Intro to Adobe Animate: FULL COURSE [Ep.1 - 4] | Animation Tutorial

in this series of videos you'll learn everything you need to know to get started in the world of Adobe animate let's do it part 1 basic animation and setup out everybody and welcome back to tip 2 today we're starting a new journey inside of Adobe animate 2020 now I know I've done a few intro to Adobe animate series if I'm perfectly honest I keep coming back to it because I'm never really happy with them also additionally Adobe animate is at a ridiculous update for 2020 and there's loads of cool stuff and you can do the most important thing for me is the new brush engine which works really well much better than the previous one so I thought what I do is take another dive into the world of animation and show you guys how to use Adobe animate 2020 we're gonna be recreating the animation you saw in the beginning but I won't be diving into is like the principles of animation frankly because I'm not very good at them I will link in the description a series that has a fantastic expert opinion on and things like squash and stretch and stuff like that that I recommend you watch if you want to get used to the software learn some basic animation get started then this is the series for you so we're gonna go from the ground up and of all of them here's just open up Adobe animate and the first thing we're gonna do is create our canvas now you can download a sketch from my website which I will link for you now using this sketch you can follow along what we're doing and the size I'd recommend your workout as either 1920 by 1080 or to 560 by 1440 now it doesn't actually really matter because um and though the animate works in vector rather than raster which means that the shapes and things you create a based on mathematical equations rather than actual pixels being painted in with color which means it's infinitely scalable but it's best to start you might as well work in the native resolution you're gonna be working at let's leave it at 24 frames per second which is the classic animation frame rate even though we'll learn about working on Tuesday Terr which actually means as 12 frames per second but that's very boring and when you hit create you'll be opened up to this interface here now if at any point in this tutorial series you don't see any of the windows that I see you can find them under the windows panel Here I am working from the essentials default workspace so you should be fine go up to your zoom in window here and just choose fit in window you can hold ctrl and zoom in and out with the scroll wheel which is what I do or ctrl + + - and we'll just explain briefly what these parts of the interface are before we get to any animation you've got your tool panel down the left and we'll explore these in detail so I won't go too far into it now you've got normal things like your brushes or razors your shape tools paint buckets fills eye droppers or less or stuff then you have your properties panel which basically is where you'll be spending most of your time this has got the same as the rest of the Adobe suite now we're at updates depending on what you have selected it's quite useful and comprehensive next to that you should have your library where it's going to store all of your symbols and things like that which we'll get to later on and to the right you'll have your various control panels most important of which is color swatches transform a line all that sort of stuff down on the bottom here you've got your timeline and this is where you're going to set up your animation but apart from that your big white area is your canvas and that's all you really need to get started so the first thing we're going to do is import our sketch I'm just going to take the sketch from the website and drag and drop it over our canvas and it will load it into your canvas area for you automatically you'll also notice that if you go to your library now you're gonna have a PNG inside that library which you can recollect that asset from later on just gonna put my phone over there so it doesn't distract us any fur with this imported now it's going to fill in this little dot down here which you noticed on the timeline now there's a basic way of remembering and working in anime is everything you do is drawn on a frame okay so if you understand what basic animation is it's actually a lie it's a series of still images placed one after each other very quickly to simulate the idea of motion which doesn't actually take place the way you control that simulation of motion inside of Adobe animate is with your timeline down here so if I just dragged us a little bit of extra space anyone working in any other Adobe and software will understand the idea of layers and anyone who's done a bit of After Effects like understand the fact that things change over time based on keyframes and stuff that you drop in the way Adobe animate works is there are basically two types of frame there is a keyframe and there is a normal frame now a keyframe is what you want to use when you want any change in animation so if I just I'll just delete this for now because we can bring it back later I just draw with my brush tool a basic shape okay but help if I turned my graphics tablet on there we go if I just draw a basic shape this circle okay you can see that we have a layer here with a frame here with the dot in it if I select that dot it's going to highlight what we have drawn now I can create extra frames of content here to make this drawing last longer and you can do that by right clicking and choosing insert frame or you can just hit the shortcut f5 if I press just do say you know let's do it at one second in length so I can remove those extra frames to have one second of animation here if I hit enter which is the button for previewing animation you'll notice that nothing changes because that frame is being repeated over and over again and it's only taking that last keyframe which is what we've got on frame one if I were to insert a new keyframe the shortcut which is f6 or a new blank keyframe with nothing on it which shortcut is f7 you'll notice that that frame the content on that disappears so just do that again I select the frame I want I hit f6 that will duplicate the last frame it'll basically turn whatever was on to here on to a new keyframe and if you hit f7 or delete it it will turn it into a blank keyframe now if I draw a different image and I add in some more normal frames let's go 248 with f5 you'll notice that when I play that circle turns to a square when the next keyframe is struck by that time line header that's all it all animation is changing that image at a point in time now of course that's very very simple very very easy what we're gonna do is using our sketch that we imported in earlier we're going to recreate this entire scene and do this entire animation so how we going to do that we're basically into it with a series of complicated layers and symbols inside of which there are the own little unique looping animations to bring together a huge animation so basically what I'm saying is follow along and things will start to make sense as we get deeper into the software try not to be intimidated at the start by everything you know that you see in front of you so first things first you seen what the final product looked like if you go up to your swatches palette in the top right hand corner you'll notice you will have a default selection of colors what I did was create my own little folder from the colors that were in that image which you can also download from my website and I just using my eyedropper tool which is the letter I I click to the color that I wanted on the image and you can see that turns it to white over here I went to my swatches panel and I hit a new and you can see it adds a new swatch and then I just dragged that into its own folder ok that's all I did and I use that just so I can quickly select all these different colors that we're going to need now well I'm also gonna do is probably open up that swatches palette and just drag and drop it so that it's a floating window and I'm gonna close down the default watches because we don't need them I'm just gonna make it nice and small and pop it in the right-hand corner at the top just that we can work from it directly alternatively you can drag it to below your library or properties panel so it's always over here or even that might be more useful for you just pens however you want to work so let's zoom out by hitting show frame on our zoom panel here and let's start to think about how we're gonna deist construct this image that we've got here we see we're working in sort of three planes of existence we've got the foreground where we have these large trees and this bird we have the mid ground where we have these hills and the sort of river running down to the ocean where we have the background of our content now we're actually using a lot more than three letters but for now let's just understand that these might be our basic layers so I'm gonna go down to my layers pallet here and I'm just gonna click the plus button a few times and I'm gonna make sure that we name all of our layers it's very important so I'm going to double click on this one and call it sketch I'm actually gonna probably let's leave that on the bottom for now and I'm gonna click the padlock to lock it on the layer above that we're gonna build our layers as we go rather than building all the start just so we know we don't have a load of extraneous layers lying around and we're gonna work on the trees first because that seems the most logical thing to me is to start with the easy stuff turn ative Lee you can work backwards up which is another way so you could do the sky first and keep drawing things in front of it we might do it that way actually because that makes more sense from a construction point of view so that's what we'll do first we'll double click and we'll rename this layer sky now what I like to do is just select a large portion of my timeline here and just hit f5 just that it looks like we've got some frames to work with even if there's no animation going on at the moment let's select our sky layer I'm gonna go up to my color palette and I'm gonna choose a layer for the sky now just on my other screen just so that I recreate this in the same style as the original I'm just going to bring up this reference image that I've got created here just so I get it looking somewhat like what you saw in the beginning and on the first frame of my animation here I'm just gonna hit B to bring up my brush tool now one thing I have done is there are two types of brush in Adobe animate there is the classic brush which you can see here which has fairly limited fairly limited sort controls over it as you can see you've got sighs you got smoothing and that's about it if you hit shift B however that will bring up the fluid brush which you can see is the new brush engine in the day we animate you can control things like size stability how much is smooth and rounds out angles whether or not you want the brush to taper off all sorts of things like that I recommend using this brush it's much better much smoother and as you can see create really nice beautiful lines with it an interesting shortcut is open and close square bracket which will increase and decrease the size of your brush and in ctrl + + control - was zoom you in and out so if you hit shift B to bring up your brush first thing we're gonna do is just paint in the Sun here so I'm going to do is grab my sort of normal dark red color from that palette yeah that seems about right and we're just going to see if we can get used to drawing with the brush so I'm just gonna start drawing out a rough circle now obviously if there's a bit that's under another lay and never gonna see it but you might choose to animate that differently later on so I just hit control Zed there because I wasn't quite happy with the line that I draw so maybe we can zoom out a little bit and we can roughly what we want now I'm using a graphics tablet you can draw with a mouse I highly recommend highly highly recommend seeing if you can get a graphics tablet you can't get them for quite cheaper nowadays I'd bring up K it K on my keyboard that brings up the paint filler and I can just fill in that shape that I've just drawn pressing Shift P will take me back to my fluid brush tool hitting V will bring up your selection tool and you can use that to move things around it in Q will bring up your transform tool and you can use that to squash and scale things however you'd like the usual controls ed control Y is undo and redo so for example I could undo that until it's back in the position that I want now you can see here that in our original sketch if I just bring that up we've got these lines around the Sun here which kind of static at the moment but that's gonna be our first bit of animation mainly because it's really easy and secondly because it makes sense to do all this now so you don't have to come back to it later it'll also introduced us to the concept of symbols so as you see at the moment we've just got our one shape here now if we wanted to we could go sort of to the next frame and hit f7 and we can start drawing our new picture but as you can see first of all we can't see what our old frame looks like so if we were to then move back and forth between frames using the comma and full stop keyframes it'll be kind of hard to track what that's gonna look like over time that's where a really interesting tool called onion skin comes in which is this sort of toggle option down here you turn that on you'll notice you get this of new effect showing the previous and next frames in different colors now you find this distracting you can right click on this and choose advanced settings and set these different things like for example I quite like them to be gray and sort of like a lighter gray for the next in previous frames so we can do a little bit less distracting basically it's completely up to you however I think you can reset to default quite easily in the settings but what I'm gonna do is I'm gonna leave previous on green next on like a bright blue just as easy for you guys to see what's going on in the video so something like that is probably good for me I'm also gonna show the previous to God excuse me as the automatic desktop bringing up there the previous two and the next two frames is fine and I don't really care about the starting opacity will decrease by 20% each frame short that's fine okay so now we can see what our previous and next frames look like so we can use that as a guide for when we want to draw our next frame okay however we're not going to do it like this what we're going to do is draw our first frame make sure that we're completely happy with it so I'm going to draw and I said well now you could use the shape tool to do all this I quite like the natural sort of curved you get by doing it by hand then I'm going to click the shape and hit f8 or right click and convert to symbol now any of you who are familiar with After Effects can think of a symbol like a pre composition for those who aren't familiar you can think of a symbol as a normal time line that you have contained inside a wrapper and then that has its own time line of animation what this allows you to do is keep your main timeline really simple and neat so that you're not then fighting with yourself later on when you come to edit and adjust things for now just follow along and it'll make sense once we create a few more things so I'm just gonna call this graphic son and I'm gonna make sure it's on type graphic there is type movie clip and there is type button I like to use graphic most of the time because it will preview when you hit Enter whereas movie clip won't buttons are in for interactivity which we're not having in this one but you can apply different effects to a movie clip and then you can to a graphic so it's there's certain circumstances for each I'm just gonna call this one son and hit OK you can see now that it's surrounded by a blue box and if I go to draw something new it will create different shapes now basic rule is if you've got a symbol on a layer you want it to be by itself on that layer just so that you can do things like tweening later on if - now you'll notice something clever if I double-click on this shape our timeline changes completely and everything else will graze out a little bit but also we go back to our editable shape you can see at the top as well we've got scene 1 and then the word Sun I can drop back to scene 1 which is outside of my symbol and you can see we're back to our previous timeline as well double click to enter now if we do our animation in here because it's a graphic if we did say two frames of animation so I'm just gonna hit f5 once then on frame 3 I'm gonna hit f7 and f5 again that gives us two well four frames to work with but this is that concept of working on twos that I was talking about you may have a 24 frame document but working 12 frames per second so 12 drawings per second is the classic way they do things for general animation and then you can speed up to you know drawing every frame if you want to do some really detailed or flowing if I draw now our next shape I kind of want these to stay in place just maybe jitter a little bit so I'm trying to trace this as accurately as I can remembering of course the oceans gonna be above the bottom so that doesn't really matter in k2 fill that in and beads go back to our brush so now you can see we've got two frames if I hit enter they just sort of flip back and forth a little bit let's drop back out of our scene and you can see that we've only got four frames of animation inside our symbol but here we've got lots and lots of frames almost 100 good thing about symbols is they will loop forever if you start to play them okay well that means is when you're going back inside that symbol you can do two frames three things four frames of looping animation and that will be reflected and respected in your main timeline so I'm not quite happy with how this shaped lines up with the previous one so I can turn on I flip back and forth between my onion skin I can see there's a bit of the top just holding space there to pan around away there's a bit at the top that doesn't quite line up very nicely he sits quite low there and quite high here so if I hover over the edge of my shape you'll see it'll turn to this curved line what you can do is you can actually squish and stretch after you've drawn so I'm just going to bring that somewhat closer to where it was previously just gonna start bringing these in like that so that yes there is still a little bit of flicking but not too much okay that looks pretty good so we'll just seem back in I'm gonna add two more frames of animation to this so f7 f5 and then f7 f5 again two more frames of animation to this bring up my pen tool with B and I'm just going to start to follow as closely as I can original shape it's pretty good and let's do that again for the last frame you there we go let's take a look at what that looks like okay if we want to see that looping you can turn on this loop option which brings up the little two arrows here you can drag them to cover the frames you want to leap and then when you hit enter again it will loop in place you can see that first frame sort of jumps down a little bit so what we're going to do on that first frame is bring in a little bit more you press a bit too much maybe a little bit more of a shape up there just jumps about a bit less that's okay and then we'll just tweak that so as you can see you can tweak as much as you want as often as you want looks pretty good now just because that bottom bits really distracting what I'm gonna do is grab my V on the keyboard draw a box over a section of the drawing and hit delete that's gonna give us a nice hard shape on the bottom and I'm gonna do that for each frame just roughly in the same place so it's slightly less distracting for us we can focus on the actual edge that we want to focus on okay let's add a new layer on top and we'll just hit f7 on every other frame to create the same key framing as we've got on the layer beneath it on this layer I'm gonna start to add these little shapes around the edge here so just bringing in a little bit of extra motion and this idea of like leading between the colors that you can see on this original sketch here like so we're gonna go through and do that on all the frame so I'm just hitting and full stop to and forward and backwards and just roughly again trying to copy what these shapes look like you're having trouble drawing a certain angles you can press H or shift H to bring up the rotation tool which will rotate your canvas around so that you can draw more accurately this combined with the spacebar the pan is actually really quite useful so you can hit an h2 pan shift h to rotate and then H again to pan and just make these shapes and what the same on each frame so rotate canvass their spacebar to move it go back to the brush would be just because your hand obviously prefers drawing at a particular angle so you might find it a bit more comfortable I'm being fairly rough with this you can obviously take as much time as you want but you don't really want to see me just roaring over and over the same line well I've done for shortcut as well is I've taken my fluid brush off of shift B and changed a shortcut for that we just be you can do that quite easily in the Preferences I don't think I need to show you how to do that if you want to get back to normal by the way as well on this rotation tool up here you can just click rotation up here I think if you double click it it will rotate back to the standard rotations you don't have to worry about it being squiffed forever basically so there we go we have our basic shapes we're gonna add a new layer on top again hitting f7 to add in some blank keyframes now we're gonna bring in these lighter shapes you can see on our reference sketch that overlap from the previous layer we'll do these now because it was just save us a bit of time later on basically so we're back inside here go to our brush tool but now we go back up to our palette and we select the next lighter color so this is the color that we've already got select our lighter one here and just inside our Sun just a little bit on each frame we're just gonna bring in some of that light as if it's leaking the shape and because laya the onion skins going to be really clear and obvious for us which is good and we can just start to fill out he shakes a little bit let's look at that that looks pretty good to me so if we drop out of our canvas go back to scene one you can double click our rotation up here you can see now that our little son is gonna keep jingling about oops we've got our Lupin turned on still we'll turn off our little son's gonna keep jingling about in the background there for the rest of the animation until it reaches the end of the timeline so we've named this one sky correct now because we probably won't be moving these at all in this main timeline we can have more than one symbol on the same layer okay so what I'm going to do is I'm just going to draw the next shape here and carry on that process that I just did exactly the same but for the rest of the sky I'll do that in time that so that this video is in a million hours long and then I'll drop back out once we've got that done one thing I will say however if you don't put something into a symbol you'll notice the symbol will always be on top of any loose shape that you've got on your layer if you have many symbols that you can arrange them however you like just with the normal range bring to front center back that sort of thing so we'll pop that son back where he was death I will draw on section of sky using that same color that's leaking into the Sun they're just a big swooping arc you're not happy again you could use the shape tool to do this I'll just show you that as well also if you hold shift it will lock your paintbrush to an axis which is a nice way to do a clean bottom section there but if you go over to your shape tool and you can just draw a circle holding shift will make a perfect circle if you've got a stroke down here though you will have to delete that stroke and then of course you can use the transform tools to line that up so the shape that you want and you can use that as a bit of a shortcut I just quite look like the hand drawn so I'm going to do exactly the same thing I'm going to turn this one into a symbol once I'm happy with this basic shape I think I am maybe will have this come down a bit it's neither but of course it'll be behind a hill so it probably doesn't actually matter and we'll just have that be roughly at the same height of the Sun let's hit f8 we'll call this one I will wreck that Sun so let's call this one sky mid graphic and we can hit ctrl an open square bracket to push that back in the layer stack or you can hit a range center back or sorry it's not control open square that's after effects it's ctrl + down which sends it back in the layer stack by mistake we open up this again you'll notice where we can do the same process I'm just going to set up on my keyframes now and in time-lapse mode you'll see me make this [Music] so just dropping out the time-lapse here to say that I've done the first section as you can see here it's got animated bits on it jiggling around this section I just turned into a symbol but haven't animated yet what I'm gonna do is take one of these blank layers drag it underneath the sky layer and call it sky base on here what I'm gonna do is just grab my rectangle tool make sure that there's got no stroke applied which you can do by selecting the color over here and just cancelling it out I'm gonna make sure the fill however is set to our light sky color like so because what we need to do for this button bit at the very edges of the drawing here we don't need to animate that because this orange one will be the last animated section so what we'll do is on this layer beneath will just draw ourselves a rectangle we hit V and select it we can do the positioning size exactly so we can say width to 560 height 1440 just fill the whole background with it x0 y0 and that will fill the entire background of our page here what we can do then is lock and hide it because we don't need it for now but when we finish animating the rest of this that will be our background basically okay so back to the animation [Music] okay so jumping back up to scene one and turning our background on we can see that we've got our sort of dancing animated sky background I'm gonna do is grab my sketch layer and just drag that to the top however and I'm gonna turn our sketch here into a symbol just gonna hit f8 this one's gonna be a graphic and we're just gonna call it background the reason I didn't do this is so that I can then reduce the opacity of it by going to color effects alpha and dragging that down and it would just allow us to see our sketch ever so slightly over the top of our drawn footage so that we can see how that looks in relation to the rest of the content that we're creating that looks pretty good the sky I'm happy with that again I wouldn't spend a lot more time on it if this was for my own project but as this is just for the tutorial I'm kind of not rushing through it but definitely spending less time than I usually would we're gonna add the C in now just so that we don't have this ugly crappy bottom of our line here and that's gonna have a similar animation process to what we've done for the dancing sky here but I want them to move a bit slower and smoother so we're going to use something called tweening to do that shape tweeting hopefully it'll work it's a bit temperamental so we're gonna on this layer above our sky and sky base we'll make a new layer called ocean and for this one we will just use a rectangle because we can just tweak it we will grab our ocean color which is the lightest of our three greens and I'm just going to drag myself a square that roughly lines up you can see in the original script that it wasn't exactly a straight line so that's good because what we can do with our shape is bend it to our will like so if you wanted to add in a little bit of it's hide our sketch later so we can get this added a little bit of curvature if you wanted to I think we do that looks pretty good now we only see this bit of the ocean so I'm not gonna bother drawing any bits over here I'm just going to add some nice effects to this so again we'll hit f8 turn this into a symbol called ocean and inside that symbol which excuse me clicks on the wrong layer there like that sketch again inside this symbol will add some lines on top of it that looked like our ocean so just to reference what that's going to look like essentially we're gonna have a few lines along the top here and then some sort of wavy lines just in the sea in this rough middle area so what we can do is drop inside our ocean create a new layer and as you can see you can kind of still see the sketch from behind so what we'll do is we'll grab our dark color here and on the new layer above we'll just draw a guideline of where we can roughly see there'll be somewhere around there will be the visible type of our ocean area so we'll just overshoot a little bit we'll lock this layer and we'll click this little option here which turns just the outlines on so we can clearly see that it's not something we've drawn and if we add in a bunch of frames using f5 that'll help us and we can rename this layer guide okay so this is going to be the base of our oceans we'll rename that and base and on top of it we'll add in the ocean lines that you want to be static so I'll grab our second darkest ocean color it be shift h2 rotate because I prefer drawing downwards and then I'm just going to zoom in a little bit that's excuse me and I'm just gonna just the edge of the ocean here I'm just going to draw in some little green lines that start and stop add in excuse me I missed that one just add in a little bit extra contrast between this and the sky you mess up ever so slightly you can just select it with the Select tool and then move that up and down to your happy which I think I am so I'll see what that looks like okay that looks okay so the hill is gonna come in their Hill is gonna come in there that's pretty good so that one we will leave static I think unless on this one we'll do the same that we did before I'll hit f7 on two frames along and I will just feel four frames which will then loop of this kind of Edgewater shimmering we should look pretty cool so if someone didn't actually draw did it okay f7 there - just start filling these in it hard to see when the colors are very similar that's okay shimmering effects hair look pretty good and here also okay so with those four frames I imagine what we're gonna do inside this symbol is gonna take more than four frames so for these four I'm just gonna select them all including an extra frame at the end and holding alt I'm gonna drag them so that they repeat over and over again then we'll see what that looks like just because inside of this particular symbol we're probably gonna do other stuff that's going to last longer than those eight frames that riffling looks quite good let's see what this looks like I'm done it before so on one layer I'm gonna draw myself a nice long ripple something like something like that okay smooths out a bit too much we might actually for this one is just turn the stabilization down briefly which will allow some of my shaky hand nurse to come back in that looks pretty good then I'll say well let's just make it this frame 48 let's add a new keyframe that is blank f7 okay then we're gonna try and draw this exactly the same again as close as possible and it obviously be slightly different because we turned the stabilization down now I've drawn it slightly different I'm gonna move it along just a little bit maybe down a little bit as well and I'm just gonna then zoom in I'm just gonna ever so slightly make some minor tweaks just really small ones now to draw each of these if we wanted this to be the first shape and this to be the second shape your tore each of those really smoothly would be very difficult so what we can do is to something called tweening where the computer does that for us if you click anywhere between the first and two keyframes right click and choose shape between a shape tween will apply to any of these shape layers that we've got here if you wanted to classic between one symbol to another symbol you'd have to use the classic tween but you wouldn't obviously be able to animate that frame by frame because the symbol itself isn't editable so you'd use that to move a symbol from one position to the other but not squish or like redraw it or anything we could squish it just gonna redraw it I say shape tween and see if that works I'm too bad actually I'm used to it not working at all I see what it looks like on the real thing here all right Alex so what I'm going to do them is I'm gonna add in some keyframes here now that we know it's working and we're going to change the last keyframes to the same color as the ocean okay because we obviously need this to loop so it's gonna come in and fade out again fade in and fade out again okay pretty happy with that so what I'm gonna do now is select all of these keyframes right click and choose convert to keyframes what that would do is change each one of these to an individual keyframe that we can then edit because you see how that's going really smoothly and the rest is kind of janky that's because this is animating now on every keyframe which it was doing when it was a tween as well now we can go through and clear each of these keyframes like so takes a little while so you can just use a shortcut shift f6 instead like keep going you're going and you'll notice that each time I do this it turns it into a normal frame because you've got the shape tween applied it applies a little arrow just to indicate that it is still tweening it is still changing to fix that just leave that one to fix that we can just grab all these layers right click remove shape tween now it looks exactly like our last one and it's a bit more janky yeah which is quite nice so now when we go back to our main scene main ocean scene and we zoom out a little bit we turn off our sketch we can see we have our ways that come in and go out on the loop now if you wanted to you can do that for as many ways as you want I'm gonna do it by hand just because I quite like the way that looks but that's just a quick introduction to how tweening works inside of symbols and stuff like that you can leave it on the shape tween absolutely I just like it to be a little bit more janky than that in this particular style so what I'm gonna do is delete this layer and I'm gonna do it all by hand I'm gonna fast-forward through that because it will just take forever so I'll see you on the other side [Music] one thing to note is that I'm putting each cluster of these little waves on its own layer just because I find it easier to work that way if you want to come through and edit something a bit later on so for example this section of lines here is on its own layer and this section lines here is on its own layer just because it's a bit neater a bit easier to work with and you've got less chance of things going wrong if you need to come back and change something later [Music] one thing you will need to know is what you've done or your little animation bits which I think I'm quite happy with you will need to hide your guide layer even though its outline because if you don't when you drop back to your main scene it will still be visible in there which you don't on so just double click to get inside that ocean layer and hide that layer so when you drop out oh it's still there silly and won't be a setting hello everyone posted editing Matt's here just a quick on to say that I'm in idiots you just go to publish settings and uncheck this option for include hidden layers must delete layer I think there's a setting in your preferences somewhere because this isn't fresh copy that says don't show hidden layer so we'll just delete it for now uncheck include hidden layers and I'll see if I can figure out what that is between now and next episode uncheck include hidden layers so you can see we've got our background and it's looking pretty good if you do say so myself we turn the sketch back on we can see how that's going to sit in relation to the rest of our content and our alpha up a little bit as well just on this layer oops make sure that's selected on the object not the layer itself otherwise you'll apply a different type of alpha so you can see how our waves there kind of match up with our waves in our over main timeline I might come back through and add a few more later on maybe not like you'll see let's work on the boat because this one's going to be its own little collection of layers which be quite interesting to animate and then we'll continue to work on the rest of these layers we'll come back and do the clouds I think how long is this episode already this is already 50 minutes long Wow let's do the boat and then we'll come back and we'll do the rest of this in the next episode as well it's gonna be a long series okay so we have our ocean let's do a boat layer now we're gonna do this one slightly differently I'm gonna zoom into the boat like so really far and and I'm just going to draw some reference shapes quickly in a small brush make sure we turn our smoothing back up just couldn't draw some shapes for the boat I'm not going to worry about getting them right at the moment because this will just act as a guide because we want to split some of these out onto their own layers there we go so let's select that for which selects everything on that frame on the boat layer let's hit f8 and we'll turn this into boat graphic and then we can drop inside it hide that and go inside okay so we've got our boat each of these separate elements probably should be on its own layer if you're going to want them to be animated which we do just so it's a little bit easier for you to work with so we'll grab some layers or hit f5 and we'll call this boat base we'll call this what's that word called the the thing that's a quote a mast if there we go I have them cool this sails okay so let's outline our bottom layer and lock it and let's start drawing in our little boat so we'll grab let's middle sky color I think is gonna work quite well we're gonna turn our brush size down which we've done and we're just going to draw in the entire base of the boat with nice smooth options we're gonna do that so now I know it's got a wobbly bottom but we're not going to draw that wobbly bottom we're going to draw the whole thing and then hide it with a shape layer later on so this is our first boat what we're gonna do it however is draw the whole thing and then and then sort of like a bit up and down in different ways so selecting what we've just drawn because we're not gonna have to re do each of these frames I'm gonna choose my darker colour oops like so excuse me imagine my darker color first select our shape layer change our brush type in the options up here to paint within so we've got - that we under the tools palette we're going to change this brush mode here from paint normal to paint selection well that's gonna do is make sure that when we draw something it only appears within the selection that we have already selected and I'm gonna use that to my advantage to just fill in the inside what we'd consider the inside of the boat it's gonna grab my lighter color neat enough that edge there so that it aligns slightly more with what I think is the edge of the boat it was pretty good then I'm gonna turn back to my normal and I'm just gonna smooth out whatever that was that just happened there I know what that was I'll fix it there we go oops I messed that bit out so we just fixed that lots of fixing things back and forth in animate you okay so a little bottom of our boat that we are happy with seems pretty good to me now I need to draw the mast now the mast I'm actually probably going to put on the same layer because I want that the sails are sort of flat because they'd be separate to the mast but the mass would move with the boat so we'll grab a dark color for the mast maybe this dark purple will select just this dark section and then we'll hit B go to our tool and will change to paint selection and that will allow us to just draw there with a nice harsh line you can then deselect press B again go back to paint normal and just draw the rest of the mast you there that looks pretty good okay so on a separate layer now for the sails in some sales believe it or not let's draw them in this of light color here what do we want them to be this this kind of white let's test let's draw with the white and see what that looks like outside of the symbol against the ocean fill that in with K drop out of our option here and I think that's going to be or you can't really see that against the ocean there so we will color it in of sky color then when you drop out you will see it okay could he draw in the other sail have bit taller shorter okay that looks good so we've got our boat we can now delete our guide layer boom so let's go back to normal rotation on top of this I'm gonna create a new layer call this ocean grab our normal ocean color and I'm just gonna drawing a little wave and that's going to cut out the bottom of the boat now it'll probably be best if we add it even just a little bit of animation to this Oh wave it was excuse me so I'm just hitting f7 here and we're just gonna loop in just a few frames where it doesn't move just a little bit okay just we've got a little bit motion on the top of the wave they're getting the bottom doesn't matter because it's the same color as the wave beneath it that'll do for that many frames so just make sure that that loops nicely good now the whole thing's gonna be moving in a minute so whilst that looks slightly janky we can do see in the real thing that looks okay yeah acts on top of that little way section there so we can move that we can check with that still like on the sketch looks pretty okay so we can position it wherever you want back inside the layer then let's zoom in and I'm gonna just have this boat sort of bob up and down in place okay so here we're gonna grab both base and the boat sails and we're gonna hit f6 and then Q and that's going to bring up the transform controls with both these are going to rotate it slightly to the right and move it ever so slightly down which is the same thing again s6 slightly to the right a bit more down so it's kind of bobbing a bit deeper then f6 will rotate it just a little bit and move it down just a little bit then we'll just have goes down just literally a few frames so we've got this it's kind of speeding up then easing into it motion obvious one thing is the bottom of the boat does poke out of our shape on some of these frames and this last one look so what we'll do is we'll actually redo this layer in a second if we just delete that we've got a boat bobbing down I'm gonna have it hold there for a little bit just create a new frame just because and then we'll have him come back up but first you'll come back up and slightly different money you'll come he'll rotate just a little bit come back up just a little bit f6 again rotate a little bit come back up a bit more then as it reaches its zenith it's gonna rotate just a touch come up just a touch now I'm gonna grab my first two frames which are here and I'm going to holding alt drag them over until I adding a new set of keyframes here which is equal between them now when I select this I know that these last two keyframes are the same as these first two keyframes which means that these need to match up to create a perfect loop so we'll just ease in or maybe need an extra ease of this it will just create some more space hit f6 and we'll just make sure that settles in nicely like say and we'll take a look at that so we'll remove these layers now these extra frames sorry so that we've got just the perfect loop let's add in quickly so we can see it moving up and down so that creates a nice little bobbing loop okay seems good to me so it's time now to create the little wave that's gonna mask out the bottom of our boat here so to do that we'll create a layer on top and we're going to just draw everything that we want to show now this may seem backwards but this is the way that Adobe animate does it so basically I'm gonna draw a shape over the top of everything that I want to be visible on this boat and everything that this shape covers is going to be visible when we turn this into a mask for example if I drag this above them out base layer because they don't care about the sails we can then hit mask and what that's going to do is you can notice it's gonna chop off if we unlock it it's gonna chop off that section of the boat there so that when this guy starts bobbing around he's gonna start bobbing around into the ocean now we're gonna add a little bit of animation to this by just hitting f7 turning onion skin on which I'd turned off for or something that's roughly the same but with a slightly different bottom edge we don't really care about the rest of the edges do that a few times and then we'll loop these frames so like so one more because you can't inverse a mask without turning it into a movie clip and doing a bunch of other stuff inside of Adobe animate so we're doing it this way which looks messy but once it's the mask is turned on it doesn't obviously matter so we will grab all of these duplicate the frames and then lock again so that when we see our looping animation we've got it going there and that's the Amazon man be right back and there we have a little bobbing boat pretty happy with that so let's drop out of our cymbal and see what that looks like in our main timeline that's got to show frame and we can see oops I still got the looping turned on again so a turn that off and we can see is our little boat bobbing along in the ocean it's kind of janky on one frame there so let's see what that looks like why it's doing that if we just ctrl to zoom in which frame is it that's being really janky I think it's the first one yes because all the frames go down look and then it jumps right back up for this next frame so what we'll do is on this fourth frame we'll just shift that up a little bit maybe one two three four that's where it loops again so we'll shift it up a little bit one two three four that's where it leaves again and we'll shift up a little bit now that should look a little bit smoother yeah so turn that mask on well now alright wicked so drop back out of here zoom back out now we obviously want this guy to travel across the screen a little bit and that's simple we'll just do that one with a motion tween so if I'm gonna grab this keyframe on the last of our frame of our timeline here hit f6 and then I'm just gonna move him across the ocean just a little bit not too much because I don't want it to be too distracting I'm going to right-click any of the frames in between it and just hit classic tween and what that's gonna do is it's gonna guess what I want that to do for the rest of the frame and it's guessed correctly just slowly drift across the ocean there okay now you could do what we did earlier and turn this two keyframes and break every other one I'm not super bothered about that because it looks drank enough as it's moving anyway so that looks pretty good to me it's a nice sketch back on and see what we're working with if I go to my sketch layer here and just reduce it pasty down little bit spits you write for me and we can see that we're doing pretty good all right I think that's more than enough for episode one this is gonna be a big big series so in episode 2 we'll work on the clouds and the hills and stuff like that as well as the river and the house because that's all going to be pretty much static then we'll take a look at doing the trees which we can have some cool animation on where the branches wiggle about and then the final episode will probably be on this little bird down here is gonna be the most complicated park so I wanted to sort of move his head around crouch down and then start to flap off across the screen so don't know how these episode is going to be structured but hopefully you guys just enjoy following along and see if we can create this little animation together so I really do appreciate you guys thank you very much for watching I'll see you next time on the next episode of tip-top [Music] right for more tips tricks and tutorials thanks for watching in this series of videos you'll learn everything you need to know to get started in the world of Adobe animate let's do it part 2 exploring animation techniques everybody and welcome back to tip tarts the last time in intro to adobe animate 2020 we built the flashing animating in place backgrounds that you saw here and what I've done in the interim as you can see in this little time lapse is I've done the hills as well excuse me my apologies to skip this however it is literally exactly the same technique as we did for the sky I just drew a hill instead of the sky same goes for the river that sort of thing I just didn't want you guys to have to sit through this again when you've already seen it last episode so I skipped it we've done it now and we can start the episode with this this is it with our hills inside of Adobe and a mate really happy with this now looking pretty good what we're going to tackle this episode is the more interesting animation of these clouds now yes we want the clouds in the background here to sort of drift across the screen a little bit but I also kind of want them to sort of wave as if as if like the clouds themselves being pushed over so that's what we're going to tackle today or at least first today just to give you a brief overview of why did fall the layers on these mountains here I've literally got the mountains in the front and the mountains in the back and they're just two separate layers like so what we will do eventually is we'll probably have these drifting inwards a little bit from the edges of the screen too and probably to do that now if we wanted to I'm gonna hit f6 on both of these frames at the end so this is where we want their final positions to be and then mountains front we're just gonna push until just where the edge of this drawing is touches the edge of our frame so that nothing you know on toward peeks out and we'll do the same for mountains back here but this one we can push it a little bit further because we're pushing it of off screen this way grab both these right click on them and choose create classic tween and what that's going to do is as you see over time I'll slowly drift together as if the camera is putting out a little bit do we want them to get in were supporting them to reverse actually so we can do is grab all of these frames like so right click on them and choose reverse keyframes like so and that's just gonna have them now over time be drifting out words instead of in words nice simple so let's look at that that looks pretty good okay just a nice slow drift barely perceptible but it is there awesome we're done with these now then so let's draw ourselves a cloud and get out of this really distracting workspace that we've got here I'm just going to rotate this around so that I've got a more comfortable drawing angle and we're just going to zoom in it way too far I thought it was click to drag but it's not is click to select area we're just gonna zoom in to something like that it looks pretty good so I'm gonna grab my cloud color which was the same color as our lightest piece of sky like so and I'm just gonna hide everything on top of these ocean layer here I'm gonna add a new layer I'm gonna call this cloud right and I'm gonna hide everything I don't need to see apart from the sketch and I'm just going to take my first frame and be really careful really smooth just draw out this cloud you can see where I'm going to be going with this already hopefully we've got this kind of wavy cloud motion now obviously the rest of this by the tree so just got a guess I want that to go I think I wanted to peter out a little bit maybe quite suddenly actually maybe like that or let's just add a little bit like this just in case we have a being further than I expect that's pretty good so we'll just fill that in with K and there is our first cloud so we'll stop having a monkey head and we'll see what we're working with we've got our cloud here well I'm gonna do is select that cloud hit f8 and call it cloud right now you probably guess what we're gonna be we're gonna have the cloud drift slowly across the screen so we're gonna hit f6 to add in a new keyframe there and we're just gonna shift it gently across the screen like that okay that's probably enough of a distance so let's hit create classic tween and you'll see it'll start to move across the sky however we're interested in the inside of this for our animation okay so here we are inside our cloud now this is quite a complicated one so what I'm going to do is just create some new layers to illustrate what I want this animation to look like say for example I take a really simple cloud it's got two bumps on one side and it's got two bumps on the other side okay let's fill that in let's use this as a guide layer and on the layer on top we're just gonna hit let's create like a like a nice light color Street shielding we're gonna duplicate this this cloud okay here's our first lump like say and voila yeah on the next frame however we want to basically treat each lump if I make sense as if it were moving into the next lump so this lump here is going to become this lump yeah so if we drew it lump at a time this lump would move slightly obviously we'd fill in the rest of the cloud tea we did create a new frame and it would get a little bit further towards becoming the next lump new frame and it would start to look a lot more like this lump next frame it starts to look pretty much exactly like this lump yeah so what we've got if we loop that would be this kind of motion like so then we go back over the same frames again but this time we focus on this next lap next to it so whilst it was start like that it would then have to start moving to become this smaller lump next to it is almost exactly you might have to duplicate a few frames of course it's almost exactly that previous lump and as you can see there apart from where we need to fix this edge this lump would then just stay the same and to say the same like that you can see that that's cloud is thinks of growing into itself down there if you were to repeat that process on the other side which will quickly it just for the sake of argument so this lump would then start to move and then again getting closer remembering of course all this section is gonna be filled in getting closer how many frames I've got left is the one yep and then would be pretty much exactly this lump okay and we go back over and we do this slump becoming this lump it moves a little bit become that next lump moves a little bit further to become that next lump and a little bit further to become the next lung and then almost entirely becomes that lump and as I said the word lump it we can see we've got that one moving down so now we just need this one to be kind of staying in place jiggling a little bit obviously so you've now got these clouds sort of moving almost in perfect loop then we just need to make sure go back to the very middle and we get back to that original section so as this is so I disappear we'd have to have a new lump beginning to form here and here and then beginning to fill out and form and regrow a middle section until we get are perfectly okay now you see how in structure that looks weird until it's finished okay now I wanted to illustrate with that because this is a nice quick version of what I'm gonna be doing with this which is obviously gonna take a lot lot longer and again I'm gonna time that six otherwise we'll be here for six hours this concept that I just did this little test one it's all I'm gonna do with this cloud I think for this cloud here is gonna be the middle I don't know I think I want these trees to slide in completely so they're gonna start completely off-screen so I am gonna draw everything okay that's over here if that it's not completely off-screen then they will start mostly off-screen which means as this cloud moves over anyway I'm gonna need to have animated it so I don't think it's gonna be a waste of time why just did with this cloud I'm gonna do with this big cloud now ok so I'll see you on the other side of doing that and if anything interesting happens I'll stop the time-lapse and I'll jump in to chatting to you guys means I'm though sit back and watch me work really fast [Music] [Music] so Gough first yellowing section of cloud done now and you can see that's kind of getting it's perfect loop started to go so we're going to just continue that entire process all the way down the line on to the next sections of the cloud here can get a little bit distracting with onion skin on as you're moving incrementally there's no self easing and this you can work with it off if you find it too distracting and but what I'm just gonna do is just reduce these down to just show the previous one frames instead of two [Music] [Music] now obviously as you reach the end of the cloud the movements are gonna become less erratic because the actual sort of depth and height of these cloud bumps is much much less so you want to make sure because it's moving in the same amount of plying but it takes smaller obviously increments to get there because there's less space to move you wanna make sure that it evens out comes nice and smooth movements as opposed to the big changes from there from the edge of the cloud that we were working on earlier as it starts to become the loop section here for example just bring those shapes in with a little bit more fluidity making sure to follow the lines of the original shape closer and closer this starts to get this sort of bulging blue blue kind of nice motion to it [Music] so reaching the end of one of the clouds now all I need to do is essentially for this section is try and accurately trace the same thing as much as possible but still leaving in a little bit of that boil so it sort of tummy lights in place a little bit and then what I think I'm gonna do is once this whole cloud is done I'm gonna come back I literally chop off the bottom of it so I'll grab my selection tool and I'll do this which gives it a really nice clean cut edge into that bottom of this of the cloud there I will do that the end though however I just undo that and because obviously at the moment we need to make sure that we've got all the motion correct before we start just removing sections okay so let's look at our first section of cloud obviously we haven't added the bottom in yet we haven't neaten up that bit we'll just delete these other two layers just because they're quite distracting and we now know the concept so that I looks pretty good actually there's some bits which jumped quite heavily and the loop at the moment yeah look at that it's got that kind of and that's because we're we've reached the previous frames it's kind of settled into that motion where we've had big motion and then easing into the little motion so that looks really good I'm quite happy with that we're just now going to do the other side and make sure the bottom fly sunny and then we'll be done with this cloud [Music] [Music] okay and now we have it are completely looping cloud rich honest a looks pretty good I'm quite happy with it so let's drop back into our main scene we can zoom out I hold a ctrl alt I always hold alt I see what that looks like in the main center which looks pretty good if you ask me it's already drifting slightly across the page so I might push that just a little bit further if you go to cloud right layer and just push that in because the by that time the trees gonna have come in and covered it up anyway so let's have it start out a bit further like this looks pretty good so it's actually moving across the thing quite well who that Oh one thing I do need to fix though is the fact that that bottom layer excuse me I clicked on the wrong scene there the fact that that bottom layer is still visible this one here so we just need to delete that again looks much better so that previously had that bottom one showing through all the times it flashed through occasionally so I will delete that layer go back to our main scene and there you go that looks a lot nicer all right pretty cool let's turn these other layers back on we've got our sky base our sky our ocean actually let's let's have it looping and turn them back on a bit at a time so we have our sky base and our sky which Connie looks like that okay kind of janky and weird until of course you start to add in things like the ocean which hides up that janky bottom area looking pretty good now we could add back in our cloud quite nice back in our boat he is moving across the bottom there add in our mountains our other set of mountains and there you go looking pretty good alright so let's pop the sketch back on top and see what is up next on the agenda I think this time around we will add in this little house down the bottom because there is an actually animation on that bit if you want to you could add some smoke coming out the chimney in the same way that we added these clouds just now I'm just gonna keep it static I think otherwise it's gonna get a bit too distracting so we'll let that ink is quite a complicated little design with lots of little layers and things like that and then we will call it an episode so I'm going to attach this to the mountains this set of mountains so that as it moves across this house moves with it what I'm actually gonna do is draw it on its own layer out here first because otherwise I won't be able to see the sketch I'm just gonna add a new layer on top and again we're just gonna draw this guy all in one layer because it's not going to move and when you're going to use a collection of cool little tools to do so so we're gonna need our doc Kolkata first of all we've got three shades of purple I think I'm gonna need the middle shade let's do the lighter shade of purple just first so we can see what we're doing so for this I'm just going to trace the house so that we need this kind of wall section will do neatly and correctly you like so I'm basically in a work our way up the base to the fence in front so we'll work our way up in layers making sure we get these little steps in they can fill that in okay oops we'll just drag this below the sketch layer though so we can still see what we're doing okay that looks pretty good so far we will now grab our darker purple color select what we've currently got and go back to our tool where we can choose paint selection and then we will paint in this lighter facade on the front here so we've got our darker purple going to paint in these steps like that and like that and that will actually paint the same shape so that when we deselect it I'll sorry I just do all of that in the same color no I didn't want good we can then just fill in that section on the right there grab our darkest darkest color and we'll just select this bit here and then we'll just roughly see where that door supposed to go and we'll just fill in the door we don't need to paint selection on this one though so what we'll do is we'll just you so just hit everything just hide VM in for now okay pretty good paint in that bit nice and dark now we've got our entire door section here we can grab our darker purple and just drool the edge of the door frame like that you've just painted the whole thing because I'm the full grabar dark color there and select this and paint in the dark bit that looks pretty good so we've got the door of our system here so if I'm squinting a lot it's because we've got the filming light obviously on up there to light me and it's kind of hard to see what's going on and so you see me doing this that's probably why cool so we've got the steps to the house and we can drill the fence now this one's a bit easier because you have to select anything we can just go to paint behind so if we have our layer selected for simplicity sake we can just hide everything else so that when we click here we're not actually selecting another layer we'll just do that and then deselect we can go to our tools on our brush here and just choose paint behind and we can grab our darkest color here and just roughly drawing the fence and what that will do is it will hide anything behind we've already painted and that's pretty good drawing the posts and you can just keep referencing the previous layer or you can wing it okay there's nothing else behind apart from the back section of this roof so we'll do that we select this orange color here still on paint behind you oh nice now we change it from paint going to paint normal because we're gonna be hiding on top of don't have an air painting the current wall saying painting the top of the wall Wow his words are difficult for me apparently so he can then meet all that up which is nice here it looks good fill that in we'll do the same will eyedropper or we'll just select our darker color here and we control the fence in but before we draw the fence we will just quickly draw the shadow which is gonna be in this darker red color if I remember correctly and we're going to paint behind that's the slightly darker color and the ground that it's currently on fill that in and the reason I do all this on one layer you could do it on separate layers if you wanted to but the reason I do it all on one layer is so that you can do stuff like that where you just quickly draw the shape that you need as long as it hits the other content on the layer you don't even need to fill in and Gotha raises rather big you don't even need to fill in all the bits because it will do it for you okay that's pretty good so grab our black again this time paint normal I actually don't really want paint behind for now so that we can do these sections defense quite easily that's good and then change to paint normal because we want it to go obviously on top of the shadow as well as everything else I'll leave that there as the rest of the fence oops okay it's pretty good so let's grab our British colour here this one and we'll just quickly draw in these little stepping stones as well so there'll be no animation on this section that you're just a house like I said if you wanted to you could add smoke to the chimney in the same way we added smoke to the cloud up there I will just quickly do that second cloud as well so I remember once it done these stepping stones so just roughly drawing these in because they're not going to move so they're not really going to draw the viewers eye all sorts of other stuff going on and for Allah there and zoom out so I'm now gonna grab excuse me fix that redo that okay now gonna grab everything that's on this layer not the sketch layer the thing that's on this house there and cut it and then gonna go inside our Hill layer here I'm going to ctrl shift V to paste it in place oops which doesn't correlate sorry telling me because it's inside a symbol but we can see that we can still see the top of our house there so we can drag this guy into position like say and that looks pretty good so we drop back out hide our sketch layer and let's see what we've got so far oops the house I've only put on that first layer because I did that wrong so if I go back into the house symbol before I paste I'll put that on its own layer like a clever person and reposition it okay and now when we drop back out and hide this and hit play he won't flash all over the place so looking pretty good so far obviously most of the animation is gonna be on those trees in the front and the bird but I think this looks pretty good with the Sun sort of shimmering around in the background there so let's quickly add ourselves a new cloud so we'll go to cloud right and we'll just add a new layer and hit cloud left now we could just copy and paste the frames but I want to introduce you guys to the library so now that we turned this guy into a symbol he will appear in our library and we can reuse that symbol over and over again which is one of the many benefits of using symbols you go to your library tab like so you'll see that every symbol we've created so far is inside of our library and we can preview all of the animation for those as well so what I can do now is on my new layer cloud left I can drag out a second instance of this cloud and it will play on screen like the other one animating in all the same ways what you can do as well is modify this transform flip horizontal for example bring back your sketch layer so you can see where it's supposed to be way high in the sky I say and we now have two copies of our cloud so we'll just do the usual like we did before with f6 to insert a keyframe where we wanted to end up go back to the first keyframe move it out a little bit like so and here create classic tween and then we've got our second cloud so this is really the power of symbols you can do the animation once and use it over and over and over again if you wanted it to be slightly different as well you could squash and stretch it so if we go to here we could hit Q make it a bit of a shorter cloud and then obviously in our second keyframe it will actually stretch out over time which is quite useful as well just add a bit of animation and variation in it if you want it to be a different time as well you can do that so you can hit cloud write and copy and paste but I'll duplicate this symbol and call this one cloud left we then obviously have to redo this animation here so we'll just make a new blank layer and because we've got that nice looping animation but if you wanted it to sort of start at a different time you can just grab these first few frames and make it start instead from the middle here by just dragging them past it then if you put them all back in the middle the first frame actually becomes the middle one so that when you watch the whole thing it starts at a different point but still loops flawlessly you then drop back to your main scene and bring in your cloud left instead of cloud right and then transform and flip horizontal you can see that it actually moves at a different time than your other mm your other cloud still so I think I messed up that actually the frames yes I did remove those frames there you can see that it animates at a different time different pulsing time than your other cloud which does help if you want it to look not exactly the same so we can reposition this guy oops reposition him back up here and in that last keyframe reassure him back over me that much and here classic tween and then you've got a different timed animation which you might prefer the look of without having to do too much extra work now all these bits around the edge might be quite distracting so if you want to see what your animations actually gonna look like within a frame you can can't control enter instead of enter which will exploit a test movie and then you can scale this down what if I could actually see what I'm doing cuz of this filming light you can actually scale this down to hide all the excess from your frame and you'll see the original bit there so that looks pretty good to me I'm quite happy with that it's moving in a way that I'd want next episode we're gonna take a look at animating the last elements of this which are the trees in the foreground and then a really complicated little section on the bird which I think will be episode 4 if I'm being perfectly honest so thank you very much for watching I do hope you've enjoyed this tutorial and I'll see you all next time on the next episode of tip-top [Music] for more tips tricks and tutorials thanks for watching in this series of videos you'll learn everything you need to know to get started in the world of Adobe animate let's do it part three working non-destructively hello everybody and welcome back to Adobe animate and tip top today we are taking a look at adding the trees to our little scene that we've got building here you can see that already we start animating some clouds the sky in the background as well as the hills in the little boat there today we're gonna be taking a look at our sketch layer here and adding these trees in the front as you can see the next episode we'll be doing this bird in the bottom right so without any further ado I'm just gonna jump right in one thing I will say is these lay office we slightly different testing out a new graphics tablet other than that it's exactly the same content and I've just collapsed some panels like this to give myself a bit more space to work with is this a smaller resolution so let's jump right in I'm gonna grab my brush tool my fluid brush tool and I'm just going to give myself a bit more screen space by dragging this pallet down I have a blank layer here that I'm gonna be drawing my trees on and I'm gonna go to the first frame here so I know that I'm working in the first instance I'm just gonna do my best to draw a nice straight line threw down where I want the tree to be that looks pretty good so press the selection tool there and I'll just position it until I'm happy and then zoom out with control lasso - then we go back to my brush tool and holding shift I'm just going to quickly draw some corners for it and pressing K I'm going to fill that in just make sure I'm on the right color here by selecting this color from the color palette and I'm gonna select this shape and this is gonna be the trunk of the tree on the right so we're going to need its own layer for this because it's gonna be animating sort of separately so we're gonna hit f8 to turn that into a symbol that symbol is going to be trunk right oops trunk right b2 because I already tested this out apologies for that and we're gonna double click to enter that symbol and pressing the V selection tool to just needs enough all these little corners here just so that I've got nice and neat edges to work with now you can see if we hide this layer that about half way up the tree we've got this sort of lighter section if I bring up my original illustration here you can see what that looks like in the original you've got this top half of the tree there's a little bit lighter than the bottom half of the tree so we're going to do that now we've got our trunk we know that it's roughly halfway up the page so what we can do if we want to meet you make sure that we're being very accurate is we can just come in and draw a cell with a little mark here and we know that's roughly where that's going to be let's grab our lighter purple color if and with our selection tool selected which is the shortcut V we're going to come to properties and we're gonna hit B to bring up our brush tool now once that's gonna allow us to do is allow us to start working with our brush with a paint selection mode so we should be able to click one of these options here under tool and go to paint selection and that means that no matter where we draw it's only going to draw paint on the bit but we actually select it to be drawn so I'm just going to come in and separate out our colors the line like so and I'm gonna hit K and I'm going to fill in excuse me I didn't think then they go purposely or completely cut that off rather so I'm going to just press V again B again hanging these corners a bit harder and I should have allow us then to just select the top section we can hit K and fill that in that's gonna give us our solid color cut there so we can move that bit now after one looking for us I drop by the bottom bit go back to my tool and just return the painting to normal and just gotta bring in some of this shading and before now if you wanted to you could leave that tool option [Music] and just at the top era here so to add in the darker bits I drop this lighter color select the bottom section painting some dark shades - it might be a quicker and easier way to do it just depends on how you work so then as well as that on our original sketch you can see that we've got these sort think lines that run through our trunk I'm just going to sort of have a go at doing these again I'm not going to try and replicate the original one exactly I'm gonna do these however on a new layer on top I'm gonna grab my color from my color palette which is this pinkish color I believe pretty sure does that look right let's have a look and now it's the next darker pink this one probably yeah that's better so we're going to draw this on our new layer so to do so we're going to need to make sure that our brush is on paint normal like say and then we can get to it I'm just going to draw in some nice big sweeps that I'm hoping the engine will smooth out for me that looks pretty good I'm with this one too and I think there's one sort of coming down like that from here like say that looks okay so what we're gonna do then is just meeting up our edges again just grab there up here just to make it a little bit neater and then down here I'm just gonna grab my lasso tool lock off that it accidentally City make sure I'm on the legal lasso tool and just shove off but I don't want oh that looks pretty good I'm happy with that so I'm gonna drop out now of this symbol and you can see that we've got our tree on the right there that's pretty close to the original design so I'm not worried you now you might be wondering whether or not we're going to create separate layers for each of our trees branches so a layer for this branch and this branch and this branch down here etc what I'm going to do is I'm actually going to create a series of layers and symbols and animations inside one symbol so this trunk right symbol is going to contain everything that we need to do all of the animation and I'll show you why in a minute now I thinking to do however is go to about a second in keyframe with f6 and we go back to the first frame and just shift this guy out of frame a little bit like so and we can right click between it and choose create classic tween then we can go up to our properties of this classic tween here and we can put in Andy's if we want to ease in and out for example maybe a slightly more intense easier than out and that will slide in our shape and at me like that one so let's just go to effect mmm he's in easing and now let's go to just quad as have quad yeah that was very much who you now everything else we've done so far has been animated frame by frame so that means it's gonna have this janky twelve frames per second where is this a piece of motion here and the sliding hills here are gonna be moving at 24 frames per second we'll fix that at the very end when we take into After Effects basically but I'm quite happy with the way that that tree shifts in now if we were to do all of this separately we'd have to do the same animation for the trunks and things and inside of on separate layers here in the main timeline which is fine you can do that however it's gonna make it a little bit more difficult for ourselves instead I'm gonna go inside this composition here and I'm going to add the branches and stuff that we need in here okay so to make sure that it lines up with the original sketch I'm going to make sure I'm on frame 24 and then I'll drop inside it and then obviously all the branches and things are going to line up but inside our animation here we're going to be just on the first frame just fine so these two layers are going to be our main trunk layers so if you wanted to you could select everything you've done here like so f8 again and call this trunk right inner and that's going to make that a single symbol on a single layer so that we can then start adding our other stuff on layers as well for example this branch I'm just going to rotate our canvas slightly bring up my brush tool go to our nice purple color and try and draw in this branch a nice smooth motion thank the Lord for smoothing because I'm not very good so without that's fine you know if you wanted to you could come back through and you could straighten out some of these edges make a bit more geometric looking like that yeah that looks pretty good fine we're gonna drag this layer below and we'll rename the top one trunk and winning this one branch top well here f8 on branch top and we'll call it branch graphic inside this graphic we're going to add the shading that you can see on our original sketch here so it's going to have two of these purple lines and then this really dark really really dark and sort of almost black shaded section you can see on this original sketch just here okay that's all the shading that we've got on this one so quite simple we can do all that on one layer inside of that trunk section so we'll just drop inside like so make sure we've got our shape selected go to our paint choose the darkest possible paint go to our tool options and choose paint selection and then we'll just bring in a nice bit of shading like that and I'm actually gonna extend that shading all the way out because we're going to be rotating and spinning this branch section so you want to make sure you paint the whole thing we want to make sure that I just change our back to the right hello nice go to our darker color there then paint that should then do that yes it has good we'll just fill that section in T and add in a little bit of texture again little bit of transitions to the shading so how does my mistake and we're going to be want to rotating this around and stuff which means we want that shading put in there we'll select this section here we'll go and grab oops excuse me this is why I changes colors I did it wrong you grab this first then you select your shape then you draw your nice curved lines and it won't change color on you good happy with that we'll drop out of this from now back to our Tron right composition composition symbol sorry been working too much after-effects recently and we're on another layer and we'll call this branch pop top and we're just drawing this little this little guy here so again we grab our normal purple brush color we extend slightly past where we need it to be and me just painting this little guy and she sees me apples up i Stanley hit delete no I did not accidentally hit delete I'm painting with the selection still city can't rush this sort of thing you got a bit slowly and I'm trying to rush because I'm trying to do a tutorial concisely if you guys don't just might stick around for these slightly longer tutorials so we'll grab our darkest color and we'll grab our section here and we'll change it to cool oops don't have to be drawing object use me we'll grab our paint selection brush and we'll just paint in it's pretty good nice branch top we will hit f8 on and we'll call it branch top top the graphic noise let's check the color of our leaf there this is kind of dark red with this orange on line going through it and we'll draw our leaf so I'm just going to draw this leaf on a layer on the bottom called leaf grab my scrap this color you grab this color or this book let's grab this color make it brighter I don't know about solid color grab our solid brush go to our tools change it to paint normal draw ourselves our leaf fill that leaf in orange color it's actually had drawing mode on ass pretty worth mentioning if when you finish drawing it looks like this it's because you've got object drawing mode on you can hit control B to break it apart but it's because you've gone to object here and you've got this toggle create object you want to make sure that that's turned off so you'll have expand to feel create object break apart convert to symbol creating your paintbrush you want to make sure that that is toggled off then when you come to draw some things it won't be a object anymore you okay there we go object drawing mode off that one and then when you draw things it won't be an object Wow okay it's like that drawing the stem of your leaf making sure that we've got paint selection cool there is our leaf they certain that guy here FA call him leaf and now it's time to start making sure that we've pinned all of this correctly so that when we stop animating it about it looks good now we already taking care of the tree sliding in we know it takes a second we know it eases in and out so we just need to replicate that on our other layers inside of the symbol you know it takes a second so what we'll do is we will give ourselves a bit breathing room here okay so now we have sections of our tree on individual layers with individual symbols inside and if you want to animate this traditionally you'd then be moving your anchor points of each section towards the base where you want them to rotate you didn't give yourself a bit of space like so add in the new keyframe you see you think f6 added a new keyframe and start moving these elements around so you'd rotate this section you don't have to move and compensate for here you don't have to move and compensate for here you could then do a classic tween and sort of animate all these bits moving around but what I'm gonna show you to do I think is cooler and also allows me to show you an additional technique inside the anime so I'm just going to undo all of that and we're gonna take a look at animating this with the bone tool which is quite a cool tool for simple animations like this so to do so you just need to make sure you've got nothing else on your page apart from the things you want to add to your bone because it just makes things a little bit easier and we're gonna press m to bring up our bone tool and you can see that creates a little cursor with a small bone next to it now basically clicking and dragging anywhere over a symbol will create a bone that you can think of like a bone in your body yeah so the bone of this tree trunk will probably be something like this going upwards like so and that's going to add that turn that boat into like a ligature basically so what we're gonna do is drag and drop until we hover over another symbol and that's going to add that to the bone structure so I'll just do that again drag and drop from the bottom and let go and you're hovering over where you want the anchor point of your next bone the ligament or in this case the next branch to be and you'll see that I'll connect that symbol to the bone structure we then drag until we find the base of this smaller branch which adds that to the bone structure and drag until we find the base of this leaf which adds that to the bone structure if you then press V after pressing M or you'll notice it goes to the selection tool but when you hover over one of your bones you'll be able to click and drag on a point to move this around it's cutting that wrong they can drag on this point here and you'll be able to move everything in this bone structure system as if it were attached to each other which is we really useful for us for example if I were to take this guy I could start to push and wiggle this tree around as if it was in the wind yeah so that's what we're going to be doing now with our animations I am going to give myself a bit of time I'm going to well first of all I'm gonna get myself a load of frames like this just loads and loads of frames maybe what early enough that it covers the entire animation let's say I'm doing something frames we'll get back to frame 1 and check that that is then that'll be frame 24 of this instance so at this point now what we'd like to do is go back and delete our previous keyframes so remove this one here click keyframe move this one remove classic tween the reason we do that is just so that Adobe animator has this weird thing with it sometimes existing keyframes it will reset a graphic to the first frame of its own timeline if you've already created keyframes so it would like jump through the animation which is not what we want obviously now we want to move the whole tree so what we'll do is we'll do all of our little animations first then we'll come back and we'll add that initial sweeping movement back in however first of all we need to make sure that our bones of our tree are in the right order because right now they've actually swapped around so we can just right click on this choose a range and Center back and then we'll right click on this little bone arrange center back and right click on this leaf he's not really able at a range Center that that's fine so the initial flow of the tree as it will be moving forward on to frame we kind of want it to lean back a bit and then it would stop the the bottom would hear we wanted to be it would then push forward and then kind of sway to a stop so the initial rush of what we'd won a keyframe and we want that to soldier push ever so slightly this branch would lift maybe our leaf back a bit and we do a bit more dramatically if you get anything weird like this when you're dragging the bone and the leaf is kind of going crazy sometimes it's a bit hard to control little tiny bones like that but that's not worry because what you can do is just select that single bone and just bring up the transform controls and just edit that manually and that will still be respected when it comes to the animation process you can see that's then tilting back and we want that to lean so that'd be slow too fast this one so we'd select anywhere between those first two keyframes and bring up our properties panel and then when you go to easing you can choose ease at the start fast sorry one simple fast easy you as you can see that kind of rushes or okay success actually applied simple fast and then we want the strength all the way up there we go that's faster slow which really won't cause it'll go hop and then settle back we you Shh now if you wanted that to go the other way I imagine you would just select the strength to be reversed oh yeah go cool maybe we want it that way because it'd be Pershing and then it would whip back so we'll have it whip take maybe this many frames to sort of whip it was deceive me so there what happened was I had all of them selected I didn't have my bone system selected you want to make sure that you've got the little bone symbol highlighted so it's gonna whip forward we're gonna rage drag this guy forward drag this guy that's gonna make this leaf turn backwards quite a bit and then that little section here would go faster slow boo so we'll go simple fast this way it's gonna go one nice and then we'll add in another little bit of roughly the same amount of time keyframe here and we'll just drag him back up a bit this guy would rotate around here like that this bowing might drag this way a bit this one we'll just add a little bit of easing stop and start slow all right you and then we have it just settle back into its in position which we try and get as accurate as possible we're using the sketch guide where is our info sketch I said you've way further back original sketch so Oh what we could actually probably do is just copy this keyframe and paste it I'm just gonna be added to an inverse kinematics frame all right fair enough we'll do it manually definitely we'll just have it settle back down there's some more really in position so happy with it it's a little bit of easing to this one where I'd start and stop slow you drag out I see what other so just gonna rush in just looks a bit weird isn't it why is that so weird let's reset all of these easing none until actually back down don't know why they look so weird but maybe breathe in too much maybe we just need that you let's give it a go so we'll drop outside of this we'll go back to you three four so everything previously in this animation I have planned out but this is the bit that I'm kind of figuring out as I go which is probably why it's a bit janky I do apologize for that so we'll go to our first frame here until 24 frame and we'll just move that into position we can see from the sketch were a little bit off there so if we go inside this is because it's leaning back so as long as it settles into something that some more familiar so maybe we'll just add in another keyframe here and we'll just now resettle this into it's original position just so it's got a little bit more feedback but you this like that skies that looks pretty good woof because is stopping and starting slow we just wanted to stop slow so simple slow like that and this one would be simple slow you you turn out the other way a bit nicer yeah that is good so just playing around with the settings there until I've got something that I was happy with then when we add our classic tween to here and this has got the thing about Dobey anime it's so confusing this is now got a completely different and easing animation like software why isn't this the same as that other easing software is so done I hate it this one's going to be ease in and out to court that's fine so we'll just select that one you [Music] I'm just how they take a bit longer every few seconds yeah and I go then we can save our work first right that there is that weird little you'll notice that sort of jumps back to the first frame so the way we can fix that is to go to our properties of our um graphic here and there is a way that you can choose the frame that that is on so you've got our frame options and opened up the actions here let me just fix that you can choose the frame that songs if we double-click this should be on frame 49 I bet if we go inside it yeah it's not it's on there okay it needs to be over there so when we come back that's jumping around so what we actually want is this frame this is this graphic to be on a certain frame now how you do that in 2020 I have no idea create a motion tween quick crash classic between you'll probably be in the frame that pickup window which I think is this one now you can see it's on frame 24 but we wanted to be on frame a 49 of that animation and this is just cuz that weird key framing thing I said before so that's then going to move from feign 49 onwards which is stopping the motion but that's gonna come in position yeah so now that we've done that we can add in just a little bit more well I'd like it's just a little bit more casual drifting with this leaf I'm literally gonna come in and just a few keyframes where all that happens is that the leaf moves you you and in the camera thing it looks like that leaf isn't moving at all yes we can rotate we just need to go from there to there it would need to face the other way if we open up our and all here good lean back that is rushing forward at that point here it would need to rotate it like this way bit just we just Bing up hopefully so we'll grab our bone tool hand we're just trying I rotate that she liked that way without moving the treaty much then it'll come in Boosh yeah oh alright okay so that is our first tree finished obviously we don't want it to disappear randomly by the end of the animation that's something as simple as just increasing the amount of frames that we've got here so if I come in and I just go over here and in a bunch of frames that means it will then last the entire length of the animation that we want in the future so I'm just gonna go through and do that to the other tree and but I won't keep you for that one because that was a long enough tutorial by itself and it is literally the exact same process I'm just brewing a slightly different tree so I do appreciate you sticking around through this one was a bit rambling I'm trying to get my mojo back after having a bit of break and photographers know and health reasons so I'm not really got my mojo back yet so sorry for that hopefully it's still useful for you guys Adobe anime it's a very long and sort of patient program anyway with this myriad of quirks so I hope you guys still get something from this have a good one see you next time keep learning and we'll go over the final part of this animation which is frame by frame animating that little bird thank you very much I'll see you there [Music] right for more tips tricks and tutorials thanks for watching in this series of videos you'll learn everything you need to know to get started in the world of Adobe animate let's do it art for finalization tweaking and export hello everybody and welcome back to tipped art welcome back to intro to Adobe animate last time we took a look at animating these trees sliding in there we did our first one on camera the one on the right and as you can see from inside the symbol that it's group T it's just a case of using the own tool to reposition the branches and segments of that section and then off-camera I just did the same thing to this one over here we'll see slightly different tree but exactly the same our final step then is to add this bird that we can see on the sketch layer here and to do that we're going to use a combination of all the techniques that we've done so far which is why we've left it to last I'm just gonna add in a new layer and then I'm gonna do something really useful which took this view only active layer button and that's just going to collapse away everything I don't need just so that I can have as much space as possible on screen to show this bird so I'm gonna scrub to the point where the branch stops moving and I'm gonna hit f6 add a keyframe we're gonna start our little animation here and then work backwards and forwards from that so we know that at this point when the bird lands the branch has stopped moving so I'm gonna zoom in a little bit I'm gonna grab my sort of lights green brush here and my normal brush tool know that warning I'm just going to start sketching out the first pose for this bird I'm going to do this first pose fully and ie [Music] I'm going to draw him in properly and the rest of these poses on camera I'm just going to do the sketches and in our time-lapse through the rest of the bets because you don't need to see me drawing the same bird over and over again but it will be useful to hear my thought process when it comes to why I made the decisions I did when animating so starting in the middle so that we know that birds going to be rooted on the branch okay there to feel that guy in then I'm going to go back up to my orange brush here and I'm going to change my tool settings to be paint behind I'm going to decrease the size my brush for this one Oh maybe I'll go even smaller because we're going to be outlining stuff paint that big behind there and then I'll add in his legs which are the darkest purple black color here you again still on paint behind and we'll just have him settled on the branch likes a perfect let's bring back our other layers and hide our sketch layer because we don't need anymore boom and drag my bird lair will wait at the top and of course rename it earth because lame labeling your layers is very important also important staying energized Gobert coffee right we have the base of our bird so now that we've got that I'm just going to hit f8 and call this bird it's a graphic that's fine zoom out a little bit and the shapes is gonna make the bird actually look like a bird we're gonna select this shape here and I'm going to choose in my brush tool options paint selection these for moments that when I choose this darker color it doesn't repaint the whole bird and then I'm just going to draw in some shapes first wings you and it's but like say and I'm tempted Debbie and I would go to see an AI from here yeah I think you should be able to see one I did that have like a little whip not as too much okay that looks pretty good happy with that so we use that as our reference frame for our first layer now we need to add a whole bunch of frames here because where we started our bird in the middle of our timeline now be the first frame of that animation we want to go to our frame picker and actually make sure it's on the 45th frame so that when we start animating we know we're in the right place so we've got 45 there that's fine now when we drop it aside here we'll be on the 42 fifth frame and we can animate backwards and forwards as we like so because we're gonna be animating on twos I'm just gonna hit f6 on the 46th frame because we're animating on twos and 45 doesn't go into two and I'm just going to delete everything before that what I will also do is hit control C here to copy that to the clipboard just in case I need it I'll also hit f8 call it bird inner or let's call it bird reference so you can bring back that original bird at any point that we want and delete that and then I'm going to hit paste in place to bring back the editable and paint version of the bird now I'm going to add a layer underneath that for our sketches just so that I don't break anything now I want this bird to fly in shortly before the branch is settled so we'll do that first and we're just gonna kinda try and go straight ahead on this a lot of the time we'll do keyframe poses so I might give that go and then later on we'll go straight ahead which is just animating on the back key framing is animating the key points of your animation every point where movement stops going in one direction and starts going in another excuse me and then you do the in-between so just called tweening so the first thing we want is this bird to land so we just want to roughly sketch out excuse me I still got paint behind on there I'll choose a darker color so what I quite like do is if I lock off this top layer Assoc bring the sketch on top for now I quite like to do to make sure I'm maintaining scale quickly is I will just sketch over any parts I know that are going to be consistent just roughly like so then grab all that artwork and move it to where I want that a new position to be so I can hit Q for example to rotate this because we're going to have the birds of flopping in and landing so L will grab that lasso Q would turn the wing roughly repositioning so now I've got a good base I know is the right size for when I want this bird to land so his body's going to kind of be like this with this tail coming out and his little legs leaning in for landing as wings it going to be back out like that so he's going to come in two frames getting out of the wrong layer working on the top on me leave that over two frames boom boom so let's add a new keyframe there because I'm gonna do on this previous one is stretch this guy out a little bit rotate him a little bit move them up and then this frame I'm going to delete and turn on my onion skin tool now I want this birds movements to be quite snappy like you know as if it was like a little bird that actually moves you always see them kind of whipping their heads around really quickly so luckily for us that means there won't be much in the way of in between so what I'm going to do is just roughly drought where I want this guy to land like say he's still gonna have his wings up I think this this frame he's just coming in and we'll worry about the positioning segars shift the sort of the whole thing just good this tale is going to be pushing up like that so boom let's add another keyframe here and shift these back again and we want this like as he lands he's got to get them to come back up so we'll have him kind of pushing then his top wing and both Baldwin's actually probably having compressing how my whip around like that is from wings might be coming out I'm going you have little curved legs it could be down then we'd need a frame where he kind of whips around to original position now the beak I'm kind of stretching squashing and stretching it as it whips from sort of this position around to this position then you'd see this kind of and if you use that kind of stretched imagery it makes it feel more snappy so we'd bring his wings maybe back a little bit his tail would be maybe up or a little bit higher and his wing would be just maybe out a little bit here legs be the same if the land really cushion himself in so we definitely need another frame in there there so I'm just gonna hit f6 and duplicate this frame and I'm just gonna squash and stretch him to fit position remember these are only just rough sketches for the moment Scotia stretch so drag that guy back a bit again we're just blocking out the key moments and then we'll worry about the timing in a minute and I'll just quickly draw a finishing sketch where is in the original position right so let's get ourselves some timings you can see already boom boom that's alright first of all that would need I think to stretch out a bit more like and then that definitely needs to hold this position a bit longer before he starts to whip back and I think it just needs one more settling or more settling frame here it just needs one where kind of almost there not quite maybe his feathers are a bit ruffled and it's more about that movement of the beak therefore that one just bring that guy back in looks pretty good you can see like there the tail is kind of really twisting upwards and then as it lands it shoots the other way and I think what we need is in fact that tail to push even further on that one and then as he's coming back up in these two kind of swing back into position a little bit more so definitely be stretching okay boom nice okay so we've got him sold he's landed so we'll make sure that finished landing pose is in time with the actual sketch we've done landing boom then we just want him to solve switch about for a few frames and then he's gonna flap and launch off so we'll hit another keyframe here and we'll just basically draw him with his head looking in the different direction so he'll be looking over there instead one his body to end up back in the same position but his wings would definitely like shift a little bit for stabilization I think you know to temporarily hide that back layer like that so he might just go ace but we definitely do is two keyframes will heed deaf yes allies new year so first of all if we select this guy he definitely like squeeze into the motion a little bit so each shift down before hopping back up over shooting a little back you and settling see Haskell a little subtle movement got that boom and let's have him just duplicate that motion so grab those frames hold alt drag them along and then what we'll do is we'll add in another keyframe here just so that we can flip and reverse these keyframes by selecting them and choosing reverse frames and we can clear this keyframe if you don't do that it will create some weird little blank keyframes all over the place I go he's come back then we'll have him really leading into a flap and then just off off of the off the stage so we are going to need another keyframe what I'm going to do this time is just go straight into the so as he leans down his B could probably drop to build power so we'll do that you'd open up his wings why does he can little butt would stick out his hair would definitely lift the little legs would scratch a little bit right so we need the settling frame for that one you so we'd have his wings be after a bit more is Buffy that is hot water just be slightly higher you and his tail would be she's into it we definitely need this guy to settle really settle and squish into this position so we'll just do a couple frames of em building our and then we have one frame of him just absolutely launching now cool thing I've seen is where people leave when they have like a ball yeah and then it lands and squishes when they wanted to go back up with loads of power usually what they'll do is have it sort of stretch out like that and if this was the floor you know what I've seen some people do which is it really n't is they'll actually leave it touching the floor on that frame and then on the next frame have it like all the way up there and that really adds like a snappy like to the movement so I so I'm going to try and do it with this bird here so I'm gonna squash and stretch his head a little bit he's also going to be then looking back up into the sky so maybe what we can do is have is beak be like that's gonna work or not so we'll just maybe like that and we could have him really stretch out his body like almost like he's made of jello jelly jello have been watching too much of American TV then have his foot be in exactly the same space legs a stranger now his wings just really stretched out and his tails way down there that and on the next frame he's just like way up here I'm actually we could probably just copy and shift this guy up beautiful you then we'll have him disappear so I wanted to go off frame like up here and then we're gonna have a little bird flapping away in the distance I think let's see what that looks like mmm mmm nice so I think all that needs is one leading frame from that animation so we'll just add in a little bit of gazing here so he'll start to move his body down this big it's gonna kind of snap down with it I think just make his his wings start to come out like that this wings start to come out like that body starts to squash down his tail starts to lift so legs start to bend yeah you say he's gone off screen and then we want him to just after a while this little shape excuse me I squat and then disappear and after a while we want this little shape to just sort of I'm back in the distance here you you you I say you you maybe he starts fishing his wings onwards and then as he gets smaller and smaller he'll just disappear just see that it's like what you just did that straight ahead without thinking so I see if that looks any good [Music] Alex okay thank you needs to settle more and then he's kind of lifting so you'd actually go down at that point back up and then yeah you you may be wearing do that bit you're nice I think you'll do for now for the sake of this tutorial I've already tidy up in the in this time-lapse so he comes in lands he looks around he flaps off I need two Spears there's okay at land look sweet clunky mmm I think it needs a more he's got real big man but he kind of then just I mean he's kind of lean into it more before he starts to come back up but I think what we do is we'll add in another frame there f6 we'll just have him really lean in before he toss a snap back up you and banker and maybe what needs to happen is it needs to overshoot it a little bit so if we move this two frames back like so and then the final frames like this what we do is we'll have him kind of just over sheet is beak there yes Phoebe where is it baby nothing all right I see there my cat's money which she does you've been fed about those are treats vote for the window for you a billion times and decided get more gooks it's cold hmm yeah that's right they said they're not a settling frame just a really subtle one shimmy those back and just have him settle down but should bring him to match that guy roughly yet oh it's pretty good to me Shh all right so those are the rough frames for our bird let's look at them in context of the animation we've so from the start that she's come in Oh what we haven't done there is first ring back and then set our frame picker to be frame 1 and that's quite nice we do need some more time apparently they and so we will grab our last keyframes we'll just drag them out a whole bunch because I pulled something up there well no I didn't it just took a while to ketchup oh I didn't pull something up there let's give myself a bit read now and see we were working with see how many frames I need for my board so I need a minimum of let's say 170 frames well this is just bump isn't it so remove those need 170 frames this animation we are currently on 115 so what I'll do is I'll just f5 over here like that unlock these see if we can't just drag them if that kind of breaks it then it breaks it I don't think it will not Co now let's look at the final thing then lands you yeah that was pretty good I'm pretty happy with that what I might do because we just extended that animation bit is I'll grab some of my background mounting layers and I'll just push them in a little bit further out so that we don't lose that sense of motion Mountains here luckily because the trees in the way I can afford to push it a little bit further and that just adds some of that motion back in you might come back and just make these leaves drift a little bit later on just doing the same way I did before by adding those bones or animations but now I think it's time to clean up our bird sketch so we know that the timings are right so we can do all of this inside our bird lair which I did not click okay and for simplicity's sake if you wanted to you can even just open this up from the libraries you don't see any of this background stuff if you go to your library here and you open up bulk you'll see that it opens up in kind of like its own little isolated world and with no other distractions so it's really easy to a draw which is what I think I'm going to do so I'm going to delete this guy here keyframe because what I'm gonna do is bring in from the library bird reference you just said that it was locked nice and then I'm just gonna pop bird reference near him so that I can eyedropper the colors that I need I can eyedropper the colors that I need I can use it for scale referencing and stuff like that and it also means that it's not gonna like jump weirdly if I don't draw exactly like that previous frame so we're gonna go through and how to make this now what I'm gonna do with you guys is I'm gonna do this section with you and then the rest of it I'll do just in a time-lapse so let's do it I'm gonna drag my sketch layer to the bottom and I'm going to turn it to outline mode so it's slightly less distracting and then I'm going to lock it and that just allows me to see just the current frame that I'm working on if you want to use the onionskin tool again you can unlock it and work from there but it will mean that as you're drawing you might accidentally select it and so I just like to lock it away and then unlock it when I want to check it against the reference of the other layers so let's add in a new layer on top we'll drag our reference layer down to the very bottom and we'll start doing some of these keyframes yeah so we have our first bird like here like I say I'm gonna eyedropper that green go my brush tool and I'm gonna start going crazy so carefully now because this is where you actually need to refine your sketch work you need to start making sure that your work is clean your the edges of your shapes are smooth that you're happy with the final shape and luckily for us this kind of technique here means that you can just draw these solid lines and you can then just add in these little textured lines here to bring the shape back to essentially give me quite quick and easy for us I think now tell what tapers off a bit thinly so we'll just didn't thicken that out now what I might do is grab my paint behind tool I pop out the properties for now I'm gonna think I'm gonna pop out the properties and bring them over here cuz I'm going to be switching between this stuff quite often I might also pop out as well my swatches and do that pop they're not here - just so that I can really quickly grab the colors that I need doing things like paint selection for example excuse me when I'm doing things like paint selection I can switch between stuff really simply and easily so we need to add in indications of the wings separating so that top wing you'll obviously be bike over there remember this is only on frame on screen rather for a few seconds moving that few frames sorry excuse Salah penis mean that especially the squash and stretch frames you can be quite liberal as I grab our darker colors I sure we got his legs in there hips I need a sock do you paint behind so I have this other leg coming in Landing let me go orange beak ah all right the next frame is quite far away from that I could try and squash and stretch this guy into position I might just redraw it and then just yeah let's just redraw it so we've got our green color again we can leave on paint behind because there's nothing on this layer so and now I'm just gonna flick back and forth to make sure that I've got the sort of right sizes that his head's not suddenly become a little bit smaller example his wings are kind of got a similar taper to them all these little details and they things look somewhat okay his body's gonna be really stretching at this point because he's quite a floppy bird tail is gonna be fish coming out all the way like site looks all right let's get that beak in there let's get his legs in - reaching out to the land on the branch here so really stretching [Music] I'm sorry and let's get a paint normal I select our bird paints election and draw in some of our bird shapes say be good after that move on to the next frame then some reason it seems to be preferring seeming over here so I'm just gonna pop those things over onto the other side of the screen now here's what we need to start making sure we've really constraining our sizes properly because the birds sort of coming to a stop so at this point it might be useful to turn your onion skin back on and just make sure that you don't select that layer which should be fine because we're not doing only edging manual selection [Music] on our stage you [Applause] landed on the branch it was still got paint sectional Birds landed on the branch he filled in his head his body is kind of looshing forward and all the weights shifting towards his belly and his wings have completely come to the other way number one Oh week number two fill those in lock this layer again so this bit easier to see what we're doing and this teo is really whipping so what I might do it's like a really big squash and stretch here the faster the movement the bigger the squashing stretch extend a 10-9 zone actually I miss clicking with my pen so we'll just break those down again with ctrl P remember that from last episode and we'll make sure that when we've got our tool selected brush options are turned off object options have turned off my mistake there so we need our legs now so we'll turn that to paint behind and at this point he's kind of rooted on the branch so it's kind of important that his feet stay in the same position we need our beak paint behind nice [Applause] and we need to select our bird you can see there that's got a little brush dose with them on them select our bird go to the dark green oops okay it's her again select our dark green go to the bed then change to main selection and then at this point I guess we won separation line there as well as there and there and here my cats moaning to go out so I'm just gonna go let her out and then I'll be right back okay sorry about that and so we've got our bird you got an eyeball it's true and let's take a look you nice you cool coming in so let's start looking at his recovery frames so he's really down there and he wants to get even more squished so for this one I'm going to draw this frame and then I think the next for you are just him squishing so I don't need to read you all those which is good so go to here we'll go to paint behind try and pan when it lets me and we'll just draw ourselves a nice little boy what is my butt and that from my amante Avant my book I remember that he wants his tail we should be really squished bouche that you know it's his beak be kind down facing and he wants some legs I'm sure so give him some legs Shawn Ali's feet are rooted that they don't change too much per frame select nope select our color and select our bird then go to paint selection you separate out those wings and the tail now oh and the eye now we don't have to redraw this frame we can just hit f6 and we can hidden where his feet are and we can just squash him a little bit we can hit I think he's squashing again in this frame is that right that's it let's just delete that I think we can just get away with just squashing him again we don't need that tail to go that far because the next frame is kind of whipping back anyway think I overdid it with that title so just wash him down nice f7 on that frame there and now it's back to redrawing our bird so bring up his head I say good-looking kid get the curve of his back and curve of his Audion natty so what is the whip tell you and I meani or just still on and this is where we can start to just really squash and stretch that beak a little bit as he whips it around he's straightened his legs but his feet should remain I mean he's turning his feet to be fair so we could probably have his heel stay in the same place but his toes are going to start to face the other way as he turns its feet around select the darker color select up ad go to selection now is where we need to start following these lines these styles of lines here because we're starting to mimic our initial pose you you can be whipping around whoo we just might be there but don't worry went for long because he's gonna start settling in and at this point he's just and so now I'm going to do is copy of this guy and I think I want him to be that frame so I'm going to f6 there paste him him place we'll open like that we'll break them apart and we'll delete his legs and then like the way his feet look I prefer the way I've drawn him this way around so have him please use this frame and for reference there Ravi's feed be looking that way okay so that's the frame that we want this little section to end up on so what we can do is just f6q route and do the overshoot frames from here and then copy f6 delete paste in place so got boom well now I need to do is draw this final transitionary frame just gonna look pretty close to what we want so I'm going to turn off onion skin for this because that sketch is pretty accurate to where we want it to be - the legs so I'll do the legs first so one these legs - kind of Oh be transitioning in that motion twisting motion then we'll get our body and just paint normal for a second yeah so now we can kind of roughly follow the sketch you cover up these little black bits so that we can fill in this bird that's a bit hefty over there so we'll just nina sectional why that nice so let's drawing the tail go back to painting mind just fix that beak yes that looks pretty good so now we just need our since with paint selection and with that guy up there with hi there you're in here okay I kind of freaks out and I when I got the positioning wrong yeah and jumps down and goes back so we want his eye to be more Parrish yes naughty who it was when drawing his bow is box-section Ronchetti who just fix that because it goes up like this doesn't it yeah yeah three okay so let's take a look I'll reap in my swatches and things up here and we'll take a look at what we got she comes in do nice oh that looks pretty good I think so if we hide our sketch layer you they're pretty happy with that so let's just watch that only few times yeah that looks quite nice so that's the process that continue with now for the rest of these frames exactly the same thing so you don't need to watch me do that I'll do it in fast-forward and then I'll see you on the other side of our little animation segment go anywhere [Music] okay so there we have it that is our bird fully animated he drops into frame looks around a little bit and launches himself off before shooting off into the distance so let's have a look at that on our stage so we'll save this here and we can go back to our normal timeline since we're inside the bird symbol at the moment so we just need to go back to scene one it's making a little bit bigger so we can see what's going on and start from the beginning she's come in Bert Lance looks around we've launched himself off into the distance a looks pretty good have there on the entry so what I might do is grab our birth symbol and you can see kind of just pops in here so I'm just literally gonna grab this frame hold alt drag it this way a little bit just kind of move him up touch maybe stretch him a bit and this one will just even out the distance between those two frames yeah Saturday one no extra bit of frame makes a difference so you'll be pleased to know that we are done inside of Adobe animate we're going to hit ctrl enter to create ourselves our little test swiff and have a look at it full screen looks pretty good now the last step is just to add a little bit of texture and stuff to this inside of After Effects so we're gonna jump into there and just do the final touches okay so here we are inside of After Effects what we're gonna do is go to our project panel in control I to import our a 20:20 file or whatever is it you've called it it might ask you to create a folder if you do just say yes make sure it's somewhere near your project just for convenience and that's going to create a composition for you with the name of your Swift file which if you scrub through you should see you've got your entire animation ready to go just going to drop into quarter resolution so that we can watch it go and as you can see it's maintained all of the animation that we've done previously but it's also separated out each of our layers into different Swift files inside of After Effects which is going to be really useful for us because we're going to add some nice rough and edges and some nice posterized time effects to smooth out some of these animations so if you can see inside Adobe animate here some of our animations are done frame by frame such as the bird but some of them like the movement of these trees and things are done when motion tweens now our bird is actually on twelve frames per second because we've animated every second frame but our rest of our nation is on 24 frames per second because it's using these motion tweens and make every single frame you want to fix that it's very simple you just need to create a adjustment layer which is Control Alt + y and then using your effects and presets panel up here or for me I've got a shortcut I'm gonna type it into poster eyes and then I want the effect of posterized time and I change that frame rate to 12 and what that does is it will just cut out every second frame because we did all of the animation on twos it will cut out the frames of the tweet trees the motion tweens of the trees but it won't cut out any of the motion of the birds or anything like that because that's already animated at 12 frames a second so if we pre render this little section now you'll see it looks a little bit more a little bit more janky which is nice as the effect that we want so we have our adjustment layer like so what I want to do now is roughen up some of these edges a little bit it looks a little bit too clean for me we could add a roughen edges to this adjustment layer and it will rough on everything below it but let me show you what happens when you do that we just type in roughing edges and we increase the roughen you notice it'll just roughing all of the edges around the edge of the canvas which is technically what we told it to do so what we're going to be doing instead is just taking our sky layers so for example we use this one here as our first example and we're just going to apply our rough and edges directly to that now it is only gonna affect the edge of the canvas or edge of that layer so that is what was the only gonna effect this section up here none of this if you wanted it to affect this you can you just have to separate out the layers for me I'm happy with it just affecting this edge border here so what I'm gonna do is just increase the complexity of this a little bit and it's quite nice maybe bring this up to say 15 that's a bit much actually 15 let's have 12 yeah there's good edge sharpness bringing up to about 3 brings back in some that crunchiness as you can see that just takes the edges here and kind of like Ruffins the map which is nice then we can just watch her happily that effect copy and paste it to each layer see that one on the ocean looks a bit too rough so we'll just reduce that down to maybe 8 heads sharpness maybe down to 1.5 instead that's pretty good and we can do the same for these cloud layers cloud right cloud left oh wow that boat is way too much so turn that brought it down to about 4 mountains are the back it's good mountain for the front looks good but from the edge there so we just have to fix that the trees a bit too much again so we'll just drop that down to that for ya trees left we'll do the same drop it down to about four and all these steps are entirely optional it's just something that I quite like that bird looks a bit dirty so again we'll drop him down to about four as well now you can see we've got all these edges here so to fix that you literally just need to grab your scale or maybe put up to 101 or something rather than 100% so what everyone and I'm kind of rushing through this but that's because it's entirely optional you really don't need to do it just something that I enjoy I think it makes it look a little bit and I said a little bit more cool I probably will go back in and separate out these layers and I see how easy that is to do I think in the sky yeah I've actually got this sky already kind of on its own layers so what I'm gonna do is just cut these go back to my first frame add in a few more layers here paste them cut this one paste it son just check that it all looks good still nice so we will update that Fla and Swift file now that won't update here but it also you have to re-import like this so what you can do is just import like so and put the same file again it will create a new series of folders for it fortunately doesn't auto-update which to me is completely baffling you can delete the composition that you're not using as well as the older folder if you want it to so I'm just gonna drag these two layers into this folder and delete that one then I'm gonna grab both of these layers sorry excuse me I also need the base sky layer because that's now different so it will take you you and you so that one that one and that one on new delete those delete the sky layer in here grab our new sky layer and our new other two layers and pop them in sure they're in the right order and then add our rough and edges effect to each of them so effect controls will just copy that from the ocean layer go to our sky base layer paste that that about right I think I did 12 didn't I for these sky layers yeah they look really rough so really 12 for that one we do eight for that one that's pretty good and we'll do before for this one yeah that looks quite nice now I've got all of our rough and edges happening just save so we don't lose anything we can scrub through see that we're happy yeah sounds good and the last thing that I like to do is just add a little bit of noise usually that's 10% and it's not color and that just adds this kind of nice graininess to it as well which is something that people seem to like and then just export which I won't go I won't cover up because you literally just need to take this open up Media encoder drag and drop and hit play and it'd be totally fine so we'll just quickly do that and then we are completely done and there we have it are completely finished Adobe animate animation the last little touches and after-effects are entirely optional if you like that clean look you can absolutely keep it totally up to you thank you very much for joining me on this journey you guys if anyone has stuck it out to the end congratulations you're an absolute legend I hope you found this a little bit useful and I'd sort of episode three I've got a bit of rough I was having a tough time we could get any interrupted so I felt like the quality of it was still good enough and but hopefully you guys can sort of muddle along through and create something that you're happy with if you do create something let me know you show me on social media just active time zone and I'll give you feedback and comments and stuff and thank you so much for joining me on this journey you guys I've had a lot of fun with this one and hopefully I'll see you all next time on another episode of tips for more tips tricks and tutorials thanks for watching

Channel: TipTut

Views: 162,935

Keywords: tiptut, tip, tut, adobe, creative, cloud, graphic, design, designers, tutorials, lessons, tiptalks, tipwalks, helpful, intro, to, adove, animate, 2020, bsic, basic, animation, beginners, easy, anim

Id: -woaDyBXkyU

Length: 173min 21sec (10401 seconds)

Published: Thu Feb 27 2020