Toon Boom Animate Pro 2 Video Tutorials – 86 Basic Trad Anim

welcome to the tutorial basic traditional animation all of these tutorials are performed by any rodrigue so what we’ve said so far as traditional animation is actually called traditional animation because it is being done directly in the software traditional animation is when you create all of your animation by hand usually using a light blue pencil like call blue arrays to do the initial sketching then cleaning up your sketches with a pencil and then you can either scan your drawings in and ink them and paint them digitally or ink them and paint them on cells by hand so because there’s that hand-drawn component we call a traditional animation when Annie is doing here issues drawing who rocks directly in the software and we call that traditional animation because its traditional digital animation completely paperless and completely done in the software so which is creating is another scene so although it’s taking place in the dojo it looks like it’s a continuation of the first two scenes we did it’s actually a new scene or new project file in and of itself and this is because we’re going to string together a bunch of the scenes to create a fighting montage so what she’s creating is a big cloud that you often see in Warner Brothers cartoons when a fight is occurring with all sorts of things being thrown out of the cloud so that’s definitely something that you can’t do with the cutouts delve animation in the style that we’ve been using so far you can’t draw a lot of organic shapes we know that undulator way remove like such a flag or water or smoke so this is a perfect use of why you would mix cut out with traditional animation and when we mix cut out with traditional animation we call that advanced cut out because there are elements of hand-drawn work amongst the cut at work so you might notice that everything in the camera view is washed out except for the drawings that adding is creating and that’s because the light table feature is enabled in the camera view so usually you see all the layers of the camera view with equal call intensity but if you go to the fourth icon in the bottom left-hand side of the camera view you’ll notice that the icon looks like a camera with a red box around it if you click on that there’s an actual light table feature and if you use that then only the layer that you are currently on will be shown in a hundred percent true color where everything else will be washed out so annie has chosen a light color blue to do her sketches just as you would do by hand and as you can see she’s created a layer in the timeline that’s called fighting cloud sketch so that’s where she’s doing her all her rough work and right now every drawing that she’s doing is going to later on become a key pose as we talked about before so one thing you should take note of is that any has the onion skin feature on it’s the last icon in the toolbar on the left hand side and if you look at the red playhead the blue bars that are kind of coming up from the red playhead are extending to two drawings in front and one drawing behind you only see the drawing behind in red because obviously she hasn’t drawn any drawings in front of the drawing she is currently creating right now but she’s definitely using her previous drawing as a base for her current drawing even though this small cloud is going to bubble in a very organic way you still wanted to retain the same basic shape so it doesn’t look random you know you still wanted to have like a sort of a structure even in its fluid state and you can tell that by the fact that she keeps track a little bit of the bubbles that are coming out from the smoke cloud you can see that the next bubble she creates often continues from those little bubbles or that they explode into two bubbles she’s still keeping the basic structure even if the lines wiggle and move back and forth for the base structure of the shape as well so what Annie’s doing now is extending the exposures for each of the key drawings that she’s created and she’s doing that by clicking on that drawing and then by using the plus sign as a keyboard shortcut to extend the exposures and she’s extended each

drawing by three exposures so they exist for three frames each then she’s dragged a little black triangle from the end of her scene to just create a small section that she’s going to play back in a loop and then going up to the top playback toolbar she’s clicked on the loop button and the play button to watch a little sequence that she was created so far so there was a bit of a jump in the video because she stopped and started again so what he’s doing now is creating an empty drawing and you’ll see why in just a minute then she’s going to bring up the ex sheet view and then she’s going to mark her first drawing as a key drawing and that last empty drawing that she created also as a key drying then she’s going back into the camera view and clicking on the K the keyframe button for the easy flipping toolbar and so what that does is that it will only flip between the key drawings or any drawings that have been marked as king drawings in the ex sheet and the reason she’s doing this is because she wants to create a true loop and because she has the onionskin on she can see her previous drawing and when she flips back she can see the first keyframe drawing so the drawing that she’s creating in the empty cell is a transition drawing between the previous drawing and the first keyframe drawing and that’s what she’s flipping back and forth and also using the onion skin and then when she plays this loop again and again as a cycle there’s multiple cycles in a row it’ll look very continuous and smooth so that’s one more reason to mark your drawings in the X sheet because of features like this and you’ll notice beside we’ll get into it in the next video that you can also choose just to show your keyframe breakdowns I’m in between in the onion skinning feature if you can see those three icons in the same tool bar area as the easy flip toolbar you so after having extended that empty drawing for another three frames which is no longer an empty drawing obviously because she drew inside of it and he’s now testing once again the animations happens a lot of animation you draw something you test you draw something new test to make sure it looks fluid as you go along so now what she’s doing is she’s selecting the extended exposures after each key pose that she’s created and she’s turning them into empty drawings and the reason that she’s doing this is because if she modifies anything in those two cells it’s going to modify the drawing in the first cell because they’re basically just copies of the same drawing so by creating empty drawings there which he’s actually doing issues breaking the connection between those two extended exposures and the first drawing so now they’re each their own individual cell and actually an empty cell and what she’s going to do is draw the in betweens now so she can see the drawing in front and the drawing behind and in those two empty cells she’s going to make a smooth transition so that the line is exactly between those two drawings and like I mentioned before you can see that if she has two bubbles coming out you know the one that she’s drawing right now sits in between the previous and the next so in her mind she’s still keeping track of the direction that the smoke bubbles are going in the direction that the main principle smoke cloud contracts and expands so there’s a little bit of a logic to this organic shape that she’s created and just like I’ve done in some of the previous videos if I find that there’s a section of the video that’s very repetitive and it doesn’t show anything new I might fast-forward through it just to save a bit of time so you may have noticed another little

jump in the video and that’s just

because Annie once again has stopped and restarted the video so now what she’s doing is selecting the entire loop that she created of the smoke and creating a cycle from it and she’s entering in the number seven the number of cycles so now that that loop has effectively been copied seven times and then she’s locked her sketch layer created a new drawing layer it is now dragging it on top of her fighting cloud sketch layer and she’s renaming this new layer stars carrots and fists so which is effectively doing on this layer is she’s going to draw objects that’ll be hurled out from the smoke cloud so on her just rough sketch later she’s drawing a scale that she’s able to judge an even distance between the stars that she’s creating a long that row gives you the onion skin on and she drew that scale on the first of her drawing in that series she’s able to see that scale throughout all the subsequent drawings and as you can see the stars are also getting progressively smaller until I think they sort of blip out and disappear and she seems to be just choosing random places along the smoke cloud to have these objects suddenly appear as if they’re coming out from that fighting cloud and here you can see she’s created a scale with hatched lines that are not evenly spaced apart but that start farther spaced apart at the beginning and seemed to come closer together in the middle of the arc and once again spread out and what this will look like is the carrot that she’s drawing will come out faster out of the smoke cloud because the the carrots will jump a greater distance in the same amount of time that they will jump once they hit the apex of the arc so they look like they’re slowing down the movement will be very very slight and then the carrot will speed up as it comes out of the the arc again and you can also see because she’s so skilled she’s able to have the carrot rotate as it’s being hurled from this fighting smoke cloud and she’s doing just like what I said where you usually draw the first end last key pose and then the breakdown in this case she actually did the first break down in Key pose but I think it’s because she knows what she expects to see and then she’s doing what she did before where she’s creating empty drawings between her key drawings so that she can fill them in with in-betweens and as this is effectively how you produce timing pacing and timing in traditional animation you don’t have the luxury of pulling a keyframe farther along or closer together and then you know flipping back and forth and judging if something looks like it’s moving fast enough or slow enough you sort of have to already know in advance how you’re going to paste your drawing so that they give the illusion of slowing and stopping and then moving very quickly all of a sudden it’s not just saying you can’t move your drawings around a bit but it doesn’t it’s not as automated and you really do have to have a little bit more planning when you work in the traditional animation style you I just remember that i forgot to mention that we’re watching n and create empty

drawings by right-clicking and choosing the menu item but i don’t know if you remember from one of the previous tutorials but there’s actually just a button that you can use to do that automatically if you go to the windows menu at the top you can find it under the toolbar menu item and you can select online tool barn in the timeline toolbar i believe it’s the second icon but anyway you can scroll over the icons and you’ll see the tooltips and you’re looking for korean MP drawing so you can do that instead of right clicking all the time you so you might notice another jump in the video so once again just any and what she’s doing it she created a new drawing layer that she’s put above her to rough layers and she’s renaming it fighting cloud so it’s going to be the layer where she’s going to do her clean up and when you’re working traditionally usually you’re inking and your clean up often are one and the same thing so you can see any tracing nice clean lines over her rough sketch you so some people prefer to do this in the drawing view with the light table she prefers to in the camera view with a light table and after she’s finished doing her clean trace which is also her inking now she’s just filling in the cloud smoke with its fill color so she created these colors obviously off camera but if you don’t remember how to add colors or create colors or color palettes you can always refer back to those video tutorials you can also see in the onion skinning as soon as you do a fill and you move forward or backwards you no longer see just an outline but it looks like a solid shape and so as Annie’s going to just continue

to trace clean lines over her entire first cloud cycle I might speed up this part of the video again as it’s a repetitive task you so any just got a little tired of recording herself tracing and coloring and cycling her drawings but I think you get the idea of how that’s done but you can see all of her rough sketches as well as all the clean inked and painted work in the sample material and that’s it for the tutorial basic traditional animation stay tuned to the next tutorial advanced traditional animation tools