Pixel Art Class - 8 Directional Walk [Part 1]

[Music] hey pals welcome to a new video today i thought we'd cover a topic that has been hotly anticipated uh by many of you and that is eight directional animations for top-down and isometric games this is something that i don't really spend a lot of time doing but since i've been covering these two in recent videos i thought for those of you who are looking to make your own games in this art style or this perspective i thought i'd give you a little bit of a start on how to get into that so let's jump straight into it so what are the eight directions well you can think of them like the cardinal directions on a compass so you have north south east and west and then diagonal from those so north east south east southwest and northwest and these make up directions that if you're in a top-down game that doesn't have movement that's locked to a tile set or in an isometric game that does have movement lock to a tile set you'll see um any variation of these come up so top-down games that are locked you'll see going just north south east west and isometric games that are locked you'll see just going you know the diagonals and then in a lot of top-down games you'll have both and even some isometric games there is this preconception that when we talk about top down that we're actually you know directly over the uh the characters so you know we're looking from you know straight up looking straight down and the reason why we don't do that is because especially for characters this leaves us with a really limited view of the character right we're looking at like literally the top of their heads as opposed to some variation of that also if we worked with this perspective we actually wouldn't be able to merge these two so if we kind of like draw a line between this idea of what top down is and pitch the camera down just slightly uh to something that's more like this right so we can see some of the side and some of the top of whatever it is we're looking at then we get this perspective that actually lets us integrate really well with isometric and this is when we talk about this eight directional animation this is generally what a lot of these animations are presented like because it's so versatile and it works for most games now this isn't to say that you can't have top-down tiles in your game that look like this and then characters that are in this perspective mixing perspectives is quite common when there is a small degree of variation what we're talking about here is is a camera angle that's sort of like 45 degrees it can be a little higher than 45 but essentially you want to be able to see these two faces of the cube of whatever it is you're looking at and when that comes to characters we're talking about looking like this so if we were directly above we would see just the top of the character's head we wouldn't see much of their body right we'd just see the shoulders and this is what a tile set looks like you know 90 degrees as we pitch the camera back down and sort of like pull pull down uh we get to this sort of like 45 degree angle where again the head takes up probably most of the sprite or at least like you know most of the the feature and especially when we caricature like in games like the original pokemon series the character's head is the majority of their body we see some of the body and we even see some of the legs so it's a nice sort of middle ground and then side scrolling would put us here so we're like dead even with the character and in this context obviously this would be a lot harder to to do eight directions for because what would be the difference between going this way and going this way right the sense of going into the background is a little less there's a little less value there so we're kind of targeting this one in the middle so the setup here is that basically we'll be doing five animations so there are eight directions but we can actually flip these three to get these three when we do this the biggest challenge is really going to be how do we match these animations so how do we get each of the ones that we do independently and we can't actually reuse much going between these like the perspectives are so different that you are essentially animating five different animations when you do this and the focus of this video is really going to be how do we get a really nice setup that allows us to think about these things as one holistic unit and have a workflow that stops us from accidentally sort of straying and doing things from scratch every time so what can we keep when we set up that actually lets us minimize the amount of errors or discrepancies between these animations i'm going to skip over to a sprite now and show you the setup so here we are in a sprite and i've got a character here that i drew for the isometric character design tutorial video so picking up from where we left off if you want to get a bit of a start on this and you haven't watched the video then definitely check it out i'll link it in the description what i want to do is take the assumption that you've started with isometric if you haven't started with isometric that's totally fine and if you need help designing a character again i've got other videos for that but let's just say we're starting here the goal is to determine at least our idle pose for each of the directions that we want this can happen before we start animating or after we've animated the first animation i'm going to do basically a simplification of this sprite for the different poses so that we don't go too far trying to add fidelity where it's not really relevant to this stage so this is towards this is a way and before we do anything i really want to explain that this tile here is kind of the key to everything what this is is it's a way for me to really make sure that i'm not losing sight of the perspective of what's happening you can see um when a character is standing in this isometric perspective right we can see some of the top of their head we can see you know different parts of the body that we might not see if we were completely side on and the way that we govern sort of how to maintain our head in that perspective space is by following this line here okay this line tells you basically with the most primitive object a cube that we can think of in this space how does the camera render something that is square and so something that's flat along the ground or parallel with the ground will in this case go like two across and then one up and then two across and then one up and then two across so looking at the character here you know they're standing straight they're standing parallel their hips are square with the ground but in this case square with the ground follows this line and that for basically the entire animation is going to be our our baseline right we want to like be able to track those lines all the way across now because this is pixel art what this means is that if you're following any kind of variation to this so maybe your tiles are more diamond shaped rather than um sort of pitched down this way you can follow the same rule but it's going to mean more dramatic angles and unfortunately what that also means is that there aren't that many variations to what you can do so it's like every two pixels you rise one or every one pixel your eyes one everything in the middle between this you kind of get uh like alternating steps so you get like maybe like like one and then two and then one and then two then one and then two and you can do this you could have a tile set that used this alternating aliased angle but i think you would find that it would be really distracting looking at the actual sprite itself for this example i'm going to work with the assumption that we're on this kind of angle of the camera i don't know if this is 45 degrees i don't know what degree it is but you know we're sort of like above we can see some of the ground we can see the characters face we can see their body what i'm going to do is kind of draw like over these with a much more simplified version and let's just start with like the head and the body so the head we're just going to pick a color maybe just pick like this blue and this is just going to be a representation of of what we can see of the character's head from from this angle and when we generalize like this it's going to let us think about this in more abstract terms so there's the head and then body will be underneath and we'll pick a different color for that we can pick uh maybe this dark red and we'll put the body here we've got darker okay maybe we'll take this layer that's got our character on it and make it a bit more transparent okay that's looking pretty much right maybe even a bit like like this and then from here i want to do the arms as well front arm and then do a back arm as well now if you've watched any of my animation videos you'll know why i'm doing this essentially this is how i mock up an animation uh when i do any kind of animation i'm effectively thinking about it just with shapes first and this lets it like i said be more malleable lets you make changes more quickly and i'm picking these colors for contrast it's not for any aesthetic reason it's just so that i can see what i'm doing i'd like to break down each of the perspectives and i want to be able to annotate them so in this case this is like give this a new tag we'll call it um let's call it let's use the cardinal directions that i was talking about earlier so we'll call this like southeast and then this is going to be new tag north east northwest this one will be called southwest and now we're just going to take all of these new layers we've created and copy and paste them and then modify them to make this fit so now i've got i've recreated the blobs for these sprites and i'll be able to animate them now if you haven't come up with your character details usually what i would do is just draw an idol t or a t pose or something that's just representative of the character's proportions and dimensions and then i go straight into this sort of blob thing so normally i wouldn't have four different directions but for the sake of uh not lying to you i did have these already set up so we have our four the next are the toward and away and side to side so i'm also going to create those now okay and then we've got southwest so this next one's going to be south just south and then this one's going to be just east this one's going to be just north this one's going to be just west right now these are frames but they're going to be entire animations right uh and for the sake of the animations we actually don't need any of the west ones so we can actually just delete these because these are the five that we actually need so we're going south we don't we're not currently looking south so we should make this character now uh face us so i'm just gonna try to think about evening out all of these discrepancies and i want to come kind of halfway i think this uh this color here is a little too bright maybe we'll go a little bit darker so on this one here we're going to bring everything and flatten it out right because we're facing the the camera directly now let me give it a little bit of perspective because we're sort of still in that top down space and especially at this level of detail like you definitely have time to play around with this stuff and just find something that you like you know it might take you a little bit to land on something that you're happy with and that's okay that's fine because we're not really investing that much time into these frames right it just blobs at this point so as long as you can try to visualize what you want and make a decision about whether or not you're sort of like getting there or not then it's fine though let's just use that for front so this is south does that look normal um i think we want to maybe like have the legs spread out a bit further cool so now we've got this we've got this now we need east so now we're going to draw this character totally from the side which means we probably won't see this arm and we probably won't see this leg and this is something i'm much more familiar with the actual proportions are going to be something like this so if you think about you know the character standing on like a platter you know if the character is standing here and their feet are coming up like that then their feet are going to be further up in terms of like the pixels like up here if we were to then rotate that character well now their feet are like here and here this foot's come down right as we rotate around so that's kind of what we're replicating here by making sure that this is higher than this right the foot comes down as we rotate and this one here should be like this i think and it might be nice to actually show like the top angle of this just to show that we're not totally side on this is something that where i'm just using like a second color on one of these shapes to to train my eye into remembering that we're not looking at the character dead side on we're actually above the character and so we would see this this line here this shape this is where the light is hitting the top of the shoulders right if this was just flat it makes us think that we're totally side on but now this kind of like represents that extra edge where the shoulder is created okay and you know hypothetically you could you could go a step further and put this here as well and that might help you too so you know if you need it and then now for north so north is a lot like south so the legs will kind of be exactly the same to be honest it's just that they're flipped so it might be nice to just make sure that we're reviewing that every now and again the body will be basically the same and if it helps you you know it might be worth you know going through the the motion of also just showing like where the head face is so like you know if it helps we're looking at this for south so that the dark spot's going to be where our faces and then we're looking at sort of like this and then we're looking at like this and then basically nothing and then nothing so we're able to rotate this now okay cool so we can take these away now and we can sort of just spin the character and we should be able to feel pretty confident with this if anything looks weird then that's your opportunity to fix it up so in this case like as i'm spinning this around i'm noticing that like the shoulder on this shape here could be a bit lower so watching it watching it that's better we could maybe even try one more yeah that feels even better and then looking at this like maybe this is a bit flatter like this yeah okay so i feel like i can spin the character pretty comfortably now from the front to the back and i have a reasonable idea about what the proportions are and how those change so i'm feeling good at this point [Music] now as far as animation goes [Music] i think the best way to do this is to start with a perspective that you're most comfortable with and for me that's running side on so every animation is going to be animated to the beat and the motion of the first one that you do that'll be your baseline let's just make sure we've got everything right where we want it i think that's pretty good and now we can essentially just start animating so i'm gonna make this a six frame animation one two three four five new frames and i think if we just start from scratch after frame one uh and then copy and paste from there it'll be a bit easier many games use three frame animations when it comes to walking in isometric and that would be like feet together legs apart feet together and then the opposite legs apart that's how you would do that kind of walk and uh when it comes to side scrolling games generally you don't really have a walk so much often times you have like a jog or a run because uh just the way those games are set up tends to be a little more you know we've got platformers we're jumping if you're jumping you should be running before you jump so there's a lot more tendency to have a run in a in a side-scrolling animation so for a side-scrolling walk separate from a run there's only one key difference and it's about how the body is carrying its own weight on every frame so in a run animation actually i'll show you some animations i've been working on recently because i think this would be really helpful for you i've been animating a character in insignia that has a number of different animations he's got a walk he's got a stalk and a run and i can illustrate really easily the differences between the walk in this case the stalk and the run and it's like i said it's based on it's based on how weight is distributed with a run which we're all very comfortable with most of the time the character is off the ground so one leg pushes off and then you'll have one leg touching the ground that leg is on the ground briefly just to just to bring the the character's body off the ground again just to maintain that airborne momentum and then the next frames the feet are in the air again so the point of the run is just every foot is just sort of like touching base with the ground just so that it can push off again right it's a very like airborne animation whereas with a walk at all times there is at least one limb on the ground and sometimes there's two so in this way when a foot comes down to touch the ground it's actually holding the entirety of the body's weight until it's relieved of that weight by the next foot and what that means is we're kind of watching the head and we should be able to draw from like you know right under the chin downwards a line this line is kind of like where the body's lean is going right it's where the weight is heading right we're leaning forward and we're moving forward so um the weight of the character is sort of like coming down this way it's like moving forward and if we didn't step any further we'd sort of tip over and fall and so a walk is really one leg catching you from falling after the other only after it's so far back that it can no longer support the body right because the weights the weight's over here so if you think about it this isn't stable anymore now it's time for the next leg to catch the body and it does so it's just a series of you know each leg stepping in to catch the body taking the weight on and then pulling back behind the body for the next foot to to catch that weight and at all times there's a contact with the ground same thing here we're going to do this in six frames we're going gonna try to emphasize um two things it's really important again we'll come back to this for a second with walking we can take like any frames any slices of time and attribute frames to them right like i'm choosing to show this frame and this frame and this frame but i could show the the frames that were between those three so like between this and this we could have had a frame or between this and this we could have had a frame why do we choose the ones that we choose well it's kind of arbitrary but think of it like photography right you can have a good walk animation that's made up of bad frames and it might look a little awkward the difference between a good and a bad frame comes down to visual communication so in this case do we see this exchange so that we know that this leg at the back as it passes over becomes this leg at the front being able to track the motion with our eyes is really really important and it's more important for a run and we can use color to differentiate but imagine if we didn't have this crossover frame where we could see between this frame you know this in front and this and back and this frame if you just showed these legs like this and then straight after the legs like this you would never see the foot planting on the ground so we want to make sure in our walk animation we're capturing that too i might not have this frame where we're you know dead flat on the ground if you need to have one of these frames be the idle frame then you could probably get away with this one but if we use this flat frame here it doesn't convey a lot of energy and it's also an extreme in terms of the frames so like they'll be the foot down the foot back the foot forward that's three frames if we go between those two that's five but we've got a six frame animation so instead i would take this and i'll distribute it into one that's slightly behind and one that's slightly in front and that way we'll have three frames dedicated to it being in front three frames dedicated to it being in back that's six so i'll actually just animate the feet here we'll go feet first frame i want the foot kind of a little bit further back maybe like here we're kind of trailing a little bit behind and then next frame let's keep the body for all of these so next frame this foot's going to be like at its like most extended position as far back as it can go this is like the foot's maybe pointed down maybe the legs coming back a little bit here and we're sort of like yeah we're like as extended as we can be right we're just about to exchange and then next frame the foot's off the ground so it's like bent and then we've got this kind of thing going on so just exaggerate that here this is kind of almost more symbolic than it is representational like we'll come back and make this work later um but uh we're also gonna now go forward so it's like the first frame of the forward frames was sort of like crossing over the leg is bent maybe this is like a little too dramatic maybe it should be more like lower yeah so we're sort of just more skinning along the ground rather than like lifting our leg right up yep and then next foot is where like on the ground we've just got our heel down we're sort of like have one foot up and heel down and then the next one will be just in front so we did just behind now we're gonna do just in front okay now this is gonna look pretty terrible but at least we have something to start right it has to look bad before it looks good cool so what i'm going to do is just try to make sure that we have a good sense of persistence of where the ground is so is the foot along these frames moving consistently and is the ground in the same spot right like is this line where the foot is touching the ground is that persistent the whole time and you could even draw that on here if you want but in this case i'm happy to just wing it so i'm going to say this frame probably needs to be a little further forward we want to see a bit more of an extension because from here to here we want to see that there's like we've moved some some distance and i might even say maybe for these two frames that we could go a little bit more simple so this here and this here can actually be a little more uh centered they don't have to be quite as so this to this yeah to this this this yep and then this could be kind of more heels down okay as i'm working on this it's kind of occurring to me that the amount of space that we're covering in this setup is not really going to get us across an entire tile in one set of steps so i'm going to try to be dramatic with it because otherwise every step will be like a baby step i'm going to fight the temptation to have it be nice and um on model and i'm gonna actually let the legs be a little bit more dramatic i'm gonna let them go a little further and over extend and stretch a little bit yeah i would say like this this is not far enough it needs to be like further even we want the the distance between the frames to be consistent if you think about it how fast is the foot moving so from here to here we moved like three or four pixels we moved like no pixels then we moved like six pixels so this one should probably be more further back so like here to here to here still could be maybe one more [Music] here we could probably bring the knee a lot further forward [Music] bring this down a little and this goes for every part right every joint needs to be consistent too so if we look at the thigh this this like knee point here draw it like here you can actually see that the thigh is not moving consistently right look at how much we move on between these two frames versus these two frames [Music] so there should be some pendulum motion so it does slow down as it reaches the full extension but it needs to be a bit further so either it goes further forward or it moves less far on the previous frame and i think in this case because we were saying we wanted to be more dramatic a little further forward it's fine i think it still probably could be a little less dramatic on the previous and it could still be way more extended on this last one i think i think we're we're underselling it yet again uh so let's go like even like if we just look at the angles here this is almost perfectly diagonal so let's just match that on this side okay and that means that this frame can now now be closer right because we have it we had it almost level before but now because we're moving more in general it's fallen behind it's too too close to the center okay because we started with an idol this is a very upright pose that we're working with here and i want to incorporate a bit more of a forward lean so i want to bring the head maybe a little further forward just for these frames and [Music] even the chest i would say it's like two it's the whole like way that the body is like framed is maybe a little too too steady too even so we are working with a very chibi kind of perspective here so it might be a little difficult especially before we have the final pixels in this 32 by 32 sort of size is admittedly quite difficult it's quite counter-intuitive uh the way that pixel art tends to be harder to work with in my opinion um when you are working with smaller sprites people usually pick smaller canvases because they think it's going to be easier but it's it's harder in my opinion basically the pixels matter more so one thing i'm not loving here is uh that the length of this leg now is a little too too much so we can try to bring this up a little uh we could also bring the body down that's an alternative so on this frame we drop the body and drop the head and that's natural right if you have again if we have like a scenario here where we have imagine a this is like the hips here the length of this leg when it's standing flat that's our knee is longer than when the leg is extended well it's taller at least it's the same length so you have to be able to rotate this it can't reach as far down but remember we are on the ground so if you think about it the hips this is a bit dramatic but the hips have to drop for this foot to catch the body on the floor the hips have to be lower on this frame essentially we can have the body one pixel or a couple of pixels lower on the frames when the legs are like this because physically they have to be so that's kind of what's making up for in this context here that's what's making up for this leg being uh forward like this because otherwise if we keep it like this the length here is actually longer than than this leg if we don't bring the body down and we have two of those frames so on the other side this will be the same thing so now i've got a bit more of a beat so from here i'm pretty happy i think we've got like a decent cadence i think that their starting frames they're not perfect we'll definitely adjust these but we've at least got something that's able for us to validate and apply a critical eye to right we can ask of this is this right is this wrong is it the way that we want it before we had this we had nothing right we had a canvas so don't be disheartened if something's not exactly the way you want it on your first attempt you know because even my work or any artist's work it's not going to be there on the on the first attempt stuff takes time to get right so you just need that confidence that like it's a work in progress stuff takes time now there is there is a neat trick that we can use here for the back leg that i've i've shown every run animation that i've done i've done this trick but for those of you who haven't seen it um with a sprite it's really neat you can take our leg that we've just animated you can copy all of the frames so drag the frames to copy them then paste them on where you want the second leg to be okay so ctrl c ctrl v and you'll see it there if you press escape it will update the timeline now we're going to offset this by half so i'm going to take all the frames i'm going to drag them into like this empty space and i'm going to take the back half and put them in front i'm going to take the front half and i'm going to put it in the back and then i'm going to take all of these frames and i'm going to replace the color with the one that we originally had which was um this gray over here i think it was a bit darker but you can see already it's essentially just offset that by half and allowed us to have now two legs so now we have the walk already now obviously this isn't exactly where it's going to be we can drag these again and do a batch move so what i'm doing is i'm dragging all the frames on the timeline clicking the one that i want to move and then just dragging it dragging it up when i hit enter now this one's moving like higher up in fact it'll be way higher it'll be like all the way up here somewhere [Music] so now we have two legs now i can assess a little more about this attitude like do i like what's happening with the legs um i think they're maybe dragging a little too far back maybe we just like bring this down slightly and if you must then it's it's okay to like redo that little magic trick if you don't want to do it a second time [Music] yep so the question is are we happy with the walk are we happy with the motion does it feel like what we wanted and as i'm looking at it i think it's okay i think i would prefer for the body to return to its upper up up pixel over a couple of frames so like this frame here i don't want it to be up straight away i'm going to take two frames to do that and i'm noticing now what this means is that we've got like we've got like down up up down up up and as i'm looking at it i'm realizing that there there's an option here we can either go down up up or you can go up down down uh and it'll be like the same thing so i'm okay with that actually maybe if we just edit the body a little bit we could actually kind of soften that out it won't look quite as jarring [Music] nice that's not so bad now let's take this front arm and let's very quickly give that some motion too i have had this hidden for most of the time but it's a good idea just so that our intuition doesn't get railroaded off into some no man's land to uh just make sure we've got some kind of silhouette of that of the original sprite on screen otherwise like in this case uh i think we would get a little bit confused this arm has to be even lower than it is here yeah maybe we go back down a pixel okay now legs and arms when we walk it's pretty straightforward the opposite arm moves in the same direction as the opposite leg so your right arm when it's forward your left leg is forward and when your left arm is forward your right leg is forward it's it's how it works that's how you maintain balance basically so maybe it's a good time to color code these in a way that's a bit easier so let's make all of the i'm just going to drag again all of the limbs that we want take all of the front ones make them uh like let's go like a light blue and then the back leg will make them all of like make them like a red but we'll use like a like a dark like a medium red and then i'm going to do the opposite if you like with the with the opposite so i'm going to take this and make this a darker what are we going to do let's go let's make this like a darker blue and then this will be light blue so i'm pressing shift r to get the replace tool i should mention shift r okay so now it's a little easier for you to understand what's happening so the way that i think about this is there's a bit of a difference between our arms and our legs right our arms bend this way and our legs bend this way okay so they're kind of they're both pendulums but they work a little bit differently where an arm if we're facing right can't it can't bend back this way right like the the elbow joint locks at complete a straight line you can't go further back than that unless you're like double jointed or something and the same can be said for the leg it can't go forward beyond beyond this straight line so your arms like when we're swinging this way it's mostly straight might be a little bit bent just for comfort but if the leg's swinging then it is bent it'll always be bent until the opposite when we're coming back this way now the leg will straighten as we're going this way the leg will straighten but it won't it won't bend this way obviously uh but the arm will right the arm as a pendulum if we're moving the elbow this way then this is going to lag behind and it's going to be kind of like nice and relaxed there's going to be an angle here so as i'm working this this leg is forward we're looking at the thigh the thigh is forward the the calf joint and the lower leg is back i'm just gonna draw like a dot where i want the hands to be i'm just gonna follow the motion just following the leg i think this needs to be a lot further forward on this frame and then we're already back here back there back there that's better so now let's just um follow that again just further up this time and we're just i'm imagining where the shoulder is and maybe we can go a little bit again let's make sure that we're not bending this way we want to at most bend this way so i'm just keeping like a slight you can see here i'm just going like this rather than we could go straight but i'm allowing that to be a slight bend let's get that shoulder in here as well [Music] the shoulder might drop a little because the body's dropping as well okay and then we can just connect the dots no problem now this frame we're actually coming back this is the first frame i think i drew actually not so bad it is in beat but it's a little bit of a distribution problem so look at how many frames that it's back so we go like one okay so it's like this is back two three four it shouldn't be four it should be three right because it's six frames total so it should be three back three front so here we've just got a bit of a problem where so maybe on like this frame this arm should be further forward right we want to kind of swing it a little further even more it's like we're already on the way in [Music] and we can make these more dramatic i think again at this scale of pixels uh trying to be too realistic might actually hurt you more than it helps so let's go really wild here with the shoulder maybe we can pull it back a little yeah i think we can go even further just drag it forward nice it could even we could even go further the moral here is i'm i could go further keep going bring this further forward yeah nice that's totally i mean even further like let's go you know ultimately if the player can't see we're going to really notice that how muted it looks so we want to exaggerate and again at this size you know you can play with proportions a little bit you know if something needs to be a little bit bigger or an extra pixel wider just for the frame well you know just do it like i said an animation is a series of photos every photo is realistic but not every photo is photogenic so make your frames photogenic if you can [Music] good you ready for some magic again we take our arm take all the frames copy paste them over here take the back half drop it in front take the front half drop it in back there we go and i'm dragging i'm dragging on the edge you have to grab on the very edge of this little guy in order to do that yes these are the blue ones so this is the nope hang on these are the blue ones okay so we're going to recolor all of these to this now again for that photogenic aspect i i kind of want to see this arm a little bit further in front i'm not really happy about like how flat this looks so i'm just going to maybe raise it up a little in fact we did want to raise it up the whole way because it's it's offset right so we just probably should be dragging this up maybe two pixels that's a bit better [Music] and i'm just going to bring it in a little on this frame and out a little on this frame just i just want to see that that stretch a little more maybe i'm maybe not so happy about the fact that this appears and then disappears on the next frame it's very sudden so maybe on this frame i'll try to show it just a little bit so it's less of a shock and then on this frame bring it across so that we get a better idea that it's actually on its way again it's about storytelling like it's visual communication so if your eye can't understand the plot of what's happening with the animation then it's going to create confusion now let's take all of these and slow them down slightly i think we're it's a little let's go down to like 130 and it's going to feel a bit more natural now i want to see the exchange so on this frame i'm really happy that you can see the feet swapping over i think that's like really good for being able to follow the story of what's happening but on this i'm not seeing it so i'm going to edit this frame again just to be a little clearer with what visually is happening [Music] i really want to see that crossover that's a lot easier to follow i also want i also want to be able to know that this frame this this foot is in front it's really important to me that that i know or that you know that this is the front leg so any frame where there's any kind of crossover you really need to be able to see this blue now it's not going to be blue but whatever color it is it needs to be the visual blocking needs to be clear that's looking a lot better okay that's quite good that's a really good start i think we'll leave this for part one in part two we're going to take this animation and we're going to rotate it in all of our different variations so thank you for watching and i'll see you for part two hey pal thanks for watching and thanks most especially to the patrons and twitch subs who support this channel and my gamedev project insignia to find out more click the links in the description below and if you like this video tell youtube by clicking the like button and then youtube will tell me and then i'll make more videos that's nice thanks again and until next time you

Channel: AdamCYounis

Views: 145,272

Keywords: game development, pixel art, game dev, game, video game, indie games, stream, tutorial, walk, animation, 8-direction, top-down, isometric

Id: aios4kDJZsc

Length: 46min 1sec (2761 seconds)

Published: Mon Jan 24 2022