Pixel Art Class - Making Pixel Art Worth Animating

[Music] g'day pals welcome back to a new video today i wanted to talk about pixel art animation and particularly designing pixel art so that it can be most easily animated animation can be extremely entertaining or it can be extremely tedious and i want to share with you the things that i've learned over the 10 or so plus years that i've been animating pixel art that help me basically keep that process enjoyable while minimizing the amount of tdm and also keeping things looking professional so there are lots of styles of pixel art some are easier to animate than others and the differences between these essentially come down to the amount of detail noise and the complexity of the motion in the pixel art now anything can be animated but it's especially important to build an intuition for what animates easily and what doesn't you really want to avoid getting lost in the process and losing hope because it can be hard to take lessons from a failed experiment if you can't even really tell what went wrong this is especially the case very early in your pixel art journey you know i know it was the case for me where it's very easy to try to animate something you get a certain distance in and it doesn't look right but everything you do makes it look worse now i've animated lots of different things for my games from characters to attacks with weapons to entire scene rotations visual effects you name it so i want to show you some examples today of things i've created from the messy and muddy to simple and clean alright so shall we get started the first thing i want to show you is this sprite here this is not the first sprite i created but it is an early sprite of armon which is the main character of my game insignia this version of armin was kind of an attempt to make the character a little more screen friendly i wanted to go for bigger eyes bigger head and to i guess communicate a few different things about the character i want him to be a little bit like not very heroic so his his posture wasn't supposed to be great i wanted to highlight some things like the buttons here on his on his jacket and his belt there was like some pirate colonial aspects that i wanted to really emphasize that's kind of like the direction behind the sprite now the reason why we're talking about this sprite particularly is that it was a nightmare to animate i really really struggled getting this looking good and of course it's not a very well designed sprite i would say at the best of times but particularly bad were the aspects that have to do with animation this is the idle animation most of the content frame to frame is pretty much the same but as i'm trying to introduce some motion there's a lot of noise going on it's kind of hard to see exactly which way things are animating there's a little bit of you know motion with the jacket he's sort of swinging forward and back but pixel to pixel it's a bit messy this is kind of um like exacerbated in the right animation overall like you know there's a general sense of of motion and you can see that i've got some experience with perspective shifts and um the the beats look okay but again there are some aspects of the motion that are quite difficult and i want to call to your attention specifically the hair the hair here is really really difficult to track if you're not looking at the silhouette here which is kind of like the only thing that's followable all of this in the middle is kind of like garbled nonsense there's lots of dithering going on um there's lots of changes in that dithering the the actual content pixel of pixel looks like there's some continuity but it's very difficult to sort of track it and i think while i was creating this animation there would have been at least two or three hours that i spent just fiddling around with individual pixels for the hair this is something that i think um new pixel artists have a really difficult time with because it's it's so easy to get lost in individual pixels so i want to compare this animation to the most recent designs for this character and the most recent animations for this character so here's the current version of armin his design is a lot more square it's a lot more stable in terms of the the pose i think it's a lot stronger and you can see that there's a lot less overall contrast in in the image but the contrast that's there is in nice readable shapes so this edge here of the kind of like um underside of his of his upper arm leading into the chest here creates nice structure uh you can see a nice continuity of the inside of the jacket on this side and even though you know we can see some details that outline the materials we can see what materials are made of based on the way that the light plays off them those shapes are nice and um clean open shapes there's a lot less dithering in fact there's basically no dithering um and particularly looking at the hair the hair here is really one two three shapes with three colors there's no speckling it's it's very obvious kind of like where the hair is going so if we compare a similar animation not exactly one to one copies but um you can see here that it's a lot easier to trace right with your eyes you can really see the jacket you can see how it's tugging the legs feel pretty like easy to track the arm is very consistent the hair in particular you know it's uh far less noisy and it's far easier to just focus on like the shapes that are in motion as you're watching it move for me um my style is one that has a lot of motion in it you can see that the frame count has gone up as well this is an eight frame animation as i've been working on my game one of the aspects that started to stand out is the quality of the animation and just the amount of animation that is in characters and enemies so for me a priority that started to evolve is trying to create sprites that animate very easily and that i can produce lots of frames for with lots of subtle detail without it becoming a slog as we look at a third example i want to stress here that it's not necessarily a sacrifice of detail that's made this transition it's more of a prioritization of detail one of the things that i was really trying to do with this early sprite was create a sense of creasing in the pants to show that it's made of a more soft kind of malleable material than like the boots for example and you can see as we're animating there's you know a lot of motion it's actually not that bad it's kind of okay to to to watch you can kind of see how it's moving but still very tedious frame to frame and in this newer version you know you can still see all those details the buttons are still there the edges on top of the boots are still there but particularly i want to look at the materials so the the shirt in particular you can see that there's kind of like a fold in the shirt and you can track that fold across the entire animation as the arms go up the shirt stretches and flattens out and the crease kind of gets pulled tight that's something that as a detail is a lot easier to track if you have one of them right so considering the size of the sprite considering the the kind of motion that i'm trying to convey you can see here the transition from lots of single pixel granular details into fewer but larger and more obvious details the details are easier to watch and so it's easier to animate them now it's very easy to look at two animations and say well this one's clearly drawn better you know the pose is better the colors are better there are more frames it's smoother so obviously it's going to look better it's one thing to say that it's another thing to say okay what are the actual principles that make up smoother animation what what makes something feel smoother or be easier to read in motion and to do that we kind of have to go right back to fundamentals so if you haven't seen any of my videos before this is a good one for you to jump in on so let's look at a blank canvas here okay we've just got one color across the whole canvas there's no information here we can introduce another color here in a way that contains no information value okay and that's by adding noise okay here we have two colors there's a lot going on lots and lots of edges lots and lots of shapes but at the same time kind of nothing because our brains can't really pick out anything of interest that's different from anything else the amount of contrast across the image is kind of uniform i want to start introducing some terms here the first one being noise so multiple colors doesn't necessarily mean more information more detail doesn't necessarily mean more information because we can show you an image that's got lots of detail and literally nothing interesting to look at now immediately looking at this image it tells a completely different story we have the same amount of pixels on screen the colors are distributed the same amount right we have 50 of the lighter color 50 of the darker color but our eyes when we look at it see something very clear we see two shapes separated by a diagonal line of contrast right this is a signal it's consistent it's obvious it feels like a rule and we can track it very very easily so there's a difference here between noise and signal any details that you create in an image right pixel art aside any detail must be created using contrast right you must have a difference between colors across pixels across the space to have something that's not nothing right to be able to perceive something so here right we see a circle because there's a line here separating these two colors this point of contrast where there's a difference between this side and this side that we actually perceive as an image and there's a whole field of kind of like psychology dedicated to thinking about how our brains perceive details and how we see shapes and images they're called gestalt principles and you can look them up i'm not going to go into them into too much detail but they're very very uh insightful and they'll kind of like teach you things that you didn't know that you knew about how you think about shapes so nothing can be created without contrast now when talking about pixel art specifically what's important to note is that details don't necessarily equal closed shapes okay you know we could easily draw an i that looks like this and we can easily put you know an iris in there and we can put a pupil inside of that and say that's an eye because of the shape that it is but detail can be any kind of structure that's consistent that we can identify as something so this nose here in this head i mean like why do we see a head right it's such a vague shape but we know enough about what people look like we know we've seen this three-quarter perspective so many times that we can identify something here that even with just a subtle variation you know in the shape creates something that we think of as being detailed and when it comes to motion this is really really critical so to cover everything so far all images are made of pixels any differences in color at all hue saturation brightness across the space creates contrast and when that contrast has order we call that signal when the contrast is chaotic we call it noise and so any pixel art that you create wherever you're trying to create meaning you are interacting and interfacing with that sort of dichotomy of noise versus signal so what are we seeing here we're seeing a ball bouncing right presumably it's not a ball bouncing it's just a bunch of frames that are slightly different from each other but the difference between a bunch of frames that are slightly different from each other and a ball bouncing that perception is consistency right the the differences between the frames are different in such a way that we can track an object moving along right we can actually follow a detail from frame to frame in a way that allows us to imagine it uh moving so we could you know just as easily take the noise and animate the noise around and say well is this moving well there's animation there's motion happening something's happening but it's basically uniform change over the entire thing there's no details that we can see moving and so we don't really perceive this as anything the difference between that and this is that we can actually track an object moving here and there's some consistency in how that object is presented over time um when it comes to physical objects like a bouncing ball one other thing that's really important to think about here is the fact that our brains actually are extremely good at prediction and modeling things like physics so when it comes to like bouncing balls our brains already have an idea about where the ball is going to be right when you see this go here the next thing you expect to happen is for it to be here and after that you expect it to be here so the ball moving in a way that actually meets your expectations based on the first few frames is really really critical when it comes to perceiving that motion as smooth and fluid now there's kind of a paradox here if you think about it on one hand we are talking about there being consistency to make something feel like motion something has to be consistent but at the same time in order to make it move we have to change it and if you change it too much it's hard to read and if you don't change it at all you're not animating at all that's the challenge of animation now when it comes to animation for pixel art this is a particular challenge because some details pixel details can't really be changed without having them look like something else large shapes are easy to be redrawn frame by frame without losing their kind of signal but small shapes pixel shapes can't be redrawn unless you basically redraw it exactly the same and so at that point you might as well start copying and pasting you might as well start moving things around so you know on this animation as the eyes moving around you can see it's not really rotating you can see that some details can't be rotated they can't really be changed so to deal with this pixel art animation really falls into one of two categories one is simplify the presentation so simplify the details make it so that the character has fewer small granular shapes and greater kind of like larger shapes basically abstracting anything that's not important the other approach is to simplify the motion don't have as much rotation don't animate frame to frame but instead focus on keyframes um if you focus on keyframes basically rather than having the character move subtly frame to frame in an even amount you go from frame one to frame two immediately uh for example this hammer animation has kind of like both embedded in it right this is frame to frame where we're seeing the hammer move consistently between the frames but this is keyframe motion right we've got one big smear that doesn't really look like a hammer but because it's moving so quickly when we move from here to here we're really only having to draw this hammer from this perspective and then we can just sort of alter that slightly to give the impression of that secondary motion after the animation so you either simplify the motion by keeping it keyframed use smears to make up for the lack of motion between the frames or you simplify the presentation so that it's easier to go frame to frame i think every pixel art endeavor if it's like a big game or anything like that has a bit of everything in it right there are some things that animate more easily with keyframes and some things that animate you know or make more sense to be animated as straight head animation you can see here in this idol from my giant spider here the abdomen for the spider and the head basically don't change right copy and paste frame to frame there's a little bit of shifting going on i'm just taking segments and lifting them up and down to create the perception of rotation but mostly staying the same whereas the legs are being redrawn every frame and the kind of balance between those two things helps give this illusion that overall every frame is different it kind of works a little bit less with this walk right it's more drastic you would expect the head to be swaying a little bit maybe um the the legs are moving a lot frame to frame whereas the abdomen's not again there's no swaying towards or away from the camera so it's a little harder to sell any kind of rotation any smooth um rotation is immediately going to kind of force you to choose between you know do you just keyframe it out and just um go quickly or do you not do you you know really try to just take the time and go frame to frame with things like cycles walk animations run animations it's generally pretty easy to justify going frame to frame because there's no jerking right there's no start stop it's all just continuous motion whereas things like sword swings generally tend to be a lot easier to do with keyframes right the sword is here and then the sword is here and everything in the middle is just one big smear when it comes to attack animations for characters what this basically means is that you can do a keyframe for the character facing you know one way with a sword raised and you can do a keyframe with the character you know in the ending position and you can essentially get away with describing the motion using the visual effects and so it's a lot faster to do animations like that where you use the vfx to make up for the lack of motion in the actual character where all the detail is another example where you can't get away with keyframes is when you do full rotation so this is a scene that i animated for insignia where everything animates every frame what you're looking at here is essentially a loop there are multiple things animating at the same frame rate but looping in different intervals based on the rotational symmetry so the staircase has rotational symmetry on every step so if there are you know 20 steps from here to here it's only having to animate one twentieth of the rotation there is rotational symmetry on the bricks every brick and there are only 12 frames between the bricks the door is actually fully animated let me show you what that looks like it is literally hand drawn frame by frame all the way around this is something where you know you could probably consider going into uh procedural or computer-based animation this was a long time ago something that i was kind of excited about just testing myself with to see if i could pull it off but for sure was a total nightmare to do and um you can see here there are like 160 separate animation frames just for a window so before i go ahead and show you my process and compare that to other pixel artist animators processes what i want to do is draw a comparison between two classical approaches to animation and that is the uh keyframe and straight ahead motion now both of these techniques are used in both east and western animation so anime versus classical western disney style animation both are used but i would say japanese animation eastern animation makes far far heavier use of keyframes than western animation what we're really talking about are differences in production and strategy so in the west uh at disney basically the way that animations were created and the purpose for the creation was essentially for short film and um and and feature film and you know there were large teams of animators working very hard to animate frame by frame very painstaking process um for animations that were bespoke right characters are you know mickey mouse was made for animation there was no mickey mouse as far as i'm aware of kind of like in books or in media prior to this and so the art form is very uh sort of true to you know the media by contrast in japan while there is a a tradition of very high quality you know uh frame by frame animation in things like feature films that you would see in studio ghibli and even in animation for tv there became a a kind of culture of adapting manga so comic books into animation and this is what we call basically anime and essentially what would happen in anime is that there would be manga frames there would be you know comic book frames that the animators were adapting almost one to one into frames for the tv show we're really showing frames right still frames and doing you know the least amount possible to give the perception that we're watching motion manga is usually created by one person they're drawing the frames by themselves anime is being created by teams of people and in syndicated anime like naruto and dragon ball z you would have situations where the animation team would be ahead of the manga and they would have to like stall and create arcs of content where nothing's really happening because they're waiting for the manga to catch up so basically what this did was it created a tradition and a method for doing the most with the least amount possible this is extremely efficient and by no means worse it's not a question of better or worse it's a question of aims and objectives and achieving them the same can be said for pixel art and the way that we kind of see this come out is keyframes being used in pixel art with a lot of copying and pasting content between the frames to create motion that's kind of like the equivalent versus straight ahead animation where the animation tends to be layered a lot more so in my case i tend to do a lot more straight ahead motion and i'll show you kind of what that approach looks like so i hope you don't mind the copy of me back here basically this is a vod of my stream a few days ago where i started working on this animation it's basically a magical ability and it's a it's one animation that plays i had a prototype of this animation in the game functional already and that prototype was basically just two keyframes it was just the character raising his hand and i was using that to kind of just make sure that i knew what was happening the attack's job is to allow you to kind of manipulate things in space change their gravity so you can raise and lower platforms that kind of thing all i really need is a silhouette of my character and somewhere to represent the ground and what i do is i just start thinking about the motion about the beats of motion i pick one thing that's going to be moving the most and i animate that thing as a little red blob in this case it's almonds right hand which is holding a cup so his hand is going to raise up into the air and then he's going to do kind of like a big pirouette a spin as he comes down and my first pass of animation that's all i think about i don't really think about his body i don't think about anything else and i go through this process of just drawing the frames until i have the full animation playing out as the forearm essentially so that's what it looks like you know and you can kind of see something's happening right it looks like a scaffold of something the beats feel right you know i'm looking and making sure that the pacing is right that it's got the energy that i want it to have and the next thing i'll do is i'll create some motion that then complements that so the next thing would be in this case the head so i'll place the head down on every frame following where i think it would be based on the position of the hand and i'll do this on a new layer with a new color i'll keep it really abstract i don't think about you know trying to make the colors the same as they would be in the real animation i'm just trying to create objects that i can move around and for me it's really key to keep these on separate layers because you can drag the objects on the frames without redrawing them so you can make subtle adjustments in this in this part of the process without redrawing things if i think the head is too high on this frame i can just drag it you can see me doing it here once i've done the head i'll do the next thing maybe it's the next hand or something else in this case it's the body so again same thing new layer new color draw the body every frame until i've done the entire animation and all i'm doing is just i've got my left hand on the left and right um keys for frame advance and frame back and i'm just going draw a blob next frame drawable next frame this is very similar to how the artists at disney draw their characters or used to draw their characters where you'd have like leaves of paper between your fingers and you're just going forward and back and drawing the next shape forward and back next shape so that's what i'll do and i'll do that until i've got literally every limb down from there what i do is i put it in the game so i start testing with the animation just to see if i like it you can do this earlier on in the process i try to do it earlier on but you know you get a bit ocd sometimes and you want to finish it from this point i join things up i try to get it right get it on model right i add the connecting limbs and i just keep looking at it frame to frame like leaf back and forth one limit at a time thinking okay is this right on this frame is this right on this frame and i'm just getting closer and closer to that final result from that point what i then do is think about secondary motion of the jacket is a secondary piece of motion right he's not moving the jacket it's following him and so i'll animate that afterward and finally the hair on top as well so the hair is again not something that you move it moves after you so you can draw that separately and uh you know from then i started working on the kind of chalice at the heart of the animation i it's very straightforward and simple to do a color replace on entire layers in a sprite so um the fact that this looks like the real the real colors now is very straightforward you literally just grab the entire layer and then replace with the closest color for the bulk of that layer and that's basically like a two-minute job this point here is me experimenting with um adding some kind of like vfx what i wanted to do was create some kind of like smoky magic effect and this is kind of trailing the motion of the hand and it's really going to help me communicate the way that the character is moving his rotation and especially as he lands when he does another extra spin it makes it a lot easier so you know this is the same kind of thing i just draw the shapes i turn onion skinning on for this and every frame i just advance the particles from where they were where i think physics would take them one frame after so if there's a bit of spin they go out you know if they're being lifted up they might trail upwards they decelerate as they move and i think of them as particles and it's a very iterative process it's very messy it's very straight ahead and i just advance to the next frame when i feel like i've got something and so you know 25 minutes later you've got something that looks pretty good so this is my approach from here the next thing i do is i add detail what i've done here since you're watching that animation is i've started to do shading so for example if i'm animating the the lighting on the upper arm i've got my shade tool on and i'm literally just going frame by frame drawing this shadow i literally just every frame fill that shadow in until i've got a full loop that's what i would do and i do that for every shadow in the animation this process becomes a little slower the more details you've got right as you can see it's starting to become a little more tedious there's a little less value per stroke as you get towards the end of the animation and you can be kind of polishing not endlessly but a lot towards the end you know even this sprint animation as i look at it if you go frame by frame you can see bits where it's a little inconsistent you know the length of the arm here something like that might be a little bit different so that's my process and um as you've seen you know i don't do that for everything i do use smears a lot of the time i do use keyframes when it makes sense so to keep this unbiased for the keyframe side of things i'm going to show you somebody else's approach they're still called adam so you can call them adam this is adam kling who worked on the animations for duelist duelist is a monster battling game it's not an action game it's kind of like a card game like yu-gi-oh where you've got you know your monsters and their monsters and i think you fight and so these animations are more akin to rpg style animations where the characters are standing in one spot they do their attacks and they're still standing in the spot at the end the sprite sizes are a little bit smaller than what i use for insignia and so the details are a little more granular but the approach here is more keyframed than my approach now this is a time lapse so it's going to go very quickly but this is the the final result it looks really smooth right there's not necessarily a trade-off of smoothness when it comes to this stuff so here we have the character they're being split up into different parts and you can see there's a lot of copying and pasting going on to move those parts right the arm gets moved to the right the head gets moved to the right and rather than draw it as blobs and sharpen them over time these are fully finished high fidelity aspects so the the lower leg there it's got its shading it's got its um you know coloring it's done it's just being moved left and right now in the description uh i think it says that this took this animator seven hours to produce this i don't think i've spent quite seven hours yet on my animation uh for armin that's spin when you've got quite drastic motion it's a lot easier to keyframe it like this and just then shift things around for those secondary frames when there's a bit of slow down on the animation so like after a punch recovery frames coming back that's where you see things being shifted because there's not a lot of motion it's very subtle following a very drastic change so here you can see again a lot more like vfx particle effects stuff coming back into it this is more straight ahead of animation so you can see here it's not really keyframed out it's just you know draw a frame change it next draw a frame change it next and that's providing a lot more of that real time kind of like high frame rate action to accompany the more static keyframe based character motion here's another example in the same video they pause for a second to talk about their other animation and you can see here i think this is a better example where you can see how the character is actually standing still for the most part so there are changes but on this frame here the pose is basically the same and just the edges of certain parts are getting modulated or you know just waved a little bit around and the vfx is driving the animation it's really being carried by the smears and the particle effects and the the vfx basically because there's really only like one two three frames of animation that are keyframes that were like drawn individually for the character so depending on what you want to do for your game and the more experience you get the clearer it will become when it makes sense to use keyframes and smearing versus straight ahead animation you can see here that um even the secondary motion here the the cape is done frame by frame so taking those two approaches keyframing and copying and pasting versus straight ahead with layers you can see how you know very talented artists will use a bit of both where it makes sense even in the keyframe approach copying and pasting is rarely just left where it is so you can see here the leg as it shifts this leg it mostly is copied and pasted as it moves across but there are subtle differences like the color on the knee pad here as it moves down you can see the angle changes slightly and it goes darker the difference here is that the anatomy changes are being done after the detail in this approach whereas in my approach you would do the anatomy changes and then you would add the detail on top ultimately the differences in the outcomes for these will be more drastic for less experienced animators i think at the kind of like upper end of pixel art animation you will see you know most animators know how to limit the amount of frames while still getting the greatest impression of motion it all looks very smooth and fluid it all looks great it's kind of more in the middle tier or lower tier of like you know people who are learning pixel art animation where you will see the process more obviously and basically the trade-offs are when you do straight ahead motion it looks more fluid but it looks less on model right the anatomy shifts a little bit more whereas when you do copying and pasting it looks good but some of the differences can be obvious in how they're shifting you see things moving in a very like kind of digital copy paste binary way and if there is any hand animation that's done to kind of mask that sometimes you can see that too so some things are moving a lot other things are moving not at all and um you know both have their advantages and disadvantages you know this would be an example where there's a lot of copying and pasting going on you can see that and you can see the detail where i've bothered to animate is where it obviously is animating but that inconsistency is also very very clear so we've gone through describing how images get perceived in pixel art and the different methodologies that we can use to achieve that motion now what i want to show you is very very quickly this last little beat the title of the video which is kind of like how you can prepare your sprites to be better animated now this isn't just a statement about animation it's a statement about pixel art design in general but with the context of animation you'll see the reasons why you would do it so here we have three versions of the same sprite and i produced these three as i began the effort of trying to animate this character this is one of the antagonists of the game and he is an enemy that appears many times they have lots of different animations they have stalking running dodge roll they have knocked down get up airborne they have parry punch guard you know grab throw they have tons of animations and so for me the the question of like how do i approach animating this character was one that i was really concerned about and the exercise that i did here was to think about okay if i want this character to be as easily animated as possible what can i remove from this sprite to give myself less work to do while still preserving the best parts of the character and that's what i did so you can see here in this first example there's a lot of detail a lot of single pixel details i want to call out specifically the highlights uh this kind of like specular light on things like the edge of the cape on the chest here the the amount of colors in the pores so you know you can see one two three four different colors that make up one claw three different colors for the pour here there's a lot going on and many of these details are single pixel details another thing to say that i would say is that a lot of these details don't really add anything to the character so the cape here the way that we see the kind of like waving of the cloak in the background um it it adds something right it looks nice but as far as explaining who this character is and what they're about these do nothing right they really don't add anything to the character so in the next version i was like okay i'll take those away and i'll simplify a lot of this you know how do we take the the noise here which is the most complex part of the sprite if you think about it the arrangement of these pixels are the most complex even more so than the face and yet they are meaningless in their actual contribution to the image and what's being created so we flatten those out completely and that's the process right remove details that don't need to be there abstract details that you know have some value but are less important and preserve the details that tell the story and then finally i took this like one step further like if i really really had to what would i remove from this sprite again like do i really need to see the you know difference between the cloak and the shirt in this frame you know there will be frames where the cloak is kind of like thrown back when he doesn't attack so you will get to see the shape of the character but i can kind of get away with explaining the direction of these things just in the way that the leg is kind of like shaped your eye can still figure out what's going on in the middle and this is so much easier to animate than this right think about like how much extra line work there is in this space here that's just gone in this version uh the first video that i ever produced in this series in pixel art class the first thing i say in the first video is pixel art is art where each pixel is accounted for by choice that's what this is right so good pixel art does that so that's the process design your character in a way that's efficient that's easy to animate make sure that you prototype the animation as early as possible get something that's just moving on screen that feels right first then go through whatever process you're going to use whether it's keyframe or straight ahead animation to get the character in there and finally as you're iterating make sure that at every stage you're able to preview the animation check it doesn't look right don't make any steps that are dependent on things that you're still working on until you're done the things that you're working on so don't do the cape until you've got a good sense of where the shoulders are right because if the shoulders have to move the cape's position is now all wrong and that's it that's how i animate that's how i prepare my sprites for animation and i think that's a pretty good rundown of pretty much everything i have to say on animation methodology at least at this high cursory level so i hope you got something out of this video thank you so much for watching and i'll catch you in the next one 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

Channel: AdamCYounis

Views: 134,697

Keywords: game development, pixel art, game dev, game, video game, indie games, stream, tutorial, straight ahead, frame by frame, kayframe, example, animation

Id: 52A4KgX-wNI

Length: 41min 27sec (2487 seconds)

Published: Sun Aug 21 2022