Time to master the ease in cel animation.
Everything eases… Well, unless that thing is some super crazy stiff robot chances are it moves with an ease. Maybe you're familiar with eases from hitting the F9 key in After Effects or from using a script to control them.
Of course with traditional animation things aren't that simple. In this lesson we're going to learn how to draw the three basic types of eases. Then we'll see how to apply them to our animations to really give them a sense of life.
And of course we'll make another really cool GIF!
I also show you a Photoshop action in this lesson that I got from a great tutorial that Alex Grigg made some time ago. This is the tutorial that got me started in Photoshop animation, it even looks like he's updated it since then. Here's the link so you can check out his tutorial too: http://www.alexgrigg.com/Photoshop-Animation-Techniques
In all of the lessons in this series I use an extension called AnimDessin. It's a game changer if you're into doing traditional animation in Photoshop. If you want to check out more info on AnimDessin you can find that here: https://vimeo.com/96689934
And the creator of AnimDessin, Stephane Baril, has a whole blog dedicated to people who do Photoshop Animation that you can find here: http://sbaril.tumblr.com/
Once again a huge thank you to Wacom for being amazing supporters of School of Motion.
Having trouble installing AnimDessin? Check out this video: https://vimeo.com/193246288
Tutorial Full Transcript Below 👇:
Amy Sundin (00:11):
Hello, everyone. Amy here at school of motion and welcome to lesson three of our cell animation and Photoshop series. Today. We're going to cover the next super important principle of animation. Easing eases are the key to really bringing your animation to life. Some of you may be familiar with eases from using the easy button and after effects. Now we're going to learn how to actually draw an EAs frame by frame. Thanks one more time for our friends at Wacom who have saved us from hitting undo a million times when we draw by creating the Sinti, we have a lot of ground to cover in this lesson, so let's get started. All right. So welcome to part three of our frame-by-frame and Photoshop series here. And today we're going to take a look at something called eases to start out with now. Some of you may actually be familiar with these from your time and after facts, but when you're actually drawing them, it's kind of looks a little bit different than what you're used to and say the curve editor.
Amy Sundin (01:09):
So let's take a look at this really quick, and we're going to play this animation back. And if you look, we have these four different balls and they're all kind of moving a bit differently, even though all of them are on twos up here. So why is that? Well, if we take a look at this spacing chart, like we had in our lesson for our ones and twos demonstration, you can see that each of these has a different sort of spacing on them. So let's take a look at each one individually. Now this first one up here, this one is going to be called linear spacing. Now on linear spacing, everything is completely uniform and it just moves at a consistent rate the whole time. Now this is the kind of spacing that we were using last time with our little Sprite guy that was going on that infinity path.
Amy Sundin (02:04):
So we did change the way that he feels by manipulating the timing. But now we're going to learn how to change the way your animation feels by manipulating the spacing instead. So the next type of ease that we have here is going to be called the easy ease, or slow out and slow in. And this one you might be familiar with from after effects by hitting that F nine key. So let's take a look at this one. And if you look it's going slower at the very beginning and the very end, and it's speeding up through this mid part and that's because the more overlap or the closer together, your spacing going to be the slower, an object is going to appear to be moving. Our next type of spacing that we're going to look at is the ease in now easing in, or sometimes this is called cushioning in is going to be where you start out really fast and you kind of slow into the motion.
Amy Sundin (03:06):
And then the inverse of that is going to be the ease out where it's starting off slow. So it's easing out and going faster at the end. So these are the four different kinds of spacing that we're going to use as we're doing our animations. And of course you can always play with these and, you know, experiment with different kinds of spacing, adding more frames at the end to even ease it in even stronger or manipulate different things. But by adding easing to our animation, we can really bring life into it and give it a more realistic, feel, a nicer motion than using these linear sort of movements. So now that we have this newfound knowledge of eases, we can move on and do some really cool stuff with it. And the next part of our tutorial in this lesson, we're going to jump into drawing pretty quickly.
Amy Sundin (03:55):
So let's take a look at a quick tip to get you going. So it may not be something that you think about all the time, but it's actually very important to warm up when you're drawing a lot of illustrators out there do this, they'll just do warm up sketches and everybody's got their own routine, but here's what mine is. So I'll just go in and I'll just kind of start drawing shapes. And then I just keep adding onto those and it doesn't have to be anything that really makes sense. It's just something fun to get yourself going.
Amy Sundin (04:35):
I think the reason that I ended up doing round shapes is more because in nature, you're going to see a lot more organic stuff and it's more interesting and kind of more fun to just get in there and like capture all these different organic curves and stuff. And I, I read, I think it was in the animator survival kit that, you know, animators just seem to like circles and round things. And that probably has more to do with, you know, you're capturing flow and movement when you're doing this stuff. So this is nothing special that I just did here, but this is just my warmup routine. So try and develop a routine of your own. All right. So let's take a look at this artwork. If you have a student account, you'll be able to download this artwork for free to use along with today's lesson.
Amy Sundin (05:23):
So let's take a quick look at what we've got here. Now, the object of today's lesson is we're going to get this eye to actually blink. And then after we get a blinking, we're going to add a tear falling out of it. So let's take a look at how I set up this file. What I did was I've separated all of these different components out so that I have my line work isolated onto one layer. I have my coloring work on another layer, and then I have this pupil and this little piece of the eye on another layer. And then lastly, the actual Iris color is separated out. Also. Now, the reason that I did this is because when we actually animate this, we really only need to focus on moving just this line, work on this layer and then adding the color, fill underneath it.
Amy Sundin (06:13):
There's no need for us to draw this pupil in this Iris over and over again, if we're just getting an I'd open and closed. So let's actually work on getting this eye to open and close. Now, what we want to do is we'll just isolate this line works. We don't have a lot of distractions kind of behind here. So this is all we're going to be working with right now. And the first thing we're going to want to do is we're going to figure out we're kind of going to work in a, more of a pose to pose sort of way this time. Now in the last lesson we were just going straight ahead, which means that we weren't really planning what our other positions looked like. And then we're filling them in. We were just going and just animating, you know, doing that Sprite that we were just drawing a frame and then adding a frame and then drawing again and then adding another frame.
Amy Sundin (07:05):
And we weren't really planning things out now with pose to pose. What we're going to be doing is we're going to actually draw a couple of key frames, which in this case, our first frame, the eye being open and then another frame with the eye being closed. And then we're going to go back and we're actually going to add more information in between those frames. So we're going to tween them after we set those two keys or extreme positions. So since we already have the first position drawn, let's go ahead and draw that second key position of the eye being closed. First, we want this shorten down to one layer or one frame exposure, and you can do that by dragging this. And we're actually gonna be working on ones this time, because I blinks are pretty quick and we are going to take this line work and we're actually going to go in.
Amy Sundin (07:57):
And instead of adding a new frame exposure and trying to trace all of this, I want to keep this line work kind of on the outside consistent. So what I'm going to do is I'm actually going to duplicate this frame and to make our video layer, we're just going to drop it in like that. So now we have an exact duplicate of our previous line work. So now we can just take our eraser and we can just erase out the parts that we don't want anymore. So I'm going to erase this top line here. And I'm also going to end up erasing this bottom line, because this is going to actually rise up to meet this top lid in the middle. Now, the reason I'm doing that is because if we just have this lid kind of closing down, it actually doesn't look quite correct, even though in a technical sense, if you blink and you really observe it, it's only your top eyelid moving in this cartoon world sense. We want both of these lids moving for our blink. So now we can't really see what our first position looked like. So we're going to just hit our onionskin button and there it is again, and we can see our original artwork. And let me just clean that up a bit more. All right. And now I'm just going to grab my brush as usual. Make sure I have the color that I want selected. And I'm just going to draw this final resting closed position here.
Amy Sundin (09:28):
So just a couple things to keep in mind when you're drawing this final closed position, you want to remember the eyeballs are kind of curved. So you're going to dip this curve down. You're not going to want to just go straight across like that because it doesn't look correct. The other thing is if you have to undo like a million times, that's totally okay. Frame-by-frame animation is really just like anything else. It takes a lot of practice. So the more that you do this stuff, the better you're going to get at it and the faster you're going to get at doing it. All right, now that we've got our first and last frames worked out, we're going to go in and we're going to do something called tweening or adding in between frames between these two extreme positions of movement here. So what we're going to want to do is we're going to actually create ourselves a spacing chart.
Amy Sundin (10:20):
Once again, like we did in that other lesson with our infinite Sprite. So we are going to click somewhere else. That's not in there and we're going to make a new layer and we're just going to make a spacing layer. And I'm actually going to grab my obnoxious pink color and we are going to make a chart. So what we're going to do is, since we want these two lids to meet up, we are going to draw our line down here, and this would be our top most positioned for that and bottom, most positioned for that. So here's the actual midline. And now we want to work our way out on opposite ends here. And the movement that I want to create on this is I'm actually going to ease into this. So my spacing is going to start off close together, and then it's going to get farther apart as we're going up this way.
Amy Sundin (11:16):
So that will create the effect of this is going to be slowing down as this eyelid is closing together, instead of it snapping shut, it's slowing into the shot. So we'll add a frame here and a frame here. We'll add another frame, just a wee bit farther apart here. And I'll add one here. And then I'm going to add one. That's a lot closer to the top, almost in this midline here. And same thing on the bottom, and this will create a nice ease in to this. I close here. So now I want to actually animate this. What we're going to do is we're going to do that same duplication method that we did before. So we're going to go back here and we are going to just hit duplicate frame, and that was going to make another copy right in between these two conveniently. And we're going to erase out that line work that we no longer need. And then we're going to draw in our new line work so that we're going to line it up right here with these next positions.
Amy Sundin (12:35):
All right. So now that we've got that all drawn out, we can take a look at what's going on here and it's quick, but you can see we've got our eye closing down now, actually it's very quick because we're on ones like this really quick. I just kind of went in and I doubled the frame exposure. So you guys can actually really feel how that ease works and how it's slowing into this close here. So I'm sure that gives you a little bit better of an idea. Now it's going really slow 12 frames per second. Oh, well, anyway, moving along now, I'm going to change this back to ones and then I'm going to go in and clean up a couple of little areas that I'm seeing that I'm not liking. Like I have a little bit of a pit there and a couple other little things. There's a little bit of [inaudible] there. So I'll take this time now to just clean that up really quick, and then we'll move on to opening the eye up.
Amy Sundin (13:33):
All right. So now that we've got that eye closing, we want to do the inverse and actually make it open back up, but we don't want to use this same sort of ease here. We want to do the opposite where we're going to have it speeding up into the open and then easing into this last bit here. So we're going to actually make a new spacing chart now. So what we will turn that one off and we're going to go in and make our new spacing chart. I'm actually going to line those up at the very beginning, and we're going to call this spacing open and let's grab our obnoxious pink color. And I'm going to draw my line here. And I know my last position is going to be here. So I'm going to mark. Technically, this will actually be my first position this time.
Amy Sundin (14:28):
So I'll mark that out and now I want to go in and I want this to be somewhere around here and a little farther up on the sky. And I want two more here. So we'll do one that's a little bit further out and one there. And same thing up here. This is our end point. Put one there and we'll put one there. All right. And now we're just going to repeat that same process of drawing these again, only we're going to grab frame one here, and this is our end point. So we're actually going to duplicate this one and we're going to stick it right at the top of the stack, because this is our end goal. So we will start off all the way back here. And we're just going to work our way back to this open position. Now, now one trick that I'll do sometimes is I'll colorize a frame so that it's very obviously different from whatever else I'm working on. And that's just one of those things I do to kind of keep my own sanity. When I start zoning out a bit, when I'm drawing and getting lost in the line work, uh, I'm one of those people that's just prone to kind of zone into something and then realize, oh, I screwed up. So I try and prevent that as best as I can by using these little tricks, like colorize frames.
Amy Sundin (16:06):
All right. And again, I'm just going to go back through and kind of clean up these areas that need a little touching up. Cause they have little weird spots and whatnot. All right. So I'm going to make this all right. I'm colorize it and we can turn off our spacing layer and let's check out what we've got now. So there you go. We have our blinking eye and it's easing into the clothes and it's easing into that open. So that's looking pretty good. All right. So now that we've gotten that line work done, we can add some color to this now, because clearly this doesn't look right yet. So to add the color, we're going to, again, turn off that stuff that we don't need right now. We're just going to need our line work and this color layer. And the first thing we're going to want to do is the same thing we did with the eyeline work, where we're going to get this down to a one frame exposure just by driving it.
Amy Sundin (16:59):
So that's taken care of, and now we can start adding frames and we're not going to be duplicating these ones. We're just going to add a frame and drag it into, make a new video group and name this. And now what we can do is instead of going through and picking this color and then hitting the brush tool and trying to fill it in like that, we're actually going to fill this in using an action that we'll set up. Now, first, we'll look at one way, you can do this where you're going to select your magic wand tool, which is w and then hold shift to add onto that selection. And if you, if you hit Ault, backspace, you'll notice that this will just fill in, right? So let's, de-select it. Well, the problem with this of doing it is you don't have to do this part that I'm doing right now.
Amy Sundin (17:53):
This is just an example. You're going to get these weird edges, see this kind of border here in the pixels. That's where it's not quite passing underneath this line work. So it's creating this weird gap. Sometimes it's more noticeable than others. So we want to try and prevent this. Now, the way we can do that is by using an expand fill. Now this expand fill action is something that I actually got from another artist tutorial, Alex, Greg, um, he did a wonderful frame-by-frame and Photoshop tutorial a while ago. And that's actually the one that got me started in doing this. So I'd totally recommend that you guys check that tutorial out too. When you have some time, I will link it in the show notes at the bottom, but moving on now, let's actually set up that action. So I'm going to just kind of get rid of this layer really quick, and I will make my new one frame exposure.
Amy Sundin (18:51):
So we're still gonna make that selection first. And then we're going to go up to window and actions and you can see, I have a frame-by-frame folder already set up. So what I'm going to do is I'm going to make a new action first. So we will call this expand fill, and it's under the frame by frame set. I'm going to give it a function key, and I'm going to pick F three here. That's the one that I ended up using. Um, you can use whatever function key you want, and we'll give it a color for fun and hit record. And now what we're going to do is go up to select, modify, expand, and then we'll do three pixels. Um, sometimes you're going to need a little more. Sometimes you're going to need a little less, so three's kind of a good middle ground for this and we'll hit, okay.
Amy Sundin (19:42):
So that just expanded our selection. And now we're going to hit Ault and backspace, and that will fill it with our foreground color. And then you're going to hit control D and that will de-select this. Or if you're on a Mac would be command D and once we've done all that, we can stop recording that action. And now this is all automated. So anytime we hit F three, after we've done a selection, it will go in and just expand it and fill it in for us. So let's just make new frames and do that for the rest of these color layers now.
Amy Sundin (20:21):
All right, so now we've got this all colored in and it was super quick and easy because we automated this using Photoshop actions. So we can close our actions pallet down, and I can kind of turn everything back on. So let's take a look at where we're at now, if you notice this is going pretty quick right now. So I actually want to make this loop to be a full one second. And all we have to do do that is just move. I'll move my range slider, and this guy all the way over, and we just need to grab these last layers and just drag them over. So we did that one and we did this one. So that's our line work and our color work. And now when I play this back, you notice it blinks and then it loops back. So we have a nice pause in there.
Amy Sundin (21:15):
So now that we have this looping, we were going to add like a tear falling out of the eye. So to do that, now we're going to have to think ahead a bit of how do we want this to look now, I know that I want my tier to kind of start out over in this section and I want it to like spread across when we get to this final closing and I want it to drop while the eye is still closed, or at least start dropping while the eyes still closed. Now this is set on ones right now. So this frame right here, I know is not going to hold long enough already. So I'm going to extend this middle closed part to be about six frames long, because I feel like that's going to be enough of a pause. So to extend this, we're just going to hit increased frame exposure a few times, five times to be exact, and that will give us six frames and we'll do the same thing for this one.
Amy Sundin (22:16):
Also. Now I'm actually going to go in and I'm going to rename these right now, just because it helps me keep my sanity. Because if you look up here, this is frame five, but this is saying layer four. So it's sometimes it helps if you actually have these so that they correspond with one another. When you got a lot of these layers going, especially if you had, for example, you know, a layer that's aligned work, and then a layer, that's your base color, and then a layer, that's your highlight color. And then your, you know, another layer, that's your shadow color. You can see where if you just have, you know, layer 27 and layer 16 and whatever, and then these are kind of unevenly spaced. It might get a little confusing. So that's why I choose to number my frames. So now both frame fives are actually extended out long enough to where I get a nice pause in here when the eye closes.
Amy Sundin (23:11):
So it's much more time for us to work with when we're trying to get that tear to fall. So now that we've done that we kind of have like a rough plan for how this is going to work out as far as timing goes. So let's start drawing this tier and we're going to do this by starting straight ahead. Like we did in that previous lesson with the infinite Sprite. So we will kind of clean this up a little bit for a second, and we're just going to make a new one frame exposure, and let's pick a color that we like all. And I think I'm going to go with that color right there. So what I'm going to do is I'm just going to come in and I'm going to draw this beginning part of my tear. I just want a little bit of kind of watery stuff over in the side corner, and I'm going to add a new frame exposure and we'll drop it in, come here.
Amy Sundin (24:14):
Sometimes if you're not zoomed in far enough, you'll accidentally grab that edge and drag it out. So you'll have to fix that if you do it. All right, and now we're going to turn on our onion skins, and we need to draw this next one. Now, if you notice this was a little bit chaotic to look at, so we're going to turn this stuff off, and we're also going to turn down the opacity on this eyeline and to make it even easier on me, I'm going to colorize this to like this green color, see how much more that already stands out. And the last thing I can do is I can go in and mess around with these onion skin settings, and I can change this minimum opacity to something like 30. So now it's really obvious as to which frame I'm on and which frames are the ones that are before or after. So now that I've done that I can continue drawing, make sure we're on the right layer.
Amy Sundin (25:13):
And we're just going to add a little bit more each time, and we're going to add another frame here. And we know once we get to this point, this is where we have to worry about that tier kind of welling up and really starting to drip and kind of fall. So we're just going to keep in mind that we only have two more frames to really get this built up and on this frame is where I really want to start to get this to kind of drop down. And it's going to go across a bit like that, and we can scrub back through our work and kind of see how things are looking. And here you can see me kind of scrubbing back and forth between frames. I'm just doing a quick frame check to make sure that everything's looking the way I want it to before I get too far along with this animation and realize that something isn't working out.
Amy Sundin (26:08):
So definitely take the time every so often and just scrub back and through and make sure everything looks the way you want it to. I'm going to go in and do a little bit of cleanup when I'm done, but I'm just going to keep working on it straight ahead. Right now, turn my onion skins back on and straw another one. And I want to really get this tier to start kind of forming up down here. And as it's forming over here, I want to take away from this side. So each time I add more to this bulb area, I want to take a little bit off of that side and we'll add another frame. And I want to make sure that I have this tier kind of nice and stretched out and about to release right at this last frame here. So we can really keep growing this for another four frames.
Amy Sundin (27:12):
It looks like, yes, we're going to do another four frames. I can count. I'm not a genius, but I at least have that going for me now. I actually don't like how much difference there is between this frame and this frame. I like these frames the way that they're drawn, but I'm actually going to come in and I'm going to insert one in between here. And to do that, I'm just going to select this frame right here. And I'm just going to hit this, create new in-between button. And that's going to make a blank frame between this frame right here, which is eight. And this frame right here, nine. So I can go in to this one now and draw something that's somewhere in between these two.
Amy Sundin (28:04):
All right. And that just kind of gave your eye just a little bit more information to smooth this transition out to where it's really turning into more of a drop type shape. So let's take a look at where we're at now going to move this playback area over and I'll turn my onion skins off and it's quick, but I like the way that it's moving. And that's, what's important right now. All right. So now that we've gotten to this point where this tears kind of hanging on in it's right about to drop off, we need to figure out how quickly we want this to fall. And we're actually going to make another one of those spacing charts like we did before. So we're going to come up to one of these layers outside of our group, and we're going to make a new layer and move it over to the beginning.
Amy Sundin (28:58):
And we will call this tear spacing. And I'm going to pick my obnoxious pink color that I like. And the way that I want this tier to work is I want it to be slow at the beginning. So it's going to ease out. So it's going to start nice and kind of tight together, up here, and then it'll get quicker as it falls, because it's going to be gaining speed as it's falling down. So I'm going to pick the bottom of my tier as kind of my reference point. So I'm going to pick my first space right here, and I'm going to make a line that goes down and then I'm going to figure out how far do I want it falling on each frame. I need to know how many frames I have left to make this fall. So we just have to do a little bit of simple math, and I'm actually going to, again, renumber these frames so that I can see exactly how many frames I've already used.
Amy Sundin (29:54):
So you can see I have 10 frames left. So that means that I have 14 frames left in our 24 frames per second. So I'm going to figure out how long do I want this drop to fall? So I think I want to do this over about 10 frames to do that. We will just start adding some spacing here. So it looks like we're just going to do eight frames because I like the spacing on that. And that actually gives the eye enough information. And if it doesn't, we can always come back and kind of tween it again. So let's start drawing this teardrop falling down.
Amy Sundin (30:34):
All right. I actually moved my tear, spacing chart down below all of this other stuff. So it makes it a little bit easier for me to see what I'm drawing. And now I'm going to continue kind of just adding onto this teardrop here. I'm going to just draw this guy in and I'm going to draw this separated off right here. And now what I'm going to do is I'm actually just going to focus on getting this tier to fall. And then I'll worry about coming up and doing this part here so that I'm not trying to split my attention between two different things that are going on. I want to focus on just one action right now. So I'm going to just keep adding frames and focusing on getting this tier to fall.
Amy Sundin (31:26):
Now, as this tear is falling, you can actually give it a little bit of a stretch to it too, and that will help overlap some of these frames a bit more, and it will give it more of a sense of speed. Kind of like what we did on that other exercise with the infinity loop, where we stretched that guy out between that mid point, when he was like crossing through the downs and the ops on that X point, going here, that's basically the same thing that I'm going to be doing with this teardrop when I'm stretching it out.
Amy Sundin (32:02):
All right. So let's check out what our teardrop falling looks like. Now. We're going to turn our onion skins off and just hit play. There we go. You can see it just kind of looks like it's speeding right off and down. And I might actually want to add just a teeny bit of the tail on this frame. Let's see how that looks. If we just add just a hint of blue to give you a sense that it's gone off into nowhere and I'm going to turn my spacing chart off now. So you really see going on here and that looks good.
Amy Sundin (32:43):
Let's see it without that last frame. Yes. I definitely like it better with that last frame. Cause it just gives your eye just that little bit of bonus information. So then it knows where that tier when instead of it just being like, oh, did it just, you know, go into oblivion sometimes just a teeny bit of extra information really helps out. So now that we've got our tear falling, we want to come back up here and we want to get this kind of, um, little residual bit of like tier liquid to go back to its original position so that we can get that seamless loop again. All right. So we're going to come back to this frame right here and we are going to go in and turn our onion skins on again, and then just go straight ahead and continue drawing this. And you can go back and look at that first frame. And we know it's just this kind of little line here. So we just want to keep working our way back towards something that looks like that we have quite a bit of time to do that in.
Amy Sundin (33:55):
And just so I get a sense of where I'm going with this, I'm going to copy frame one. I'm going to drag it up to the top here and now I'll be able to see when I get closer to this frame, exactly what position I need to be in. So I'm actually really darn close right now. So I'm just going to continue going straight ahead here. Now that I'm back at this point, kind of close to like frame one here, I've run out of frames. So what I need to do is I need to go in and actually add more frames to this and the reason I'm doing that and not just letting this sit is because you don't want your animation to false completely still at this point, like we want this to continue having this kind of fluid moving look to it. So let's go in and just add those frames and we can just do this by doing new one frame exposures.
Amy Sundin (34:51):
And we don't want to get too crazy with our linework. At this point, we can also hit new in between here and that'll add in the frames and a leave your timeline marker, like in the right spot instead of advancing this onward. That's the big difference there. So I'm actually going to continue doing this by adding in-betweens and you wouldn't think that there's a big difference, you know, just in the slight amount of difference in how my lines look, but it's enough to keep it moving. If you look at how that looks, even with the onion skins on, you can see it just gives it a nice little fluidity, look to it.
Amy Sundin (35:31):
So now we've got our full 24 frames per second, and we can turn off our onion skins, and we can take a look at this. There we go. And if I don't like the way that this is moving like that quickly towards the end, after this tear falls, you can always go back and remove some frames and just change these to twos. And that will give this a completely different feel to the way that this fluid is moving. So that's always an option and I'm going to go in and I'm going to number my frames really quick. This 25th frame is really the first frame, so I can get rid of that and we can go in and turn our line work. We can remove this color overlay and we can turn our pupil back on and our Iris back on and we can check out our work.
Amy Sundin (36:31):
So it's always best to kind of just do one more Passover and just check to make sure there's nothing that you, you know, absolutely. Don't like, like I'll go in and clean up a little bit of that brush there. And some of this kind of why that's peak and through now, when I'm doing this kind of cleanup work, I actually usually leave my onion skins off so that I don't have that distraction of the frame before and the frame after. And I can just focus on the frame that I'm actually working on and that makes it easier to see all those little spots that are kind of not quite the way that I want them to be. So you don't have to turn your onion skins on when you're doing your cleanup work like this. So I did end up coming in and changing this to twos after that tear falls off of the screen.
Amy Sundin (37:16):
And I liked the way that it looked just a little bit better. It was kind of a little, little bit calmer of a field and having ones over there. And so the last thing that I did here was I actually came in and just kind of gave this guy a little bit of like a tail just to give that animation just a little bit of extra. And because I gave him that tail, I did have to go in and actually change the last couple of frames. I just tweak them a bit. Cause otherwise it looked like it was sticking at that very last point. So sometimes just adding those little details can change the way that your animation feels and looks also. And you might have to change just a little bit of a couple of frames here and there to get the timing, to work out again and adding this tail end last is actually totally okay.
Amy Sundin (38:00):
We did this deliberately because really when you're working in frame by frame animation or any animation, you kind of want to do things in stages and adding these little accents last after you get that main body of the animation fleshed out is the way that you want to work on things. That way you don't go in and add all this detail and then realize you have to redraw a ton of stuff. So it's okay that we had to tweak those last couple of frames at the very bottom of the page to make it look a little bit better so that it wasn't sticking, but it was only a couple of frame tweak that we had to do because we had that body flushed out the way that we wanted it to be before we added these accents, that's it for lesson three, we've covered a lot of important foundations in the last three lessons we've gone from baby steps, learning to use annum, Destin, to toddling around using timing and spacing. Next up we'll be doing something much harder and cooler. Make sure you sign up for free student account so that you can access the project files from this lesson and from other lessons on the site coming up, we've got two more lessons with very important stuff for you to learn. So I'll see you next time.