WEBVTT

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In this lecture, we will be doing hands-on practice with animation production

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We will practice basic animation together

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and we will have time to learn and apply the 12 principles of animation

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that I mentioned earlier

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We will be using a program called Animate

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I will give you a brief explanation of the program

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And for the practical exercise, we will practice animating a bouncing ball together

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Bouncing ball

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Let's choose FHD

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Now, this is the screen that will appear

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On this screen, you'll see a white canvas

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Here you can determine the screen size

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And if you right-click here on the right

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you'll see "Fit in window"

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which adjusts the screen size to fit the window perfectly

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You can decide on various screen sizes right here

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And if you look at the top part here

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Here it says "Timeline" right here

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In the timeline, there are layers like this

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Here

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the frames are listed in a sequence like this

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Above that

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it shows 1 second, 2 seconds, 3 seconds, like this

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Now, as you can see

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it says 30 frames per second here

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If you look up here, you'll see FPS. Remember that?

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Frames per second

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so it's 30 frames per second

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Right now, it's set to 30 frames per second

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If you want to change this

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you'll find

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"Modify" at the top here

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Select Document under Modify

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If you click on "Document"

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you can now adjust the settings for the current project here

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Here, you can see this is about the units

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At the very bottom, you can see "Frame rate"

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So, it's currently set to 30 frames per second

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Let's change it

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to 12

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Alright

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now the overall setting has been changed to 12 frames per second

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And down below, you'll see "Tool"

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This is where you'll find drawing tools

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and below that, various other tools needed for animation

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There are also selection tools available here

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Then there are drawing tools

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erasers, various brushes

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drawing aids

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pens, and tools for adding text

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And this is the coloring tool

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And this tool is for moving the canvas screen

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These are color picker tools

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The ones below are for strokes

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And the ones above are

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for filling in lines

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or areas with color

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Then, it would

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 look like this

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And below on the right

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it shows the properties of these tools here

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Alright, let's go ahead and try animating the bouncing ball

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First

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when we typically work

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we often use the pencil tool or the brush tool

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Let's start by

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using the brush tool first

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Either one is fine

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But let's try using the brush tool first

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The brush size is currently set to 6 here

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The smoothing is set to 100 here

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Smoothing helps

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to refine shapes

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when drawing rounded lines

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This helps to smooth out slight tremors in the lines

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Having smoothing at this level should help to keep the lines more stable

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Let's try setting the size to about 5

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Alright, so first

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to animate the bouncing ball

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we need a ground surface to make it easier to animate

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So, let's double-click on Layer 1 here

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and rename it to "floor" for the ground

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So, while holding down Shift

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I've quickly sketched out

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the ground like this

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Alright, here on the side

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 you can see it's extending beyond the edge of the screen

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this line represents the boundary

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even though it extends beyond the edge of the screen like this

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This phenomenon is due to

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the "Click to Content Outside Stage" feature here

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If you click it

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 it hides the boundary lines outside the stage area

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This feature toggles

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the visibility of the boundary lines outside the stage area

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I'll hide it for now

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to make it less distracting

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And to center the screen again

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just press the spacebar

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If you right-click and select "Fit in window"

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 it will fit the screen perfectly

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Alright, since we won't be moving the floor anymore

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let's lock this layer. Now, let's create another layer

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To create a new layer, you can see the "New Layer" icon at the top left here, the plus sign

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Click on it and name this layer "ball"

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Okay, typically for a basic flow

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we'll use about 2 seconds, roughly 48 frames

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Press F5 here to insert frames

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so when you press F5

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what happens is that in Animate

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each frame

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where the drawing is present

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is marked with a solid black dot

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If you click and drag to the right here

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each click creates a keyframe

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It becomes a keyframe

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and when you click on it, a black dot like this appears

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These black dots represent individual frames

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where drawings or changes are recorded separately

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So each frame is independent and represents a separate instance of the drawing or change

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When you use

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"Insert Frame" (F5)

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it means adding another frame

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with the same drawing

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Because inserting a frame (F5) adds

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another instance of the same drawing

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the black dot representing the drawing is consolidated

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 into one box to avoid clutter

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So, for example

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if you click here and press F5

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it means you're adding frames

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where the same drawing repeats: one, two, three, four, five frames all showing the same image

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Let's open up

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the timeline generously for the flow

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allowing plenty of space for both the ground and the ball

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Let's make sure the ground is visible

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Next, let's go to the ball position and draw the first frame

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Since we need to draw a picture here, of course, we could draw it directly right now

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but we need an empty frame, so I will press F6

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Now, from this point, the ball will actually appear

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Now, the ball will appear

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For someone like me

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experienced people would just draw it right away, like this

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If the motion is still unfamiliar to you

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and you're not well-acquainted with it in your mind

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nor have you analyzed it thoroughly, and for beginners, the motion won't be as smooth as you'd like it to be

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So, it will be very helpful to develop the habit of first creating a guide animation

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and then drawing over it

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So, I will create a new layer in between here

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and temporarily lock this ball layer

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so it doesn't go onto the new layer

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I will create a layer here

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and name it "Guide"

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First

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let's delete the frames we don't need

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For this empty frame

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since this is purely a guide

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let's use something different for the guide

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I'll use a black pencil like this to demonstrate

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So first

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the drawing will show

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the ball like this

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The ball has appeared

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and then in the next frame, the ball is falling at this interval

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The size of the ball should be drawn

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relatively consistent

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And next, here and here, now in the next frame

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when it gets here

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Then, in the next frame

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it will come about this far with a similar interval

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If

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the ball is

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falling from top

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to bottom

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will it gradually speed up

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or slow down?

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Or will its speed remain the same?

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At first

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when the ball starts falling from here

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it will gradually pick up speed like this for a while

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Then, after a certain point, it will continue falling at a constant speed like this

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Right?

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Therefore

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when you throw the ball here

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you need to decide whether the ball will gradually accelerate

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or if it's already fast and maintains a constant speed from this point

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That decision will guide how you animate the drawing

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So, looking at it now

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if you throw the ball from here

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 it seems like the ball will gradually accelerate from this point onward

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I'll try widening the spacing

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between the positions a bit more

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Like this

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And then, when it hits here

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 it will make a "thud" sound

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and bounce like this

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Next, when it bounces off here

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it will have a rebound force

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pushing it outwards

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So, this rebound force

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originally from here to here

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in terms of spacing

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the spacing from here to here

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gradually widened

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and when it bounced off, it will bounce quite a lot

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Let's think about it like this

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and try bouncing with this spacing

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Since this is just a guide

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 it might be uncomfortable

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if the guide lines are too dark

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If you right-click here

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click on "Profiles"

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and go to "Properties"

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you'll find an option for "Opacity"

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Opacity controls how transparent

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or opaque something appears

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So, you set it to 35%

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You adjusted

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the opacity to 35% in the properties

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allowing you to

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overlay drawings

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on top of it like this

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Next, I'll lock the guide again and start drawing the ball

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 I'll unlock it later to continue drawing

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First

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in the very first frame

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there will be an empty screen

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Since the ball hasn't entered the screen yet

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let's proceed to draw the next frame

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It's good to know shortcut keys

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for navigating between frames like this one

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There might be different keyboard layouts

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with two keyboards

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 like this

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On my keyboard, right above the spacebar

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there's the Korean/English key

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Right above here

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there's a keyboard with this seagull-shaped key (Greater than, less than symbols)

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So, leave the first frame empty, and from the next frame onwards, the ball

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here we're creating keyframes

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so now we need to make another blank keyframe here

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If you press F7 here

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you'll see there's an option for a blank keyframe

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Alright, this blank keyframe is

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the same as this one here

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"Insert blank keyframe" means

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it's a separate frame from the previous one

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and when you want to create a new empty frame

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you just need to select

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"Insert blank keyframe"

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So now you've inserted another blank frame like this

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Okay, like this, you've drawn one

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and then you've created another blank frame where you can draw a new picture again

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As mentioned earlier, you need to press the shortcut key F7 to create this

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and there's a very useful feature

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that comes in handy when doing animations like this

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That's when, like now

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the spacing gradually decreases

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Then, since the images between intervals aren't visible

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you can't check the pictures before and after

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In such cases

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there's a feature that allows you to

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check the positions before and after

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That's called

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the Onion Skin tool, represented by two circles at the top here

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It makes the previous and next frames transparent

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so you can see them

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 like this

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It's a feature that makes the previous and next frames transparent like this

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allowing you to confirm the current frame's position

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So, by toggling this on and off appropriately

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you can check

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and adjust the intervals of the animation smoothly

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Next, because the speed gradually decreases

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00:19:09.098 --> 00:19:11.218
the frames will overlap more

276
00:20:32.958 --> 00:20:35.038
Alright, I'll try turning off the guide for now

277
00:20:35.658 --> 00:20:36.658
I've turned it off

278
00:20:37.135 --> 00:20:39.475
and I'll press play button

279
00:20:40.040 --> 00:20:41.680
You can see play button here

280
00:20:46.238 --> 00:20:49.508
Got it?

281
00:20:49.509 --> 00:20:50.558
This way of animating gives

282
00:20:50.559 --> 00:20:51.838
 a bouncing ball feeling

283
00:20:51.858 --> 00:20:52.938
This would be

284
00:20:55.158 --> 00:20:56.938
a relatively straightforward bouncing ball

285
00:20:58.338 --> 00:21:01.658
wouldn't it?

286
00:21:02.358 --> 00:21:04.917
If we analyze

287
00:21:05.537 --> 00:21:11.117
 how the 12 principles of animation

288
00:21:11.118 --> 00:21:11.944
apply

289
00:21:13.097 --> 00:21:14.637
in this movement

290
00:21:15.197 --> 00:21:18.757
during the process

291
00:21:20.037 --> 00:21:22.657
where the ball is falling and then bounces

292
00:21:22.658 --> 00:21:25.294
gaining speed and rising

293
00:21:26.482 --> 00:21:28.932
Let me illustrate

294
00:21:29.944 --> 00:21:31.594
 how this process of the ball

295
00:21:32.144 --> 00:21:33.594
rising up to here looks

296
00:21:34.344 --> 00:21:35.344
So

297
00:21:35.345 --> 00:21:37.741
in this process of rising up to here

298
00:21:44.244 --> 00:21:47.694
as the ball bounces and ascends

299
00:21:48.203 --> 00:21:49.353
it gradually

300
00:21:50.160 --> 00:21:52.260
as it ascends to this point

301
00:21:54.483 --> 00:21:55.483
the speed

302
00:22:10.094 --> 00:22:11.094
and spacing

303
00:22:11.143 --> 00:22:14.163
gradually decrease like this

304
00:22:18.113 --> 00:22:19.523
Then

305
00:22:20.044 --> 00:22:21.044
the spacing

306
00:22:24.144 --> 00:22:26.394
widens again

307
00:22:27.194 --> 00:22:30.044
The variation in spacing before and after

308
00:22:30.633 --> 00:22:33.473
where it changes

309
00:22:33.513 --> 00:22:36.473
isn't governed by a specific principle

310
00:22:36.473 --> 00:22:38.473
but rather

311
00:22:39.544 --> 00:22:41.223
mimics natural phenomena

312
00:22:41.244 --> 00:22:43.594
However

313
00:22:44.194 --> 00:22:47.594
applying these movements within the 12 principles

314
00:22:47.594 --> 00:22:50.193
helps establish more accurate and natural motion

315
00:22:50.193 --> 00:22:54.153
 It's important to keep this in mind

316
00:22:54.153 --> 00:22:58.592
for creating smoother animations

317
00:22:58.592 --> 00:23:03.353
In the motion of a freely bouncing ball, as it rebounds upwards

318
00:23:03.354 --> 00:23:05.583
 at its highest point

319
00:23:05.584 --> 00:23:09.546
gravity's influence diminishes its speed

320
00:23:09.553 --> 00:23:11.792
until it eventually stops

321
00:23:11.793 --> 00:23:13.722
So

322
00:23:13.742 --> 00:23:16.713
when we depict this natural phenomenon through animation

323
00:23:16.713 --> 00:23:21.113
you can see that the spacing gradually decreases like this

324
00:23:21.113 --> 00:23:23.312
We call this principle

325
00:23:24.143 --> 00:23:25.143
as

326
00:23:25.693 --> 00:23:27.143
 "ease in"

327
00:23:27.443 --> 00:23:28.943
Yes, ease in

328
00:23:28.943 --> 00:23:32.993
And this is gradually accelerating again

329
00:23:32.993 --> 00:23:36.173
Let's call this kind of acceleration

330
00:23:37.293 --> 00:23:39.443
"ease out"

331
00:23:40.073 --> 00:23:43.153
So, among our 12 principles, we have 'ease in / out'

332
00:23:43.153 --> 00:23:46.262
We can say that

333
00:23:46.263 --> 00:23:48.743
this represents acceleration and deceleration motion

334
00:23:49.493 --> 00:23:51.943
So here

335
00:23:51.944 --> 00:23:53.443
the interval between the previous position

336
00:23:54.062 --> 00:23:58.713
and the next position of this movement

337
00:23:58.713 --> 00:24:00.023
is called

338
00:24:00.943 --> 00:24:03.593
"Spacing" in technical terms

339
00:24:04.673 --> 00:24:08.272
It's the space

340
00:24:08.272 --> 00:24:13.153
The distance from here to here, the distance moved in one frame, is what we call Spacing

341
00:24:13.154 --> 00:24:14.392
If this Spacing

342
00:24:15.643 --> 00:24:16.993
gets wider

343
00:24:16.993 --> 00:24:20.993
 it means the speed is faster

344
00:24:20.993 --> 00:24:24.922
If the spacing is narrow, like here

345
00:24:24.923 --> 00:24:27.623
it means the speed is getting slower

346
00:24:27.722 --> 00:24:32.522
Since it only moved this much in one frame

347
00:24:32.522 --> 00:24:36.632
 it means the speed is slow, and here, the speed is a bit faster

348
00:24:36.632 --> 00:24:39.122
Here, since it moved this much

349
00:24:39.123 --> 00:24:41.652
 the spacing has widened

350
00:24:41.672 --> 00:24:44.613
Widening means that

351
00:24:44.614 --> 00:24:48.343
the speed has increased accordingly

352
00:24:48.663 --> 00:24:52.233
So here, you can see that the spacing is very wide

353
00:24:52.233 --> 00:24:57.073
Because the spacing is quite wide here, we can consider the speed to be high

354
00:24:57.073 --> 00:25:00.392
And here, compared to here, the spacing has become even wider

355
00:25:00.392 --> 00:25:05.472
So, we can see that the speed has increased further, indicating acceleration

356
00:25:05.472 --> 00:25:08.633
In other words

357
00:25:10.143 --> 00:25:13.243
we could also say that it's easing out

358
00:25:13.243 --> 00:25:15.912
 transitioning outward like this

359
00:25:15.913 --> 00:25:19.693
Remember

360
00:25:21.362 --> 00:25:22.832
the term "ease in/out"

361
00:25:22.833 --> 00:25:23.737
"Slow in"

362
00:25:25.343 --> 00:25:26.232
or "slow out"

363
00:25:26.232 --> 00:25:28.903
are also ways to describe this

364
00:25:29.353 --> 00:25:32.483
So far

365
00:25:34.143 --> 00:25:35.193
we've seen a lot of animations

366
00:25:35.193 --> 00:25:39.312
that intentionally exaggerate these expressions

367
00:25:39.693 --> 00:25:42.093
when watching animations

368
00:25:42.112 --> 00:25:44.103
So

369
00:25:44.104 --> 00:25:45.793
to make animations more lively

370
00:25:47.743 --> 00:25:48.943
dynamic

371
00:25:48.953 --> 00:25:50.113
and visually impactful

372
00:25:53.513 --> 00:25:59.192
to convey a sense of strength and elasticity to our eye

373
00:25:59.192 --> 00:26:03.272
I've mentioned before that

374
00:26:03.272 --> 00:26:08.513
by exaggerating movements a bit, animations can appear more lively and dynamic

375
00:26:08.513 --> 00:26:13.353
If we think about it in that sense

376
00:26:13.353 --> 00:26:16.313
to make bouncing objects

377
00:26:17.043 --> 00:26:20.693
 like a bouncing rod

378
00:26:20.713 --> 00:26:24.023
or ball move more dynamically

379
00:26:24.024 --> 00:26:26.853
and lively

380
00:26:26.873 --> 00:26:29.552
Here, like I mentioned earlier

381
00:26:29.553 --> 00:26:30.932
the ball accelerates from here to here

382
00:26:30.952 --> 00:26:33.153
As the movement speeds up

383
00:26:33.153 --> 00:26:36.232
 visually, we might perceive the round ball elongating

384
00:26:36.232 --> 00:26:41.893
almost like an optical illusion

385
00:26:41.894 --> 00:26:44.143
 where it appears egg-shaped

386
00:26:44.143 --> 00:26:47.072
Utilizing such effects can be quite effective

387
00:26:47.072 --> 00:26:51.093
Using that approach

388
00:26:51.094 --> 00:26:52.642
you stretched the circular shape of the ball

389
00:26:57.552 --> 00:26:59.222
a bit into

390
00:27:00.222 --> 00:27:04.862
an egg shape

391
00:27:11.093 --> 00:27:13.552
Alright, if we follow this guide for a moment

392
00:27:13.553 --> 00:27:16.192
the endpoints of this elongated ball

393
00:27:17.852 --> 00:27:24.993
should be symmetrical

394
00:27:24.993 --> 00:27:26.792
and the direction needs to be correct as well

395
00:27:26.792 --> 00:27:29.932
So, either it ends up like this

396
00:27:30.832 --> 00:27:35.433
 or the current flow direction of the ball is like this

397
00:27:35.433 --> 00:27:38.392
If it goes this way, or perhaps like this

398
00:27:38.392 --> 00:27:43.033
then the ball's movement isn't quite accurate

399
00:27:43.033 --> 00:27:46.883
So, if you briefly turn on the guide and draw it accurately

400
00:27:47.633 --> 00:27:49.502
let's try to refine the drawing more precisely

401
00:27:52.352 --> 00:27:53.472
By

402
00:27:55.672 --> 00:27:57.222
 accurately capturing

403
00:27:57.742 --> 00:27:59.192
the trajectory like this

404
00:28:08.783 --> 00:28:11.922
and adding acceleration

405
00:28:11.923 --> 00:28:14.892
 the ball elongates slightly

406
00:28:14.892 --> 00:28:17.373
Let's think about it that way

407
00:28:17.373 --> 00:28:20.092
And then, bang!

408
00:28:20.092 --> 00:28:21.622
At the moment it hits here

409
00:28:21.623 --> 00:28:23.552
 bang!

410
00:28:23.552 --> 00:28:26.562
it receives a strong force

411
00:28:28.462 --> 00:28:30.002
causing it to deform

412
00:28:30.002 --> 00:28:34.743
In reality, the ball wouldn't deform that much

413
00:28:34.743 --> 00:28:36.343
but intentionally

414
00:28:37.192 --> 00:28:38.192
exaggerating the deformation like this

415
00:28:39.442 --> 00:28:40.742
 can be effective

416
00:28:43.142 --> 00:28:44.142
If

417
00:28:45.343 --> 00:28:47.193
it drops from this height

418
00:28:49.142 --> 00:28:52.192
and goes bang!

419
00:28:52.192 --> 00:28:54.993
how much would it deform?

420
00:28:54.993 --> 00:28:57.143
This ball wouldn't appear to deform so drastically

421
00:28:59.312 --> 00:29:03.102
as to become

422
00:29:03.103 --> 00:29:04.542
floppy

423
00:29:04.952 --> 00:29:08.112
or severely damaged

424
00:29:08.112 --> 00:29:11.713
But it's about intentionally exaggerating

425
00:29:11.714 --> 00:29:12.942
the expression in that way

426
00:31:07.690 --> 00:31:09.440
Okay, now turn off the guide

427
00:31:10.191 --> 00:31:13.541
and let's see

428
00:31:15.691 --> 00:31:18.191
how the feel of the movement has changed

429
00:31:21.341 --> 00:31:22.341
How does it look?

430
00:31:22.941 --> 00:31:23.941
It gives

431
00:31:24.840 --> 00:31:27.560
 a much bouncier feel now

432
00:31:27.791 --> 00:31:28.491
doesn't it?

433
00:31:30.310 --> 00:31:33.410
Alright, here, as I mentioned earlier

434
00:31:34.510 --> 00:31:38.750
there's a slight sense of it compressing, so I'll make some adjustments

435
00:33:13.440 --> 00:33:15.690
Shall we play it again to see how it looks?

436
00:33:20.190 --> 00:33:21.690
The movement feels much better now

437
00:33:22.191 --> 00:33:23.841
doesn't it?

438
00:33:25.241 --> 00:33:27.591
By adding this kind of deformation

439
00:33:27.591 --> 00:33:30.190
 the sense of speed has definitely improved

440
00:33:30.190 --> 00:33:34.190
compared to before

441
00:33:34.191 --> 00:33:37.391
Now, using these changes in shape

442
00:33:37.391 --> 00:33:41.570
to exaggerate the movement

443
00:33:41.590 --> 00:33:48.190
enhancing the effect, we call this technique "Squash & Stretch"

444
00:33:48.190 --> 00:33:51.790
The principle

445
00:33:51.790 --> 00:33:52.740
being applied to the bouncing ball right now is

446
00:33:54.690 --> 00:33:57.490
the Squash & Stretch technique

447
00:33:59.190 --> 00:34:04.190
By visualizing acceleration

448
00:34:04.190 --> 00:34:10.640
through squashing and stretching

449
00:34:10.641 --> 00:34:15.170
we've effectively enhanced the sense of speed and physical expression

450
00:34:15.190 --> 00:34:15.940
By applying

451
00:34:16.490 --> 00:34:17.740
the effects of Ease In

452
00:34:19.140 --> 00:34:20.140
and Ease Out

453
00:34:20.190 --> 00:34:22.490
we've managed to convey

454
00:34:23.290 --> 00:34:24.840
the feeling of acceleration through changes in spacing

455
00:34:27.040 --> 00:34:30.390
This captures the sense of speed slowing down

456
00:34:30.391 --> 00:34:33.640
as it reaches a higher altitude

457
00:34:35.440 --> 00:34:41.490
and gaining momentum again as it falls

458
00:34:41.491 --> 00:34:44.170
 effectively expressing

459
00:34:44.190 --> 00:34:50.790
the movement in a natural and lively manner

460
00:34:50.791 --> 00:34:53.786
That summarizes

461
00:34:55.490 --> 00:34:58.740
the application of these principles in the outcome

462
00:34:58.741 --> 00:35:02.142
Surprise expression and walking motion

463
00:35:03.390 --> 00:35:06.540
Let's take a look at this case

464
00:35:07.940 --> 00:35:08.940
Alright, this is a movement

465
00:35:09.940 --> 00:35:14.140
where the boy is startled in surprise

466
00:35:14.141 --> 00:35:15.590
When the boy

467
00:35:15.591 --> 00:35:17.590
tilts his head like this

468
00:35:19.940 --> 00:35:25.840
When we stoop

469
00:35:27.390 --> 00:35:30.390
the proportion of our body to our face changes like this

470
00:35:31.840 --> 00:35:34.840
Currently

471
00:35:34.840 --> 00:35:37.890
because of the hair

472
00:35:37.891 --> 00:35:40.623
 it looks like this

473
00:35:40.623 --> 00:35:43.731
but in reality, it's about this far

474
00:35:43.731 --> 00:35:47.390
Here, the body is stooped down to here

475
00:35:51.290 --> 00:35:53.040
When we stoop down

476
00:35:53.590 --> 00:35:54.390
 like this

477
00:35:54.391 --> 00:35:55.815
we refer to it

478
00:35:57.840 --> 00:36:00.790
as "Squash"

479
00:36:02.190 --> 00:36:04.940
And then

480
00:36:05.790 --> 00:36:06.990
when the body stretches out

481
00:36:08.590 --> 00:36:10.140
 it becomes significantly longer

482
00:36:10.190 --> 00:36:14.390
Since he's startled, he stretches out in surprise

483
00:36:14.391 --> 00:36:16.290
In this case

484
00:36:17.540 --> 00:36:20.140
 as the upper body stretches out while he extends

485
00:36:21.440 --> 00:36:24.690
 both his body and face elongate

486
00:36:24.690 --> 00:36:28.440
When it stretches out like this

487
00:36:30.040 --> 00:36:31.790
we call it "stretching"

488
00:36:32.390 --> 00:36:35.890
Here

489
00:36:35.891 --> 00:36:39.890
 this stooping motion

490
00:36:40.390 --> 00:36:45.240
can be a preparatory action

491
00:36:45.240 --> 00:36:48.740
 before the surprise expression

492
00:36:50.540 --> 00:36:52.290
Do you understand?

493
00:36:57.390 --> 00:36:59.540
 This would be considered Anticipation

494
00:36:59.540 --> 00:37:02.590
So, this Anticipation leads into the main action

495
00:37:02.591 --> 00:37:06.890
which is the main movement or main action

496
00:37:06.890 --> 00:37:10.974
 followed by the aftermath or follow-through motion here

497
00:37:10.975 --> 00:37:12.513
This follow-through motion here

498
00:37:12.514 --> 00:37:16.418
also applies another animation principle

499
00:37:17.190 --> 00:37:21.190
That's called Secondary Action

500
00:37:21.191 --> 00:37:22.939
In the returning motion

501
00:37:23.789 --> 00:37:26.139
you can see the hair

502
00:37:28.039 --> 00:37:29.489
follows

503
00:37:31.890 --> 00:37:34.190
and then quickly rises like this

504
00:37:34.191 --> 00:37:38.039
That's what we call Secondary Action. Here, when he's startled

505
00:37:38.040 --> 00:37:39.289
after being startled like this

506
00:37:40.439 --> 00:37:44.089
and then returning

507
00:37:44.090 --> 00:37:47.489
you've depicted the action of blinking like this

508
00:37:48.940 --> 00:37:52.540
at the end

509
00:37:52.541 --> 00:37:55.839
This action isn't necessary, actually

510
00:37:56.339 --> 00:37:59.339
Removing this action doesn't mean

511
00:37:59.990 --> 00:38:04.790
 the startled motion won't work

512
00:38:05.189 --> 00:38:11.190
So, by adding the eye blinking

513
00:38:11.190 --> 00:38:13.446
as a secondary

514
00:38:13.790 --> 00:38:20.290
or incidental movement to the startled action, it actually enhances the emotion more effectively

515
00:38:20.291 --> 00:38:22.240
In this case

516
00:38:22.240 --> 00:38:26.190
we can say we added Secondary Action to the eye blinking

517
00:38:26.689 --> 00:38:29.139
So

518
00:38:30.039 --> 00:38:32.989
what you're saying is that squash & stretch movements were incorporated into these surprising actions

519
00:38:32.990 --> 00:38:35.202
anticipation movements were included

520
00:38:35.202 --> 00:38:38.190
and then secondary action movements were added afterwards

521
00:38:38.190 --> 00:38:39.890
It's not the end here

522
00:38:40.439 --> 00:38:45.039
Before performing this surprising action

523
00:38:45.039 --> 00:38:48.090
let's take a look at the movement of our hair

524
00:38:48.091 --> 00:38:51.170
This time, let's focus on the movement of the hair

525
00:38:51.171 --> 00:38:53.539
As you lower your head

526
00:38:53.540 --> 00:38:55.089
the hair

527
00:38:55.489 --> 00:38:57.639
follows a beat later

528
00:38:58.039 --> 00:38:59.289
So

529
00:38:59.290 --> 00:39:04.070
originally neat hair slightly separates

530
00:39:04.090 --> 00:39:05.390
and seems to

531
00:39:06.891 --> 00:39:10.220
float upwards with movement

532
00:39:10.240 --> 00:39:11.690
Then, at the moment it springs up

533
00:39:12.789 --> 00:39:16.389


534
00:39:19.239 --> 00:39:20.389
It's continuing to fall down, right?

535
00:39:21.289 --> 00:39:22.289
It's continuing to go down

536
00:39:22.839 --> 00:39:24.489
And then, how about the body?

537
00:39:25.439 --> 00:39:26.439
Here

538
00:39:26.839 --> 00:39:27.839
it moves up

539
00:39:28.639 --> 00:39:29.639
to here

540
00:39:31.089 --> 00:39:32.089
The face is

541
00:39:33.890 --> 00:39:35.190
also moving upwards

542
00:39:35.539 --> 00:39:37.089
The face is rising

543
00:39:39.639 --> 00:39:40.739
but

544
00:39:41.339 --> 00:39:43.289
the body is starting to rise too

545
00:39:43.290 --> 00:39:45.940
The hair is still coming down

546
00:39:45.941 --> 00:39:48.520
a beat later, right?

547
00:39:48.520 --> 00:39:51.590
And during the sudden jump

548
00:39:52.339 --> 00:39:53.839
take a look at the hair again

549
00:39:54.489 --> 00:39:58.689
It keeps going down, right?

550
00:40:00.100 --> 00:40:04.300
The hair is probably light and doesn't have much strength

551
00:40:05.250 --> 00:40:08.900
so it's being pulled down

552
00:40:10.139 --> 00:40:11.589
as the person's face moves up

553
00:40:15.089 --> 00:40:17.420
It's being pulled up, right?

554
00:40:18.570 --> 00:40:21.059
It was pulled up

555
00:40:21.060 --> 00:40:23.439
and now the face has stopped

556
00:40:23.459 --> 00:40:26.150
The movement of the face has stopped

557
00:40:26.989 --> 00:40:28.189
While it stopped momentarily

558
00:40:28.839 --> 00:40:32.339
the hair continued to rise

559
00:40:33.050 --> 00:40:34.360
right?

560
00:40:34.360 --> 00:40:36.980
It continues to rise like this

561
00:40:38.280 --> 00:40:41.880
Then from here

562
00:40:41.880 --> 00:40:44.300
it continued to rise like this

563
00:40:45.588 --> 00:40:46.588
and now the movement of the face is going down again

564
00:40:48.850 --> 00:40:50.000
It's going down

565
00:40:51.200 --> 00:40:52.950
It's going down like this

566
00:40:54.300 --> 00:40:55.549
It's going down, right?

567
00:40:56.038 --> 00:40:57.438
At that time

568
00:40:58.099 --> 00:41:00.750
the hair continued to rise belatedly

569
00:41:00.751 --> 00:41:02.330
the hair follows the movement of the face

570
00:41:02.350 --> 00:41:06.379
coming down afterwards

571
00:41:06.379 --> 00:41:10.419
Then

572
00:41:10.419 --> 00:41:14.219
when the face suddenly stops

573
00:41:14.220 --> 00:41:16.038
the hair starts to rise slowly again

574
00:41:16.919 --> 00:41:18.659
Because of its lightness

575
00:41:20.009 --> 00:41:23.319
the movement of the hair naturally follows

576
00:41:23.320 --> 00:41:25.599
the movement of the person's face and body

577
00:41:25.619 --> 00:41:28.819
creating a smooth

578
00:41:29.419 --> 00:41:32.070
and natural motion

579
00:41:32.538 --> 00:41:33.538
The movement of the hair

580
00:41:33.620 --> 00:41:37.260
in this surprising action corresponds to

581
00:41:37.260 --> 00:41:39.810
the principle of "Follow Through"

582
00:41:42.660 --> 00:41:48.680
In this surprising action, a wide variety of movements are all applied

583
00:41:48.680 --> 00:41:53.160
Animation principles need to be applied appropriately

584
00:41:53.160 --> 00:41:57.639
even in seemingly simple movements

585
00:41:57.639 --> 00:42:04.040
to achieve smooth and natural motion that looks effortless to the viewer

586
00:42:04.040 --> 00:42:08.040
Walking animations are typically animated

587
00:42:09.440 --> 00:42:14.290
at around 24 frames per second as a standard

588
00:42:14.838 --> 00:42:15.838
The poses

589
00:42:16.438 --> 00:42:17.688
where both legs are furthest apart

590
00:42:18.840 --> 00:42:20.940
and touching the ground

591
00:42:20.940 --> 00:42:26.619
are spaced apart by 24 frames

592
00:42:26.619 --> 00:42:34.300
as a standard in walking animations

593
00:42:34.300 --> 00:42:37.519
That's how we typically perceive

594
00:42:37.520 --> 00:42:39.769
the timing of

595
00:42:39.769 --> 00:42:41.559
a normal person's walking stride

596
00:42:41.559 --> 00:42:47.030
So, we establish this pose

597
00:42:51.080 --> 00:42:54.030
where the legs are spread the widest as the first key pose

598
00:42:56.080 --> 00:42:59.440
Below is the floor, the ground

599
00:42:59.440 --> 00:43:03.829
and above that, you've drawn the person in this key walking pose

600
00:43:04.779 --> 00:43:07.110
So this is now the first key pose

601
00:43:07.860 --> 00:43:10.419
Next, let's duplicate this pose

602
00:43:10.419 --> 00:43:15.339
Let's continue duplicating this pose like this, considering the stride length

603
00:43:15.339 --> 00:43:16.460
This should be about right

604
00:43:16.460 --> 00:43:19.500
Later on, you can always adjust it as needed

605
00:43:19.500 --> 00:43:23.539
Let's start by roughly setting it up like this for now

606
00:43:23.539 --> 00:43:26.799
The positions can be adjusted later

607
00:43:27.399 --> 00:43:31.759
Next, let's draw the next key pose here again

608
00:43:31.759 --> 00:43:34.720
Here, you can now turn on onion skinning

609
00:43:34.720 --> 00:43:38.800
Right now, this pose shows the right foot extended forward

610
00:43:38.800 --> 00:43:43.320
The next key pose would be where the left foot is moved forward

611
00:43:43.320 --> 00:43:44.720
as the new pose

612
00:43:44.721 --> 00:43:45.438
So

613
00:43:47.038 --> 00:43:48.020
let's take a look at this key pose

614
00:43:48.020 --> 00:43:50.049
one more time

615
00:43:51.199 --> 00:43:53.779
You're setting the position firmly with the toes like this

616
00:43:54.599 --> 00:43:56.720
and then

617
00:43:56.720 --> 00:43:58.650
you'll adjust the arms next

618
00:44:05.899 --> 00:44:09.860
Since the shoulders are slightly forward

619
00:44:09.860 --> 00:44:12.020
rather than drawing the arms exactly in the middle

620
00:44:12.020 --> 00:44:17.240
Around here, the shoulders naturally moved forward a bit, so

621
00:44:18.290 --> 00:44:22.940
the position of the hand will be almost the same

622
00:44:22.959 --> 00:44:25.689
but you need to consider

623
00:44:25.690 --> 00:44:26.787
the length

624
00:44:26.788 --> 00:44:29.087
and width of the joints as you draw

625
00:44:35.679 --> 00:44:38.020
So now

626
00:44:38.021 --> 00:44:40.300
since the left foot will move forward

627
00:44:40.320 --> 00:44:43.380
the right leg

628
00:44:43.381 --> 00:44:46.050
will move backward this time

629
00:44:47.437 --> 00:44:48.437
So

630
00:44:49.180 --> 00:44:54.450
the pelvis will tilt slightly backward, causing the body to twist a bit

631
00:45:12.859 --> 00:45:14.100
So

632
00:45:15.440 --> 00:45:16.679
here

633
00:45:20.119 --> 00:45:24.820
we have the 13th key pose set up like this

634
00:45:28.037 --> 00:45:30.137
Here

635
00:45:30.138 --> 00:45:32.387
this would actually be the 25th key pose

636
00:45:33.150 --> 00:45:34.720
not the first

637
00:45:34.720 --> 00:45:36.100
Let's go back for a moment

638
00:45:36.100 --> 00:45:39.799
So, this would be the 25th pose, this one would be the 1st pose

639
00:45:39.799 --> 00:45:42.359
and this one would then be the 13th key pose

640
00:45:42.359 --> 00:45:46.330
Alright, so now we've already completed

641
00:45:46.331 --> 00:45:47.587
about half of drawing these key poses

642
00:45:49.830 --> 00:45:54.019
So here we've now changed the positions of the hands and feet

643
00:45:54.019 --> 00:45:58.750
Since this is the left arm here

644
00:45:58.751 --> 00:46:00.580
 let's add a bit of shading

645
00:46:00.600 --> 00:46:02.629
for shadow effects and rendering

646
00:46:02.629 --> 00:46:06.760
Let's depict the inner side of the left arm and left hand

647
00:46:07.760 --> 00:46:09.679
Next, let's also consider this

648
00:46:13.440 --> 00:46:16.119
as the left hand here

649
00:46:16.119 --> 00:46:18.650
Then, there's another key pose

650
00:46:20.000 --> 00:46:22.559
between these two

651
00:46:23.937 --> 00:46:24.937
Let's now move

652
00:46:25.529 --> 00:46:27.570
this one to the center

653
00:46:28.220 --> 00:46:30.220
Moving it to the center

654
00:46:30.220 --> 00:46:32.700
but the difference here is that

655
00:46:32.700 --> 00:46:34.540
one leg

656
00:46:35.987 --> 00:46:38.037
supports the weight

657
00:46:38.540 --> 00:46:39.890
while the height

658
00:46:41.287 --> 00:46:42.287
increases

659
00:46:42.540 --> 00:46:44.059
This time

660
00:46:46.579 --> 00:46:47.565
and this time

661
00:46:47.565 --> 00:46:48.215
and this time

662
00:46:48.215 --> 00:46:49.315
There's a difference in height

663
00:46:50.380 --> 00:46:52.069
between this time and this time

664
00:46:52.887 --> 00:46:53.887
Remember that

665
00:46:54.519 --> 00:46:56.110
there's a significant height difference

666
00:46:57.687 --> 00:46:59.337
like this

667
00:47:00.460 --> 00:47:02.839
as it forms

668
00:47:02.839 --> 00:47:05.040
Keep this in mind

669
00:47:05.040 --> 00:47:10.079
So naturally, the legs will cross like this

670
00:48:11.419 --> 00:48:12.559
because of the movement

671
00:48:12.559 --> 00:48:16.440
And the arms

672
00:48:17.440 --> 00:48:19.840
won't stretch out like this here

673
00:48:21.459 --> 00:48:23.609
Alright, let's try turning on onion skinning here

674
00:48:24.859 --> 00:48:25.899
It's quite complicated

675
00:48:25.899 --> 00:48:29.279
In this segment

676
00:48:29.280 --> 00:48:32.159
where the arms are passing like this

677
00:48:32.179 --> 00:48:35.020
the arms shouldn't bend like this

678
00:48:35.020 --> 00:48:40.059
Of course, the arms naturally bend when they become more natural

679
00:48:40.059 --> 00:48:45.059
but they shouldn't bend excessively at such angles like this

680
00:48:45.059 --> 00:48:48.739
Because the arms are in the process

681
00:48:48.739 --> 00:48:51.179
of passing like this

682
00:48:51.200 --> 00:48:54.479
they naturally straighten out slightly

683
00:48:54.479 --> 00:48:54.979
You copy this pose

684
00:49:28.229 --> 00:49:30.179
this pose

685
00:49:31.036 --> 00:49:32.736
exactly as it is

686
00:49:33.429 --> 00:49:35.020
then

687
00:49:38.920 --> 00:49:39.803
 leave it empty

688
00:49:43.419 --> 00:49:45.140
and paste it

689
00:49:47.086 --> 00:49:48.736
for the next step

690
00:49:49.440 --> 00:49:50.400
And then

691
00:49:51.836 --> 00:49:52.836
you need to position it here

692
00:49:53.600 --> 00:49:55.680
 at the point

693
00:49:56.586 --> 00:49:58.636
where the foot touches

694
00:50:01.486 --> 00:50:02.736
like this

695
00:50:05.791 --> 00:50:07.091
So

696
00:50:09.000 --> 00:50:11.750
you turn on this skin

697
00:50:14.640 --> 00:50:16.630
and place the position at the foot location

698
00:50:19.686 --> 00:50:21.836
Now

699
00:50:23.000 --> 00:50:27.109
the key pose is completed like this

700
00:50:27.110 --> 00:50:28.986
This is based on 24 frames

701
00:50:29.559 --> 00:50:34.500
but I'll play it at 12 frames per second

702
00:50:35.686 --> 00:50:36.986
Did you see?

703
00:50:38.040 --> 00:50:40.640
Yes, it looks like it's walking

704
00:50:42.436 --> 00:50:43.986
Now

705
00:50:44.800 --> 00:50:49.899
the key pose is completed here

706
00:50:50.599 --> 00:50:58.400
Also, when considering not only the arms

707
00:50:58.401 --> 00:51:00.586
but also the face and the head

708
00:51:01.650 --> 00:51:04.400
this part might need to rise a bit more

709
00:51:04.400 --> 00:51:08.840
Alright, if the arms physically rise a bit more with the body

710
00:51:11.599 --> 00:51:16.820
 I'll lift this part up
The knees seem a bit shorter

711
00:51:16.821 --> 00:51:19.300
so I'll raise this part like this

712
00:51:19.320 --> 00:51:24.550
If I raise it, but I didn't raise the head, why is that happening?

713
00:51:27.250 --> 00:51:29.090
If you slightly

714
00:51:30.959 --> 00:51:32.050
tuck

715
00:51:33.585 --> 00:51:34.585
in this head part

716
00:51:35.859 --> 00:51:38.059
instead

717
00:51:42.270 --> 00:51:44.409
If you tuck it in slightly like this

718
00:51:47.680 --> 00:51:54.959
due to the upper body rising, the head naturally tilts down a bit

719
00:51:54.959 --> 00:51:57.759
This is related to the overlapping part

720
00:51:58.435 --> 00:52:01.835
You intentionally give

721
00:52:02.585 --> 00:52:03.585
some movement to the head

722
00:52:05.435 --> 00:52:07.235
to make it look like

723
00:52:07.259 --> 00:52:10.519
the joint of the head

724
00:52:10.519 --> 00:52:12.590
moves well

725
00:52:14.360 --> 00:52:15.629
That is the world of overlapping

726
00:52:17.199 --> 00:52:22.720
Let's try drawing another picture in between

727
00:52:22.720 --> 00:52:25.190
Here, we're now in the process of going down

728
00:52:25.885 --> 00:52:28.535
If we went up here

729
00:52:28.536 --> 00:52:31.185
now we're going down. Like this

730
00:52:32.839 --> 00:52:36.060
Now, between here and here, we're going down like this

731
00:52:36.985 --> 00:52:39.985
So, in this upward motion

732
00:52:41.160 --> 00:52:47.910
as one step is supported by this leg, you stand up straight like this

733
00:52:51.109 --> 00:52:53.289
your height increases

734
00:52:53.290 --> 00:52:55.685
and then it decreases again

735
00:52:55.686 --> 00:52:58.819
as your leg extends forward

736
00:52:58.839 --> 00:53:01.169
Let's insert another illustration

737
00:53:01.170 --> 00:53:03.532
depicting the process

738
00:53:03.533 --> 00:53:08.382
where the left leg now crosses over to the right leg

739
00:55:05.584 --> 00:55:10.884
Then, one thing to note here is that

740
00:55:11.399 --> 00:55:14.309
while we come down to here

741
00:55:14.684 --> 00:55:16.734
the body comes down first

742
00:55:17.834 --> 00:55:20.784
and the head moves slightly later

743
00:55:21.559 --> 00:55:27.290
If you grasp it with a slight feeling like this, you can express the sense of overlapping

744
00:55:29.634 --> 00:55:32.284
Like this

745
00:55:33.509 --> 00:55:39.279
so now the upper body movement and arms have slightly settled down overall

746
00:55:39.280 --> 00:55:42.784
So, we'll lift this up a bit

747
00:55:43.734 --> 00:55:47.334
If you look, check the overlapping of the wrists

748
00:55:48.179 --> 00:55:53.440
and whether the contact of both feet is well executed

749
00:55:53.441 --> 00:55:58.765
Also, pay attention to whether the bounce is well represented

750
00:55:59.134 --> 00:56:01.134
Now, you should focus on

751
00:56:01.490 --> 00:56:06.320
detailing certain parts more

752
00:56:06.320 --> 00:56:11.880
and confirm what parts are working well

753
00:56:13.320 --> 00:56:16.340
Alright, so here

754
00:56:16.341 --> 00:56:19.984
think of this as your guide

755
00:56:22.399 --> 00:56:25.669
Label this as cleanup

756
00:56:25.670 --> 00:56:30.434
From here onwards, you can proceed with the actual animation

757
00:56:31.119 --> 00:56:35.839
If you go into properties, you can adjust the opacity here

758
00:56:35.839 --> 00:56:38.230
Reduce the opacity to around 40%

759
00:56:38.231 --> 00:56:40.184
or 35%

760
00:56:40.185 --> 00:56:43.284
Now that it's more transparent

761
00:56:47.209 --> 00:56:49.549
let's try to express it

762
00:56:50.399 --> 00:56:51.969
a bit more cleanly

763
00:57:50.169 --> 00:57:55.200
Afterward, we can turn off this guide later, right?

764
00:57:55.200 --> 00:57:59.990
For the cleanup

765
00:58:23.769 --> 00:58:25.090
areas that need fixing can be colored later like this

766
00:58:27.183 --> 00:58:28.783
 Afterward

767
00:58:29.440 --> 00:58:31.170
 you can designate colors

768
00:58:31.833 --> 00:58:34.183
and fill them

769
00:58:34.683 --> 00:58:36.383
 in accordingly

770
00:58:36.720 --> 00:58:40.880
to the figure

771
00:59:26.290 --> 00:59:30.280
So, it's not filling in properly because there's a gap in this flow here

772
00:59:30.280 --> 00:59:34.880
You need to fill that in

773
00:59:34.880 --> 00:59:38.180
and once it's filled

774
00:59:38.883 --> 00:59:42.933
the coloring should load correctly again

775
00:59:42.934 --> 00:59:44.033
Like this, now color it

776
00:59:47.233 --> 00:59:50.030
then set the guide first

777
00:59:50.031 --> 00:59:51.683
then set the guide

778
00:59:52.980 --> 00:59:57.440
like this first

779
00:59:57.440 --> 01:00:02.919
During this cleanup process

780
01:00:02.920 --> 01:00:07.869
refine the slightly inaccurate poses

781
01:00:11.480 --> 01:00:17.359
shapes, or proportions in the guide with more detail

782
01:00:17.359 --> 01:00:22.729
After that, you can complete it by coloring like this

783
01:00:23.679 --> 01:00:30.080
We've practiced various motion expressions together up to now. How was it for you?

784
01:00:30.081 --> 01:00:34.331
Have you truly fallen for the charm of animation?

785
01:00:34.380 --> 01:00:39.189
If you apply the 12 principles of animation like we did just now

786
01:00:39.189 --> 01:00:45.760
and strive to create smooth movements, you will definitely be able to produce great animations

787
01:00:45.760 --> 01:00:51.840
I hope you experience the excitement of seeing your drawings come to life and move

788
01:00:51.840 --> 01:00:54.969
You've worked hard up to now. Thank you

789
01:00:55.633 --> 01:00:56.284
1. Bouncing ball
Bouncing ball 2D animation
Recommend to create a guide animation before proceeding with the actual animation

790
01:00:56.284 --> 01:00:57.084
A bouncing ball that slows down and then speeds up
A ball that gradually speeds up while widening gaps in between the frames
After bouncing off the ground, it widens the gaps due to the rebound force

791
01:00:57.084 --> 01:00:57.833
As the motion speeds up, the spherical ball may appear flattened due to an optical illusion, so intentionally elongate it into an egg shape during the acceleration phase
Exaggerate its deformation as it hits the ground

792
01:00:57.834 --> 01:00:58.733
The 12 principles of animation observable in a bouncing ball
Ease in/ Ease out
Squash & Stretch

793
01:00:58.733 --> 01:00:59.634
2. Surprised expression and walking movement
Surprised expression 2D animation
Preparing for a surprised movement with a crouching action

794
01:00:59.634 --> 01:01:00.483
The proportion of the face and body shortens when crouching
The proportion of the face and body lengthens when surprised
Expressing heightened emotions through secondary movements

795
01:01:00.484 --> 01:01:01.083
The 12 principles of animation observable in a surprised expression
Squash & Stretch
Anticipation

796
01:01:01.084 --> 01:01:01.763
Secondary Action
Follow Through

797
01:01:01.783 --> 01:01:02.783
2D animation of walking movement
First key pose: The legs are spread apart as wide as possible, touching the ground pose
Second key pose: The left foot comes forward and touches the ground pose

798
01:01:02.784 --> 01:01:03.683
Passing pose: Supporting the weight on one leg, creating height difference, and naturally extending the arms during the passing process

799
01:01:03.684 --> 01:01:04.583
Movement check points: Overlapping of the wrists, the contact status of both feet, and the expression of bounce