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2D Character Animation
Illustration by John Hersey

Animating a run: Fourth pose


From:

2D Character Animation

with George Maestri

Video: Animating a run: Fourth pose

Let's go ahead and animate the last poses of this run. Now, I've got the third pose, which is the landing pose, already animated. So I have got one through three. So I have got the first pose, second pose, third pose. Let's go ahead to the fourth pose, which is kind of the lowest position, where the feet pass below the body, and then we need to also come up in a mirror opposite of the first position. Now, I am actually going to jump ahead a little bit. I am going to take this foot, the left foot, and I am going to animate it all the way back to frame 8.
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  1. 2m 18s
    1. Introduction
      1m 2s
    2. Using the exercise files
      1m 16s
  2. 48m 21s
    1. Designing characters
      3m 22s
    2. Tracing characters
      4m 32s
    3. Creating joints that work
      3m 53s
    4. Working with outlines
      4m 0s
    5. Accessorizing your characters
      2m 21s
    6. Creating parts for replacement animation
      1m 41s
    7. Rigging hierarchies in After Effects
      5m 33s
    8. Rigging replacement animation in After Effects
      5m 52s
    9. Rigging with the Puppet tool in After Effects
      3m 16s
    10. Rigging Flash characters
      5m 50s
    11. Rigging replacement animation in Flash
      4m 25s
    12. Rigging with the Bone tool in Flash
      3m 36s
  3. 55m 29s
    1. The first law of motion
      3m 3s
    2. The second law of motion
      3m 45s
    3. The third law of motion
      3m 19s
    4. Using slow in and slow out
      5m 34s
    5. Arcs and smooth motion
      5m 4s
    6. Understanding overlap and follow-through
      5m 16s
    7. Animating overlap and follow-through
      5m 46s
    8. Understanding squash and stretch
      3m 10s
    9. Animating squash and stretch
      4m 40s
    10. Squashing and stretching characters
      5m 16s
    11. Understanding weight
      3m 27s
    12. Understanding anticipation
      4m 54s
    13. Animating anticipation and weight
      2m 15s
  4. 45m 50s
    1. Internal vs. external forces
      4m 45s
    2. Bringing characters to life
      4m 57s
    3. Animating blinks
      4m 37s
    4. Animating changes in eye direction
      2m 43s
    5. Animating head turns
      8m 1s
    6. Creating a strong line of action
      4m 16s
    7. Creating strong silhouettes
      2m 19s
    8. Pose-to-pose animation: Blocking
      4m 32s
    9. Pose-to-pose animation: Animating
      4m 21s
    10. Pose-to-pose animation: Finalizing
      5m 19s
  5. 46m 53s
    1. A walk in four poses
      2m 27s
    2. Motion of the head and body
      1m 32s
    3. Walk cycles and backgrounds
      1m 40s
    4. Skeleton motion and walking
      4m 2s
    5. Animating a walk: Contact position
      3m 0s
    6. Animating a walk: The feet
      9m 10s
    7. Animating a walk: The body
      5m 19s
    8. Animating a walk: The legs
      8m 21s
    9. Animating a walk: The upper body and arms
      3m 46s
    10. Animating a walk: The head
      2m 50s
    11. Animating a walk: Squash and stretch
      4m 46s
  6. 26m 52s
    1. A run in four poses
      4m 10s
    2. Animating a run: First pose
      4m 39s
    3. Animating a run: Second pose
      3m 45s
    4. Animating a run: Third pose
      3m 27s
    5. Animating a run: Fourth pose
      5m 1s
    6. Animating a run: Upper body
      5m 50s
  7. 37m 6s
    1. The basics of dialogue animation
      4m 35s
    2. Reading tracks and assigning mouth shapes
      5m 33s
    3. Phonemes and lip-syncing
      8m 36s
    4. Animating dialogue: Animating the body
      6m 27s
    5. Animating dialogue: Assigning mouth shapes
      4m 10s
    6. Animating dialogue: Finalizing
      7m 45s
  8. 1h 27m
    1. Animating a scene
      2m 0s
    2. Setting up the scene in After Effects
      3m 2s
    3. Animating the feet in After Effects
      10m 40s
    4. Animating the legs in After Effects
      4m 21s
    5. Animating the upper body in After Effects
      9m 44s
    6. Animating the mouth and blinks in After Effects
      7m 5s
    7. Setting up the scene in Flash
      4m 6s
    8. Animating the feet in Flash
      9m 0s
    9. Animating the body in Flash
      5m 23s
    10. Animating the legs in Flash
      7m 24s
    11. Animating the hands in Flash
      11m 54s
    12. Animating the mouth in Flash
      12m 26s
  9. 33s
    1. Goodbye
      33s

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2D Character Animation
5h 50m Advanced Nov 13, 2009

Viewers: in countries Watching now:

All animators must learn to walk before they can run. In 2D Character Animation, industry expert George Maestri teaches the basic principles every animator must know to build a foundation for more complex work. These principles are relevant regardless of software used or animation style. George explains how good animation depends on a firm knowledge of the laws of motion, which inform the principles of animation. He teaches the basics of creating characters, squash and stretch, pose-to-pose animation, walking and running, track reading, and dialogue animation. He also shows how to use After Effects and Flash to apply the tools learned in the course. Exercise files accompany this course.

Topics include:
  • Creating character joints that really work
  • Building with the Puppet tool in After Effects
  • Understanding internal versus external forces in movement
  • Reading tracks and assigning mouth shapes for dialogue
  • Setting up a scene in both After Effects and Flash
Subjects:
3D + Animation Animation Character Animation
Author:
George Maestri

Animating a run: Fourth pose

Let's go ahead and animate the last poses of this run. Now, I've got the third pose, which is the landing pose, already animated. So I have got one through three. So I have got the first pose, second pose, third pose. Let's go ahead to the fourth pose, which is kind of the lowest position, where the feet pass below the body, and then we need to also come up in a mirror opposite of the first position. Now, I am actually going to jump ahead a little bit. I am going to take this foot, the left foot, and I am going to animate it all the way back to frame 8.

Because I want to make sure that the left foot is in the same position as the right foot. So I am going to go to frame 8 and go ahead and just take this foot and animate it all the way back. So it hits that line. So now the in between will just automatically keep it on the ground. So if all I do is just animate it straight back, it will stay on that baseline. So now, I know exactly where it's going to be at on frame 6, which is where I need to make that next pose.

So let's go ahead and do that. Now at this point, the mass of the body is also going to be moving forward. So I am going to go ahead and take the body and rotate it forward. This is where all of his weight catches on the ground,and then he moves forward, and he is also going to drop just a little bit more because he is going to squash and then I am going to go ahead and position these legs underneath him. So I am going to go ahead and bend his knee to give him enough to squash with and position that leg pretty far below him.

In fact, I can probably squash that a little bit more. Go ahead and move this leg up, and I can even get the body down a little bit more. What I am trying to do is make sure that weight of that body is coming on to that shoe. So I'll just go ahead and position this. So now he is squashing on to that. Now this other leg is going to be coming around and under. It's going to kind of flip under there and start to move up in anticipation of this next leap.

So I am going to go ahead and take this foot and rotate it and move it around like this. So now this foot is kind of coming like that and we are going to go ahead and take the right leg and position that as well. And I may need to rotate that. And again, that leg is going to remain fairly squashed, in order to come through there. So again, just something like that.

So now I have got all four poses: one, two, three, four. Now let's go ahead and scroll to the very back and get the next pose. Now I am going to start with the hips. Now I already know exactly where the hip should be, because I have already animated them into position before. So let's go ahead and take that left leg move it back and I am going to straighten this out and rotate it in a place and again, I probably need to stretch this a little bit, like I did with the other leg.

So I am going to go ahead and stretch it, and rotate it into place. So now with this foot here, I have to bend it up. So that it matches here. So I am going to go ahead and turn on that shape animation that we did with the other one. And let's get that in place. So now we have got a really nice extension. See how it kind of goes from that to that? Really good pop there.

And then all we have to do with this foot is again just bring it up and make it ready for takeoff, so let's go ahead and do that. I get this foot here ready and rotate that around as well. So now we've managed to animate the first four poses and the first pose of the next cycle. So as you can see we have got all of this. So we have pretty good cycle here going. So now, once I have the other half animated it's going to look something like this.

Now I have gone ahead and taken away the guidelines and let's go ahead and just play it. So as you can see, with those four poses you can get a really good basic run. We still need to do the upper body. But by getting the basics of the lower body in place, the rest will follow naturally.

Find answers to the most frequently asked questions about 2D Character Animation.


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Q: In the chapter "Creating joints that work,” the author uses a circular point for the joints in the arm animation. Do circles need to be drawn in the joints while tracing the character, or there is another method that can be used?
A: It doesn't absolutely have to be a circle, as shown in the video. However, that method is show because it’s the easiest way to make sure the joints will rotate easily.
It’s a matter of personal preference, so use whatever method will work best for each character.
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