MUSIC] I am so proud of you
and I'm so excited to see your dancer and their moves. I can barely contain myself. I just want to see that class project section full of dancers. From the very start, we created this animation
in the size that is intentionally perfect for
sharing on Instagram Reels, on Stories or on TikTok. But before we actually go
to the export settings, I want to make sure that
the frame rate really is good for whatever
music you hope to pair with our dancer
going to export mine at seven seconds because
it feels right. [MUSIC] Once you've picked
out your frame rate, let's head to that Export icon, which is the box with
the arrow coming out of it at the top
right of my screen. When you select that, there's going to be
this drop down menu that's going to appear
with a few options. Click "Export", which by
default is a JPEG or a PNG. This is a still format image. Definitely export
it like that as well because I would love to
see your original drawing. There's a lot of other options. One of the ones that I'm really excited about though,
is time-lapse, which is an awesome record of your creation
process and a really fun way to share your
workflow with other people. I would love to see it
posted with the rest of your class project if
you're willing to share it. Finally, the export option
that we're all here for, the motion export settings. We can leave it as an MP4, which is a general
movie setting, or we can create it as a
GIF or a PNG sequence. I'm going to save it
as a video file MP4. Then we get to determine
the file size. Automatic maintains
the file size, which in our case is high
res and really large. Definitely export a copy
like that for yourself. But for sharing purposes, we also want to export
a web-ready version. This makes the size digestible for uploading to
various platforms. Once I have all that
sorted out, web-ready, MP4 file named, I can tap that
"Generate Frames" button. This can take a minute, especially if you have an
older generation iPad like me. But once it's done
creating our film, it gives us this
preview of our videos. Hit "Play", make sure that
you're happy with how it feels and then you can
press the "Export" button. This gives you a wide
range of options depending on the apps and
the devices that you have. Can always AirDrop it to
your phone or your computer, or you can share
it to Dropbox or other file-sharing
programs or if you have social media platforms
on your device then you can share it directly to those apps from this
export setting. You also want to save the video onto your iPad or your tablet, or export it onto
your computer so that you can add it to
your class project. Go to the Projects and
Resources section, you can hit that beautiful green "Create Project" button and upload your video with
words about the process, your time-lapse, everything you want to share, I want to see. There currently isn't
a way to pair music with your animation
directly in Adobe Fresco, but there are so many different apps that
will allow you to do it once you've exported
it out of Fresco. You can also, this is probably
the simplest version, upload it directly to
Instagram or TikTok and pair it with the music
that you're most excited about in that app. Then once you've posted that and shared it
with the world, you can save that video
from TikTok or Instagram, and it'll include
the music and you can use that file to upload it to your class projects
section in Skillshare. Let's celebrate together. This is so exciting. If you do decide to share your dance party
on social media, be sure to tag
Skillshare @Skillshare, and also myself, Sarah-Ann-Nelson on
TikTok and Instagram. Also, please let me know
if you're willing to let me share your awesome
creation with the world. I love featuring students on both Instagram and on
Skillshare. We did it. So exciting. [LAUGHTER] I cannot wait to
see your dances and hear about the process of
creating your animation. Stick around for some
brief final thoughts and maybe even a little bit
of a dance party time. [MUSIC]
10. Final Thoughts: [MUSIC] You did it. You have created a animation
from start to finish. You've learned how
to use Adobe Fresco, if you're brand new to it. You have learned
how to use paths. You've learned how you use
frames and bring a whole room, not just one thing to life, but multiple things to life and make them work together in
this really beautiful way. How cool is that? I am so proud of you. I'm so impressed,
I'm so excited. I cannot wait to see
what you've made. Please post it in the class project gallery and tell us about
your experience. Share your stills,
share your time-lapses. I want to see it all. I want to celebrate it all and I cannot wait
to celebrate you. I hope that you feel empowered, encouraged that this
brings your world of creative play or creative career into a whole other level. I hope you had a smile
on your face the whole time that you were
listening to the best music. Please review this class. Let me know what I can do
to improve your experience as you continue to grow and
explore your creative path. I love hearing what
worked for you and what can be improved. Thank you so much for being
on this journey with me. I cannot wait to see
you in another class. Until next time. [MUSIC]