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Adobe animate cc tutorials pdf free download –
Try posing your own characters and making them move using your new knowledge of Adobe Animate. Another method for character animation involves creating a bone structure to represent joints in the figure.
ArtTips shows you how to use Adobe Animate to create a simple rig using a series of bones. This ensures that the head is never accidently placed upside down or in some other impossible position.
Starting with a rough storyboard layer Moolt walks you through building your keyframes and then fleshing out the animation with tweens. Usually animators like to start with the key action frames called keyframes. These frames will set the stage for the main action in the scene. Once these frames are drawn the animator will fill in the frames between the keyframes.
These frames are called tweens and they make the animation a lot more fluid. Drawing animation frame-by-frame is hard work.
TV show. This channel has a lot of great videos about Adobe Animate and animation in general, and you can clearly tell this is the work of a pro. Walk cycles are the bread and butter of character animation.
Mastering them is an important step on the path to becoming a competent character animator. In this tutorial, cartoonsmart provides a quick demo to demystify the process. As a bonus the artist also shows how to play with timing and easing to add style to your walk cycle. Self-learning is great, but it can be difficult knowing how to advance. High-quality videos like these are delivered by professionals in the animation industry so they can help you become a stronger artist and animator by directing your learning through good habits and a proper curriculum for study.
And thanks to the Internet you have access to some amazingly talented teachers who can teach you the skills you need to reach your creative potential. Check Out This Course. This course from Bloop Animation has it all.
This is a fast-paced course meant for animation students who are eager to learn. It might give you a better idea of what to expect in their videos. This introductory course by Mustafa Pracha is perfect for animators just starting out in vector graphics.
Geared towards animation beginners, this Udemy course will walk your through the interface and teach you the basics with well-paced, easy-to-learn instructions. This course comes with 2 and half hours of instructional video, multiple assignments, and a practice test. Now each lesson of the course is focused on one topic at a time, so you can develop skills at your own pace and work through chapters comfortably. Being a part of the Adobe Creative Cloud, Animate CC works alongside other applications to create a more integrated workflow for artists.
If you have experience with Photoshop and Illustrator you can take advantage of those skills in Animate CC. The instructor Joseph Labrecque is an interactive software engineer at the University of Denver.
We wrote a very detailed review of Pluralsight so you should definitely give that a read if you want an inside look into the Pluralsight learning platform. Animate CC can be used for so many different types of projects including web content, videos and films, applications, and video games. Mastering the working environment and various animation tools is a focus of this course. But what if you just want to use it for animation and have no need for stuff like scripting and web banners?
This course is an excellent starting point for students interested in traditional animation who want to take advantage of the power of Animate CC. This six hour long series by professional animator Eric Lee walks you through the steps necessary to create dramatic animations from scratch.
Lee has over decade of experience working for high profile clients like Google. This course by instructor Chad Troftgruben offers an in-depth look at a walking animation in Animate CC. There are many free videos on YouTube about this topic, but none get into this much detail so I highly recommend this for aspiring animators. Learning to control the motion of the character is essential for expressive animation.
Other advanced topics are also covered in detail inside this course. And again, Pluralsight offers a totally free trial for new signups so you can join and take all of these courses for the trial period, then cancel without paying a dime.
Josh is an artist and game developer who specializes in sci-fi, fantasy, and abstract art. Animation can be as simple as moving a box across the Stage from one frame to the next. It can also be much more complex. In Animate, the basic workflow for animation goes like this: Select an object on the Stage, right-click, and choose Create Motion Tween from the context menu.
Move the red playhead to a different point in time and move the object to a new position or change one of its properties. Animate takes care of the rest. Motion tweens create animation for changes in position on the Stage and for changes in size, color, or other attributes. Motion tweens require you to use a symbol instance. Animate also automatically separates motion tweens on their own layers, which are called tween layers.
There can be only one motion tween per layer without any other ele- ment in the layer. Tween layers allow you to change various attributes of your instance at different key points over time. For example, a spaceship could be on the left side of the Stage at the beginning keyframe and at the far-right side of the Stage at an ending keyframe, and the resulting tween would make the spaceship fly across the Stage.
Senior animators would be responsible for drawing the beginning and ending poses for their charac- ters. The beginning and ending poses were the keyframes of the animation. Understanding the Project File The 04Start. All the necessary graphic elements have been imported into the library. The Stage is set at a generous pixels by pixels, and the Stage color is black. You might need to choose a different view option to see the entire Stage. It will begin slightly lower than the top edge of the Stage, and then rise slowly until its top is aligned with the top of the Stage.
Create a new layer above the footer layer and rename it city. This positions the cityscape image just slightly below the top edge of the Stage. Motion tweens require symbols. Animate asks if you want to convert the selection to a symbol so it can proceed with the motion tween.
Click OK. Animate automatically converts your selection to a symbol with the default name Symbol 1, and stores it in your Library panel. Animate also converts the current layer to a tween layer so you can begin to animate the instance. Tween layers are distinguished by a special icon in front of the layer name, and the frames are tinted blue. The range of frames covered by the tween is the tween span. The tween span is represented by all the colored frames from the first keyframe to the last keyframe.
Tween layers are reserved for motion tweens, and hence, no drawing is allowed on a tween layer. Holding down the Shift key constrains the movement to right angles. A small black diamond appears in frame at the end of the tween span.
This indicates a keyframe at the end of the tween. Animate smoothly interpolates the change in position from frame 1 to frame and represents that motion with a motion path. Animating changes in position is simple, because Animate automatically creates keyframes at the points where you move your instance to new positions. Integrated into the bottom of the Timeline is a set of playback controls. You can also use the playback commands on the Control menu.
The playhead loops, allowing you to see the animation over and over for careful analysis. The playhead loops within the marked frames. Click Loop Option again to turn it off. Changing the Pacing and Timing You can change the duration of the entire tween span or change the timing of the animation by dragging keyframes on the Timeline.
Changing the animation duration If you want the animation to proceed at a slower pace and thus take up a much longer period of time , you need to lengthen the entire tween span between the beginning and end keyframes.
If you want to shorten the animation, you need to decrease the tween span. Lengthen or shorten a motion tween by dragging its ends on the Timeline. Your motion tween shortens to 60 frames, reducing the time it takes the cityscape to move. The timing of your entire animation remains the same; only the length changes.
Add frames by Shift-dragging the end of a tween span. The last keyframe in the motion tween remains at frame 60, but Animate adds frames through frame The keyframe at frame 60 is selected. A tiny box appears next to your mouse pointer, indicating that you can move the keyframe.
The last keyframe in the motion tween moves to frame 40, so the motion of the cityscape proceeds more quickly. Span-based vs. However, if you prefer to click a motion tween and have the entire span the beginning and end keyframes, and all the frames in between be selected, you can enable Span Based Selection from the Options menu on the upper-right cor- ner of the Timeline or you can Shift-click to select the entire span.
With Span Based Selection enabled, you can click anywhere within the motion tween to select it, and move the whole ani- mation backward or forward along the Timeline as a single unit. You can change the color effect of an instance in one keyframe and change the value of the color effect in another keyframe, and Animate will automatically display a smooth change, just as it does with changes in position.
Animate will create a smooth fade-in effect. The cityscape instance on the Stage becomes totally transparent. The cityscape instance on the Stage becomes totally opaque. Animate interpolates the changes in both position and transparency between the two keyframes. Animating filters is no different from animating changes in position or changes in color effect.
You simply set the values for a filter at one keyframe and set different values for the filter at another keyframe, and Animate creates a smooth transition. Click the upper-right side of the Stage to select the transparent instance. Or, click the woman layer in the Timeline to highlight it; then click within the outline that appears on the Stage. Set the Blur X and Blur Y values to 20 pixels. The woman instance is blurred throughout the motion tween.
Animate establishes a keyframe for filters at frame The Blur filter changes from the keyframe at frame to the keyframe at Animate creates a smooth transition from a blurry instance to an in-focus instance. Understanding property keyframes Changes in properties are independent of one another and do not need to be tied to the same keyframes.
That is, you can have a keyframe for position, a different keyframe for the color effect, and yet another keyframe for a filter.
Managing many different kinds of keyframes can become overwhelming, especially if you want dif- ferent properties to change at different times during the motion tween.
Fortunately, Animate CC provides a few helpful tools for keyframe management. When viewing the tween span, you can choose to view the keyframes of only cer- tain properties. For example, you can choose to view only the Position keyframes to see when your object moves.
Or, you can choose to view only the Filter keyframes to see when a filter changes. Right-click a motion tween in the Timeline, choose View Keyframes, and then select the desired property among the list. You can also choose All or None to see all the properties or none of the properties. When inserting a keyframe, you can also insert a keyframe specific to the property you want to change. Right-click a motion tween in the Timeline, choose Insert Keyframes, and then select the desired property.
You can also view an advanced panel, called the Motion Editor, to see and edit how the different properties of your object change over the course of the motion tween.
These kinds of changes are made with the Free Transform tool or with the Transform panel. The car will start small, and then become larger as it appears to move forward toward the viewer. The transformation handles appear around the instance on the Stage. The car becomes totally transparent. The current layer becomes a tween layer. A new keyframe is automatically inserted at frame to indicate the change in transparency. You have used Animate to tween the change in position and the change in scale as well as the change in transparency from frame 75 to frame Motion presets If your project involves creating identical motion tweens repeatedly, Animate allows you to save and reuse motion tweens as presets.
For example, if you want to build a slideshow where each image fades out in the same manner, you can save that transition as a motion preset. Alternatively, right-click the motion tween and choose Save As Motion Preset.
Animate provides a number of motion presets that you can use to quickly build sophisticated animations without much effort. Changing the Path of the Motion The motion tween of the left car that you just animated shows a colored line with dots indicating the path of the motion.
You can edit the path of the motion easily to make the car travel in a curve, or you can move, scale, or rotate the path just like any other object on the Stage. To better demonstrate how you can edit the path of the motion, open the sample file 04MotionPath. Moving the path of the motion You will move the path of the motion so the relative movement of the rocket ship remains the same but its starting and ending positions change.
The path of the motion becomes highlighted. The relative motion and timing of the animation remain the same, but the starting and ending positions are relocated. Transformation handles appear around the path of the motion. You can make the path smaller or larger, or rotate the path so the rocket ship starts from the bottom left of the Stage and ends at the top right.
Editing the path of the motion Making your objects travel on a curved path is a simple matter. You can either edit the path with Bezier precision using anchor point handles, or you can edit the path in a more intuitive manner with the Selection tool. The handle on the anchor point controls the curvature of the path.
Make the rocket ship travel in a wide curve. Select the Selection tool and make sure the path is deselected. Move your pointer close to the path of the motion. A curved icon appears next to your pointer, indicating that you can edit the path. Drag the path of the motion to change its curvature. Choose the spots where you drag carefully! Each drag breaks the path into smaller segments, making it harder to achieve a smooth curve. Mastery will come with practice.
In the motion picture splash page project, the orientation of the car is constant as it moves forward. However, in the rocket ship example, the rocket ship should follow the path with its nose pointed in the direction in which it is heading. Orient To Path in the Properties panel gives you this option. Animate inserts keyframes for rotation along the motion tween to orient the nose of the rocket ship to the path of the motion. Use the Free Transform tool to rotate its initial position so that it is oriented correctly.
This means that an object and its motion are independent of each other, and you can easily swap out the target of a motion tween. Select the object that you want to swap on the Stage. In the Properties panel, click the Swap button. In the dialog box that appears, choose a new symbol 2 Click OK. Animate will swap the target of Animate replaces the rocket ship with the alien. The motion remains the same, the motion tween. Creating Nested Animations Often, an object that is animated on the Stage will have its own animation.
For example, the wings of a butterfly moving across the Stage may flap as it moves. Or the alien that you swapped with the rocket ship could be waving his arms. These kinds of animations are called nested animations, because they are contained inside the movie clip symbols.
Movie clip symbols have their own Timeline that is inde- pendent of the main Timeline. The alien appears in the middle of the Stage. In the Timeline, the parts of the alien are separated in layers. A keyframe is inserted at the end of the motion tween. The left arm rotates smoothly from the resting position to the outstretched position. Right-click his right arm and choose Create Motion Tween. Animate inserts a keyframe at the end of the motion tween. The arm rotates smoothly from the resting position to the outstretched position.
To prevent the looping, 11 Click the Scene 1 button in the Edit bar at the top of the Stage to exit symbol- you need to add code to tell the movie clip editing mode.
Timeline to stop on its Your animation of the alien raising his arms is complete. Wherever you use the last frame. JavaScript in later lessons. But you can also have nested animations and graphics inside of graphic symbols, although they work a little differently. It will only play if there are sufficient frames on the main Timeline where the instance is placed. Because of the ease with which you can pick and choose what frame inside a graphic symbol shows, graphic symbols are ideal for lip syncing or other character variations.
Using the Frame Picker for phonemes If animated characters talk, their mouth will be synchronized with their words. Each sound, or phoneme, is produced by a different mouth shape. Animators draw a collection of these mouth positions to be used to synchronize to the soundtrack.
You can store each mouth position as a keyframe in a graphic symbol. The file contains your familiar alien character on the Stage. The alien is not animated on a path, but his head is a graphic symbol with multiple keyframes inside of its Timeline.
Notice that the Timeline contains five keyframes in the mouth layer. Each keyframe shows the mouth in a different position. Frame 1 has a small closed mouth, frame 2 a rounded mouth, frame 3 a wide open mouth, and so on. Animate creates a SWF to play the animation. Nothing happens because there is only a single frame on the main Timeline, and a graphic symbol needs frames on the main Timeline to play its own Timeline.
Frames are added to both layers up to frame Animate plays the animation. The graphic symbol plays all of its five keyframes repeatedly during the 45 frames of the main Timeline. Leave the value of the First field at 1. The Frame Picker panel opens. The Frame Picker shows thumbnail images of all the frames inside the graphic symbol. When the animation plays frame 12, the alien head graphic symbol will change to frame 4. When the animation reaches frame 14, the head symbol will switch to displaying frame 2.
Easing Easing refers to the way in which a motion tween proceeds. You can think of easing as acceleration or deceleration. An object that moves from one side of the Stage to the other side can start off slowly, then build up speed, and then stop suddenly. Or, the object can start off quickly and then gradually slow to a halt. Your keyframes indicate the beginning and end points of the motion, but the easing determines how your object gets from one keyframe to the next.
A simple way to apply easing to a motion tween is to use the Properties panel. A negative value creates a more gradual change from the starting position known as an ease-in. A positive value creates a gradual slowdown known as an ease-out. Splitting a motion tween Easing affects the entire span of a motion tween.
If you want the easing to affect only frames between keyframes of a longer motion tween, you should split the motion tween. However, the actual movement of the car starts at frame 75 and ends at frame The motion tween is cut into two separate tween spans.
The end of the first tween is identical to the beginning of the second tween. The motion tweens of all three cars have now been split. This applies an ease-out to the motion tween. Animate plays the Timeline in a loop between frames 60 and so you can examine the ease-out motion of the three cars. Frame-by-Frame Animation Frame-by-frame animation is a technique that creates the illusion of movement by making incremental changes between every keyframe.
Frame-by-frame animations increase your file size rapidly because Animate has to store the contents for each keyframe. Use frame-by-frame animation sparingly.
Adobe animate cc tutorials pdf free download. Free tutorials adobe animate – PDF
Adobe Animate is a powerful tool for creating vector graphics. Building on the legacy of Flash , Adobe Animate has positioned itself as an important player in the animation industry. Despite its name, Animate can do so much more than just animate vector graphics. Advanced users could even work to create game assets or design their own video games. Like its predecessor, Adobe Animate was designed for easy-of-use.
These lessons are meant to guide your learning as you mess around with various tools and techniques in Animate. When you follow an individual tutorial I suggest applying the lessons learned directly to your work. Building on your knowledge this way will help you improve faster. For this list I looked for videos that are both informative and easy-to-follow with good teachers and a clear presentation. Check Out This Tutorial. This massive video from Draw with Jazza will teach you everything you need to get started with Adobe Animate.
Split into 8 parts, Jazza walks you through creating your own project from scratch. Over an hour and a half long for this first part, this tutorial is a powerhouse of useful information. This ultimate guide by Jazza is incredibly valuable even by professional standards. This short series by Software Soldier is aimed at beginners who want to get up to speed as quickly as possible.
Software Soldier delivers an effective crash course in part 1, teaching the ropes of creating vector shapes and text. This series walks you through the animation process step-by-step making it very easy to follow along. The whole series is less than half an hour and well worth the time. I recommend it to anyone looking to learn Adobe Animate as quickly as possible.
Creating complex vector art is all about using layers to your advantage. This video is a great example of how simple shapes, pleasing color schemes, and an eye for value can yield satisfying results quickly in Adobe Animate. In this short tutorial NaughtyEgg Draw introduces the fundamentals of character animation in Adobe Animate. Breaking a character into pieces—like a cut-out doll—is a fast and effective way to great animations. In traditional animation this technique was done using pieces of paper and a camera.
The artist would move the paper cut-outs into place and then snap a picture, creating one frame of animation. Thanks to software like Adobe Animate we can achieve this effect much, much faster using vector graphics.
The instructor here will walk you through the whole process using his self-portrait. Kyle Kipfer is another popular YouTube teacher in the art space. In this excellent tutorial he teaches how to animate a flying bird graphic by combining the transform tool and the timeline. Starting with a reference image he traces the graphics, using good artistic judgement to create various shapes that represent the values dark, mid, and light.
The best part of working with vector graphics is how malleable they are. Using frame-by-frame animation and hand-drawn stick figures, Cordova shows you how to design exciting character animation from scratch. By paying special attention to the pacing of the action as well as the pose of the figures, a lot of information is conveyed in only a few frames. In this case Cordova animates a fight between two stick figures. If you have a drawing tablet this exercise will be a lot of fun and much like making a stick figure flip book with paper and pencil.
Practice these techniques using stick figures just like Cordova to develop a sense of action and timing. Getting a strong animation at this skill level is important.
Try posing your own characters and making them move using your new knowledge of Adobe Animate. Another method for character animation involves creating a bone structure to represent joints in the figure. ArtTips shows you how to use Adobe Animate to create a simple rig using a series of bones.
This ensures that the head is never accidently placed upside down or in some other impossible position. Starting with a rough storyboard layer Moolt walks you through building your keyframes and then fleshing out the animation with tweens. Usually animators like to start with the key action frames called keyframes.
These frames will set the stage for the main action in the scene. Once these frames are drawn the animator will fill in the frames between the keyframes. These frames are called tweens and they make the animation a lot more fluid. Drawing animation frame-by-frame is hard work.
TV show. This channel has a lot of great videos about Adobe Animate and animation in general, and you can clearly tell this is the work of a pro. Walk cycles are the bread and butter of character animation. Mastering them is an important step on the path to becoming a competent character animator. In this tutorial, cartoonsmart provides a quick demo to demystify the process. As a bonus the artist also shows how to play with timing and easing to add style to your walk cycle.
Self-learning is great, but it can be difficult knowing how to advance. High-quality videos like these are delivered by professionals in the animation industry so they can help you become a stronger artist and animator by directing your learning through good habits and a proper curriculum for study.
And thanks to the Internet you have access to some amazingly talented teachers who can teach you the skills you need to reach your creative potential. Check Out This Course. This course from Bloop Animation has it all. This is a fast-paced course meant for animation students who are eager to learn. It might give you a better idea of what to expect in their videos.
This introductory course by Mustafa Pracha is perfect for animators just starting out in vector graphics. Geared towards animation beginners, this Udemy course will walk your through the interface and teach you the basics with well-paced, easy-to-learn instructions. This course comes with 2 and half hours of instructional video, multiple assignments, and a practice test. Now each lesson of the course is focused on one topic at a time, so you can develop skills at your own pace and work through chapters comfortably.
Being a part of the Adobe Creative Cloud, Animate CC works alongside other applications to create a more integrated workflow for artists. If you have experience with Photoshop and Illustrator you can take advantage of those skills in Animate CC.
The instructor Joseph Labrecque is an interactive software engineer at the University of Denver. We wrote a very detailed review of Pluralsight so you should definitely give that a read if you want an inside look into the Pluralsight learning platform. Animate CC can be used for so many different types of projects including web content, videos and films, applications, and video games.
Mastering the working environment and various animation tools is a focus of this course. But what if you just want to use it for animation and have no need for stuff like scripting and web banners?
This course is an excellent starting point for students interested in traditional animation who want to take advantage of the power of Animate CC. This six hour long series by professional animator Eric Lee walks you through the steps necessary to create dramatic animations from scratch. Lee has over decade of experience working for high profile clients like Google.
This course by instructor Chad Troftgruben offers an in-depth look at a walking animation in Animate CC. There are many free videos on YouTube about this topic, but none get into this much detail so I highly recommend this for aspiring animators.
Learning to control the motion of the character is essential for expressive animation. Other advanced topics are also covered in detail inside this course.
And again, Pluralsight offers a totally free trial for new signups so you can join and take all of these courses for the trial period, then cancel without paying a dime. Josh is an artist and game developer who specializes in sci-fi, fantasy, and abstract art.
His work employs vibrant colors and combines elements of glitch art, outrun, retro-gamming, neo-geo, and conceptual art. He trained as an oil painter before picking up 3D modeling, animation, and programming.
He now runs Brain Jar , a small game development studio that focuses on experimental, narrative-driven content. You can learn more on the website or on Twitter brainjargames. That means if you buy something we get a small commission at no extra cost to you learn more. Author: Josh Petty Josh is an artist and game developer who specializes in sci-fi, fantasy, and abstract art.
What is an Animatic in Animation?
