Start learning with our library of video tutorials taught by experts. Get started
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.
So now we have a change of weight in the body as well as a head turn and let's go ahead and finish up the rest of this characters animation. Let me show you where we are at, at this point. We've got the character turning, we've got a little bit of squash and stretch on the head and we've got a proper head turn. But we also need to work a little bit with the arms as well as give some squash and stretch to the body. So let's go ahead and do that. Now, the first thing is let's go ahead and focus on this right hand, which goes from palm up to palm down on the hip.
So as he moves from one to the other, we've got a couple of things. First of all, we need to do some drag. So as this hand moves down, we want to drag this hand back. So I am just going to go ahead and rotate that back just a little bit. So now, we're getting a much better sense of drag on that hand, but we also need to flip the hand over, we need to go from palm up to palm facing the audience, to palm down.
So, I am going to at this point go ahead and turn off this hand and turn on another hand, which has the palm facing the audience, and then just go ahead and dial that into place. So now as you can see the palm turns hand up and then as he comes into putting it on his hips, somewhere here around frame 10, I'm going to go ahead and give myself a palm down position. Something like this.
So now I need to flip it over and then just position it. Here we go, much better. Now just go ahead and rotate that just a little bit. So now I've got this hand working just fine. So it goes and drags a little bit, flips over and then comes resting on the hips. Now the other hand, the left hand, and the left arm is really isn't in between in quite as well as I want, because here where he is kind of facing the audience, all of his weight is going to his right.
So in other words, in order to counter balance this, it would be nice to have his left arm out. So I'm going to go ahead and grab his left arm and just rotate it out at this particular point. So now we've got his hand coming out and then back down. So this gives a much better sense of balance. Now, right here, you'll notice here is a little bit of an incongruity here, because really the shoulders are little bit off. I've got this shoulder here for the left arm is up pretty high, but the one for the right arm is actually a little bit lower.
So, I'm going to go ahead and take that right arm and then just move it up just a little bit, so that I've got a nice strong line between here. So now we've got the hand motion, but I also want to get a little bit of squash and stretch on the body. So I'm going to go ahead and select the body. As he comes down, right about here, I'm going to go ahead and stretch him vertically, and then go ahead and scale him down just a little bit on the horizontal side, make sure he is positioned. So, now he is stretching down and then as he pushes up, I want to squash him.
So again, we're going to do the opposite. So I'm going to make him little bit wider this way, a little bit shorter that way and now we've got stretch, stretch, squash, and then he overshoots and settles in. So again, when he overshoots, we're going to go ahead and stretch him up. So he stretches down, squashes and then comes back up. Again, it just gives a little bit more life to the animation. Now the last thing I want to play with is the hat on the character's head.
This can actually add a lot more life to the animation and I want to do some squash and stretch on that as well. As the head stretches down, I want that hat to start stretching. So I'm going to stretch it up and then as he pushes up, it's going to squash. So we're going to make it wide and short and maybe even squash it down on his head just a little bit. Stretch, squash and then as he settles in, I want that hat to almost come off of his head.
I'm just kind of take that hat off of his head, so now bounces up, and you can see how the hat actually comes off of his head and then settles in. So let's go ahead and take a look at the final version of this animation. As you can see we've got a much stronger animation than we had at the beginning. We've got a good sense of transfer of weight, we've got some squash and stretch in the character and we also have some proper motion in the arms. Now, all of this is really just the basic principles of animation applied to a simple situation, which is going from one pose to the other, and as you can see, all of the principles of animation really do apply.
Now, lot of your animation is going to be from pose-to-pose. So use these techniques to go from pose -to-pose and give your animation a lot more realism and a lot more life.
Find answers to the most frequently asked questions about 2D Character Animation.
Here are the FAQs that matched your search "":
Sorry, there are no matches for your search ""—to search again, type in another word or phrase and click search.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.