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Bring a cast of characters to life. By following the basics principles of animation, you can build characters that interact naturally with their environments, convey realistic emotion, and talk and walk convincingly. In this course, Dermot O' Connor shows how to design a solid character and stage and storyboard your animation before you begin. He'll examine principles like anticipation and squash and stretch, which provide characters with a sense of weight and flexibility, and show you how to animate walk cycles and dialogue. Finally, learn how to thumbnail scenes from start to finish, so you can sketch out the action before you commit to fully rendering it.
These lessons are designed with Flash in mind, but work just as well with any other 2D animation program.
Now, I'm going to take the gesture that we did from the previous section and tie it down and that's just a simple process of maybe making it a little more refined. So we have a very nice, energetic pose here from the previous part. So let's just fade it out a little bit because this is just going to be now a reference layer and on the layer above that we're going to tie it down. So I'm going to zoom in so close that you can see the pixels. I like drawing at this scale so let's just very gently, we'll just go off, I like drawing kind of, as loose as I can.
Make the line opacity to maybe 50, that way you can maybe hint at it a little bit more and this is the time when I can take these multiple lines and just pick one that I like the best, whatever is the strongest and tie down some details too, like does the shoulder overlap the head? And the purpose of doing this is to develop a comfort level with drawing basic shapes for poses and this will be ideal later on in the course for doing, like, thumbnail sketches, and reference poses for other characters. And, if depending on your drawing ability, if you're okay doing things as complex as hands with fingers, like this, it's fine.
This is also a good time to draw in the things like the eye-line and maybe hint at the expression like oh. Even if it's little dots of eyes, it'll give you some idea as to this guy has a real problem on his hands. So let's just thicken that line a little bit and again, even though I'm drawing lines, I'm still thinking in terms of construction and drawing through and imagining this body as a volume, not just as a bunch of flat lines. Don't be afraid to draw the median lines and the construction lines.
And this is essentially a tie down of a gesture drawing, so I don't mean this to be a final production still or anything like that but it certainly can be nice sometimes just to have these poses at a slightly higher quality. So if you want to really, really make something match one of these feet positions and so forth. Let's switch off that lower level. That's looking pretty good. And one little trick I like is Edit > Transform, Flip Horizontal and that's because sometimes my design sense goes a little blind and flipping horizontal will help you to have a sudden jolt and go, oh, he feels like he's a little bit off.
So if he does actually feel like he's tilting a little too far forward to this side. So I'm going to pull him back a little bit and maybe bring him into balance a little bit better. Edit > Transform, Flip Horizontal back and if you want to make some last minute polishes, darken some of these lines, don't start drawing shoelaces or anything like that at this point. Again, this is super high quality thumbnail level drawing here. So there we go. That is how you tie down a gesture drawing.
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