- I'm Danny Fisher Shin. I'm an animator and illustrator,
and I have a great Skillshare class for you
on animating a walk cycle and procreate.
Today I'm showing you an exclusive preview of my class.
Let's get started
so now that we've cleaned up our base animation.
We're ready to start adding secondary animation.
Now this can sound kind of intimidating
but it's really just anything that isn't directly attached
to the base animation that's kind of
flowing off or effected by other physics.
Secondary is honestly one of my favorite parts of animation
because it can take something that has up
till now been very technical or very like sad.
I can kind of just like a process
and turn it into something that has a lot more extra flair
and a little bit more of a personality.
Examples of secondary include anything that's not
directly attached completely to the body.
So this could be like hair or a jacket that's hanging off,
or a skirt or anything loose and flowy.
That's going to have different physics from our main body
and it's going to be affected by other elements.
This is where you can kind of add a little bit more
of that stylization and kind of like push stuff.
And it adds a really nice extra touch to it.
So as you can see here, I've kind of animated a little bit
of an example where it's kind of like a string attached
to a fixed point that's being affected
by the up and down motion or
by a wind kind of like invisibly blowing past it.
So this is pretty straight forward
in terms of what you would normally imagine, like say a flag
or anything that's hanging off of anything else, really.
I like to think of it as a string.
And I think that that tends to help when you have to piece
different secondary pieces together of just thinking
of each side or each part of them as an individual string.
That's not attached at another point.
And I'll go into that a little bit more
if that seems kind of weird or complicated.
So now basically what I'm going to do is start adding
in the hair with the same principle
of a string being attached to a static point.
Now, in this case
the hair is basically a triangular string attached
to the static point of her head
and her head is going to be moving a little bit.
So I'm going to have it move with that as well.
But if you look at it altogether
it's basically the same principle of a wave.
And you can see here if we go through the onion skins
one thing that you can tell in this wave as well
is that it's really just in-between
and it's not too much of a gap between any of them.
It's a fairly even emotion.
Since this is one continuous walk cycle.
We don't really need much ease on this, except for maybe
on these big arcs on either side, but pretty
much it's fairly static in terms of motion change.
And it doesn't have too much either way
just a little bit on maybe the top arcs
of each arc that it's doing, but it's nothing crazy.
And that's because we want it to look continuous
with this motion that we have
of the head just going up and down
and you can see that these two animations basically match.
And what I've done is I've attached her hair to her head.
And I basically just moved this base
of her hair and rotated it to where her head needs to be.
And this wave animation is basically what you're
going to keep in mind for the entire rest
of the secondary animation.
You just take this very simple piece and kind of use it
to your will like change the direction or change the angle
and pretty much use that type
of movement for the rest of all of this.
So once you have down this wave animation
you can even make a practice one if you'd like on your own
like this blue example, just to kind of get the hang
of it before trying to attach it to your moving object.
When you're animating a waver,
a more continuous motion like this
it can be a little harder to finesse the loop point.
So I'm going to be again, referencing my first frame
at the very end over and over again.
And that's something that can be kind of trial and error
as you're going through and making these increments
fairly even following your general wave form movement.
You can adjust and if this is looking
too close or too far too big of a jump,
you can go back and add a little bit more
of a gap between these earlier frames
or tighten them up a little bit, just so that
once you get to that final frame jump between these two
it's looking a little more natural,
just like it's a natural continuation from the frame before
if you just finesse and you keep referencing
your first frame you'll be able to get it.
So now we're going to start animating our next
secondary elements and this same wave principle
is going to be applied throughout all of these.
So for this example, I'm kind of adding
as you see in the design, this front part of her jacket
and I'm going to animate that part separately
from the rest of it, just so that I can get that movement
down and then add the rest in, in a way that makes sense.
So as you can see, I'm following the same wave form
but this is going to be a slightly different variation
because I don't want her jacket to feel as loose
and flowy as her hair.
I want it to have a little bit of weight to it.
So it's not going to move as much
with the wave and it's going to move a little more slowly.
So while animating this particular type of wave
I noticed that when her arm swings back
it was kind of at a point where naturally
the jacket would have come inwards and hit it.
So knowing that the jacket should naturally be affected
by the arm, pushing it back.
I kind of wanted to show that a little bit
which makes my wave form less uniform
but it also adds a nice little bit of extra flare.
So I'm going through, and as you can see, it kind of poofs
out from where her upper arm would have hit it
and that kind of propels this bigger wave motion compared
to the earlier ones, just to show
that extra push and have that little bit of extra quickness
and motion from the arm, kind of translating into the wave.
So now I'm going to take that same wave principle
and apply it to this piece right here
attaching wherever this attaches behind the hip
to this corner here that we already have.
And I'm going to take that wave and it's basically
one of the straightest waves that we have
just because it's so perfectly between those two points.
So if you play it through it's just the same exact thing
that we've been doing but just making sure
that this side stays attached to that corner.
Since this is a part after the arm has kind of hit it.
And this poofing out, you can kind of see that
since this wave form got bigger, our lower one follows that
with that big movement that kind of started
at the shoulder there.
And that's something that'll happen naturally
as you kind of attach these ends
because this one had such a big movement,
this one also has to. So you'll kind of see
that even just watching this corner
you see how the wave needs to go for that bottom piece
because it's already going in a wave motion.
And that's something that can be helpful
as you're trying to attach two different points
in something like this. So now we're just going to continue
using the same principle across
all of the secondary animation that we have.
The next step for this design
in particular is to add this sleeve here
which is a mainstay that we'll be seeing in the animation.
So going through and adding that I am again
following the same wave motion, but I'm going to
have it follow the up and down of the shoulder a little bit.
And this part where the jacket is affected by the shoulder
and this front piece that we were looking at,
we're also going to have it affect the sleeve a little bit.
Since that sleeve is hanging off of the shoulder
as we're going through and adding the wave
it's going to be messy and we're going to have to
kind of go back and rework a little bit.
So just keeping it really loose at the beginning
and then tightening it up as we lock the motion down
a little more is going to save you a lot of headache.
So now we're adding the final touches.
There's just one final secondary sleeve
behind the main sleeve. And you can see
that I've kind of offset the waves a little bit
just because I know that it's not only attached
to her back shoulder, but I also just want to show
kind of an even more secondary animation.
It's the same principle of offset
that we were using for the hips and the head, et cetera.
I'm just applying that to these two sleeves.
So they are kind of moving as one chunk
cause that wouldn't be as fun.
And you can see that here, I'm kind of hiding one of them
behind the other because that's what would naturally happen
as I move separately. And I've even add a little bit
of dimension to the sleeve holes.
I kind of want them to turn away
from us slightly as they're moving in one direction
and then kind of open up as they would come forward.
So you can add little bits of extra kind of
three-dimensional attention to your pieces as they move.
And that'll add a really nice extra touch to it.
One thing that I'm doing as I'm going through
and adding all these different elements
of the animation is I'm keeping everything
on separate layers. That's partially because
my brain is kind of just wired to do that
from my professional animation background
with working non-destructively, but it's also
because as I'm going through
and adding all of these different elements
they're going to be moving separately
and I'm going to want to be able to edit them separately.
And it's way easier to do that
when they're all in their own layers.
It'll also help later with filling and cleaning up.
If I'm able to fill each of the layers individually
rather than having to go through
and cut them out and then recolor them again.
That was one lesson for my Skillshare class.
Check out the link below for more info
and to join me in creating a full walk cycle and procreate.
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