HTML5 Game Part 1 Set up Game and Game Objects Adobe Animate 2020-11-19 | Five part series on how to create a simple HTML5 Canvas game (Balloon Shooting Game).In this part learn how to set up the game assets and launch them.Git Repo : github.com/ramkulkarni1/BalloonShootingGameWithAnimateGame Demo: http://ramkulkarni.com/Games/BalloonShootingGamePart 1 - youtu.be/LbwlNjxGDHMPart 2 - youtu.be/m_keGdTnlXQPart 3 - youtu.be/AiBfCmm9J98Part 4 - youtu.be/W0_N0OWNSQ0Part 5 - youtu.be/lP84PxyVxMg
Modern Rigging - Flexi Bone Adobe Animate 2022-07-20 | In this video you will learn how to use Flexi Bone along with other bone types such as Hard and Soft bone in Adobe Animate.
Modern Rigging - Freeze joint and soft bone Adobe Animate 2021-12-20 | In this video you will learn how to create freeze joint and soft bone in Adobe Animate
Modern Rigging - Multiple Rigs Adobe Animate 2021-12-20 | In this video you will learn to create multiple rigs on a character.
Modern Rigging - Individual joints Adobe Animate 2021-12-20 | In this video you will learn on individual joints
Modern Rigging - Creating rigs (bones and joints) Adobe Animate 2021-12-20 | In this video you will learn how to create simple rigs like bone and joints in adobe animate.
Layer Parenting - Propogation Adobe Animate 2021-12-20 | In this video you will learn how to propogate scale, skew and transform using layer parenting
Layer Parenting basics in Adobe Animate Adobe Animate 2021-12-20 | In this Video you will learn how to use layer parenting option in Adobe Animate
Modern Rigging in Adobe Animate Adobe Animate 2021-12-14 | See whats possible with modern rigging in Adobe Animate 22.0.2
Last frame loop option for Graphic Symbols in Adobe Animate Adobe Animate 2021-06-30 | Last frame loop option for Graphic Symbols in Adobe Animate
Coloring and Shading using Brush modes in Adobe Animate Adobe Animate 2021-06-30 | Learn how to quickly do coloring and shading using brush modes in Adobe Animate.
Adding lighting effects (25 of 25) Adobe Animate 2021-02-22 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Finish the scene with an atmospheric lighting effect.What you learned: Combine animated asks with layer filters to produce complex motion effects entirely within Animate.* Expand the folder containing the walk cycle and fence layers, if necessary.* Right-click on the walk layer and select Duplicate Layers.* Do the same for the Fence Layer.* Hide the original walk cycle and fence layers.* Lock all layers except the duplicate walk cycle.* Rename the duplicate walk cycle something like “shadow.”* With the shadow layer selected, chose Modify-Transform-Flip Vertical.* Make the original walk cycle layer visible.* Align the feet of the shadow layer to the feet of the original walk.* Disable the Clip Content Outside the Stage button (above the top-right corner of the stage). This will let you see the entire symbol.* Skew and stretch the shadow Symbol slightly to make it appear flatter.* Set the Brightness Color Effect to -100% in the Object Properties panel, similar to how you darkened the far arm and leg Symbols.* Next select the symbol Keyframe in the Timeline (or simply click on the Frame tab of the Properties panel).* Go the Filters section of the Frame Properties panel and click on the + to add a Blur filter.* Adjust the Blur parameters to your liking.* Still in the Frame Properties panel, go up to Color Effects and choose Alpha.* Drag the Alpha slider to the left to lower the Alpha, making the layer more transparent.* Set the Alpha to your liking.* Move to the duplicate fence layer. Rename the layer something like “fence_mask.”* Drag the mask Layer to just above the shadow Layer.* Right-click on the mask layer and select “Mask” from the pop-up menu.* To see the full effect, right-click on the mask layer once again and select “Show Masking” from the pop-up menu.* Turn “Clip Content Outside the Stage” on if it was off.* Set View-Preview Mode to “Anti-Alias” if it was not already set.* Select Control-Loop Playback to enable looping of the entire timeline. Click the Play button on the Timeline to review your work.* Save your incremental progress as a new file.
Creating the environment (24/25) Adobe Animate 2021-02-22 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Draw a starry night sky with a glowing moon.What you learned: Visually rich design objects can be created within Animate using drawing tools, gradients, and Filter effects.* Organize and label your stage timeline layers. Create new layers for a moon, sky, and stars. These can be placed in a Background layer.* Start with the sky layer. Draw a rectangle a little larger than the stage size. * Fill the rectangle with a gradient. Edit the gradient with the gradient Transform Tool and the Color panel to create an indigo to dark blue gradient.* Once the sky is set, lock sky Layer and unlock to the stars Layer.* On the stars layer, use the brush to make a several small light gray or white dots.* Convert the stars layer to a Graphic Symbol. * The brightness of the stars can be adjusted using he Brightness Color Effect in the Object Property panel.* Lock the stars Layer and unlock the Moon Layer.* Select the Oval Tool. Select a light-yellow fill and no stroke. Constrain the proportions to a circle with the Shift key and draw a large light-yellow circle on the stage. It is okay if it is a little larger than the stage.* Convert the circle to a Graphic Symbol.* Edit the moon Symbol in place by double-clicking on it on the stage.* On a new empty layer, draw slightly darker ovals for craters. A single crater element can be grouped to itself and duplicated and transformed many times to give the moon’s surface some texture.* Select the moon Symbol’s first Keyframe on the Timeline. * The Frame’s Property panel should display a Filters section (underneath Blend).* In the Filters section, click on the + to add a new filter. Select the Glow filter.Click on the padlock icon to lock the dimensional proportions to each other.Drag on the value or enter a number directly to increase/decrease the glow amount.* The default Glow color is red. Click on the color swatch in the Glow panel to access a swatch panel and select a glow color to your liking.* Click on the + in the Filters section once more and this time choose Blur to add a blur effect to the moon. Adjust the Blur amount, proportion, and quality to your liking.* Save your incremental progress as a new file.
Panning the fence (23/25) Adobe Animate 2021-02-22 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.What you learned: If you know the distance and the time it takes for a cycle to repeat, you can animate something precisely by its stage coordinates.* Determine the number of frames it takes for your walk to go from the first to the second contact. In this example, the first contact pose is at frame 1 and the second contact pose is at frame 13, which means one stride has a duration of 12 frames. The entire cycle of two strides is double that, or 24 frames.* Extend the exposure of your walk cycle and fence layers to one cycle plus one frame. In this example, it is 25 frames.* Go to the halfway point of your cycle (frame 13) and set a Keyframe on the fence layer.* Nudge the fenceposts so that the one registered to foot position on frame 1 is now foot position on frame 13.* Add a Classic Tween to the frame span between the fence’s Keyframes. It should track perfectly with the near foot.* Now you can determine the distance of the stride by subtracting the X coordinate of the fence on frame 13 from the X coordinate of the fence on frame 1. The result is the number of pixels covered in one stride. Round up or down to a whole number. In this example, it is 119.95 or 120 pixels.* To determine the distance of one complete cycle, double the stride value (two strides = one cycle). In this example, it would be 240 pixels.* With this information, we can calculate what the X position of the fence should be at frame 25. It would be the X position at frame one minus the cycle distance. Add a Keyframe at frame 25 and enter your calculated value for X in the Position Property of the Object Property panel. Apply a Classic Tween to this span as well.* The fence has moved too far behind the feet to know if the distance is correct. Go to frame 13 of the Timeline and edit the fence Symbol in place by double-clicking on it. * Once inside the fence Symbol, select the three fenceposts and alt/option-drag copies of them toward the forward foot. Register the center of the new duplicates to the foot position guide. There should now be six fenceposts in registration with each other and the stride length guide.* Back out one level of the Symbol hierarchy to the to the main stage. Delete the Keyframe at frame 13 of the fence layer. The tween span should extend to frame 25 and the fence should track with the feet for one walk cycle. * If the walk tracks at this point, we can calculate the rate of pixels per frame by dividing the number of pixels in the cycle by the number of frames in the cycle. In this example, it is 240 pixels over 24 frames or 10 pixels per frame.* At this point we have one second’s worth of fence built. We need to determine how much more fence we need to make in order to have a seamless looping effect.* Look at how much of the stage the fence currently takes up. In our example, it is roughly one third of the stage in one second. By this estimation, the fence section needs to be duplicated two more times to cover the screen, which amounts to two more seconds of time, for a total of three seconds. * Extend the exposures of your layers to the three second mark (frame 72) and then advance one more frame. We want to set a keyframe on frame 73 and not 72 for the same reason we keyframed frame 25 of a 24-frame cycle – frame 73 will be identical to frame 1, so if we trim the tween span to frame 72, it will loop seamlessly.* Now, the X position of the fence needs to be set for frame 73. Simply take the stride length (240 pixels), multiply it three, for three seconds (720 pixels), and subtract the result from the X position at frame 1. In our case, frame 1 X=615.50 and frame 73 would be -104.50. * Edit the fence symbol in place by double-clicking on it. Now we need to duplicate the fenceposts enough to fill the screen.* Turn on Snap to Object and select all the fenceposts. Alt/Option drag the selection with snapping to drag out a duplicate of the entire selection. Register the fence to itself by overlapping three fenceposts from the duplicate selection over an end of the original section. Then delete the overlapping duplicates. You should have perfectly spaced out fenceposts.* Repeat this aligned duplication of fence sections until the entire stage is covered. If your alignment is correct, you will have created an endlessly panning fence loop.* The fence at frame 1 should be identical to frame 73. Convert frame 72 of the fence layer to a Keyframe and deleted the exposures at frame 73 on all layers.* Record the rate of distance per frame somewhere in the notes layer of your walk cycle symbol.* Hide the foot position and stride length guide layers in the walk cycle Symbol.
Building a fence (22/25) Adobe Animate 2021-02-22 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Make a modular template for a repeating fence pattern.What you learned: Use the drawing and selection tools, gradient fills, and transforms to create multiple instances of a design element.* Edit the walk cycle Symbol by double-clicking on it. Inside the Symbol, Un-Guide the foot position and stride length layers so they become visible up the hierarchy.* Ensure that the exposures for all this Symbol’s layers is exactly twenty-four frames. To ensure that there are tween targets where needed, select the entire column of frame twenty-four and convert all those frames to Keyframes.* Once frame twenty-four has been converted to Keyframes on all Layers, select and delete all the exposures on frame twenty-five. * Back out of that Symbol to the main Stage Timeline.* Create a new Layers for the fence and for notes.* Lock all layers but the fence.* Draw and modify the first fencepost using the Rectangle Tool and Direct Selection Tool.* Fill the fencepost with a linear gradient. Adjust the orientation of the gradient with the Gradient Transform Tool. You may need to click on the Edit Toolbards (three dots) button at the bottom of the Toolbar to access this tool.* Edit the colors of the fence gradient using the Color panel. * Convert the fencepost to a Graphic Symbol.* Alt/Option-Drag the fencepost two more times to make three instances of the Symbol on one Layer. These will not be animated on this layer so it is okay to have multiples here.* Align the points of each fencepost with the registration marks of the stride length guide. Move the fenceposts into position so it appears as though the character’s feet are resting on the tops.* Select the three fenceposts and convert the selection to a Graphic Symbol.* Edit the middle fencepost in place by double-clicking on it. * Alter the shape of the fencepost with the Direct Selection Tool to decrease the gaps between the posts.* Introduce variety in the shape of the fenceposts by converting the first three frames of the Symbol’s Timeline to Keyframes.* Set the Looping Options for each keyframe to Single Frame of frames 1,2 and 3 respectively.* Once again, edit the fencepost in place by double-clicking on it. Slightly change the shape of each frame of the fencepost.* Save your incremental progress as a new file.
Adding the stick & bindle (21/25) Adobe Animate 2021-02-22 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Put the finishing touches on the character walk cycle.What you learned: Utilize the Symbol and Shape tweening methods you have become familiar with to complete an appealing character performance.* Check the layer order of the stick and bindle to make sure their relative depth is appropriate.* Since the arm needs to hold the stick instead of swinging freely, we will modify and duplicate the far arm Symbol.* Remove the Classic Tween on the far arm Layer’s tween span.* Using the frame picker, see if there is a frame of the arm bent at an appropriate angle. Set the Looping Options of the arm to Single Frame.* Duplicate the arm Symbol. Select the Symbol on the Stage. On the Object Properties panel, click on the button of the two arrows to the right of the Instance Name. This is the Swap Symbol button. * When the Swap Symbol panel appears, click on the little button that looks like two squares with a + sign, just beneath the thumbnail preview of the symbol. This lets you swap the current symbol with a duplicate of itself.* In the panel that appears, enter a name for your duplicate Symbol and click OK.* Edit this new Symbol in place by double-clicking on it. Create a new Layer. * Drag the paw Symbol from the Library onto the stage in the new Layer you created.* Transform the paw Symbol so that it appears like it is holding the stick.* Back up one layer in your Symbol Hierarchy, to the body parts that make up the walk cycle.* Set Keyframes for the arm at the contact and passing positions defined in your timing notes.* Register the shoulder of the far arm to the body at the Keyframes you just set.* Classic Tween all the Keyframes in this frame span. Playback to check the motion.* If any adjustments need to be done to the arm at this point, make them inside the arm Symbol. This way, you will not need to edit the multiple keyframes that are set on the shoulder.* Keyframe the stick to track with the body and the paw. Use the same method used to pose out the tail.* Once the poses for the stick are Keyframed out, apply a Shape Tween to that frame span. Remember to use Shape Tween because the stick is not a Symbol.* The paw needs to be overlapping the stick. This will be done with another duplicate Symbol. * Arrange the stick Layer so it is on top of the far arm Layer.* Right-click on the far arm Layer and select Duplicate Layers.* Move this duplicate layer above the stick layer and name it something like far_paw. Lock all the other Layers.* Duplicate the far paw Symbol the same way you duplicated the far arm Symbol above.* Make sure every Keyframe in this layer is swapped to the far paw Symbol by selecting all frames and using the Swap Symbols button on the Object Properties panel.* There are now two identical but separate Layer instances of the arm and paw. These Symbols should be on layers that sandwich the Stick Layer.* Edit the far paw Symbol in place by double-clicking on it.* Select all the layers except the paw and make them guides. This will make only the paw layer visible in any Symbols higher up in the hierarchy.* Exit out of the far paw Symbol and verify that the paw is overlapping the stick correctly.* Move on to animating the bindle. Lock all the other layers and verify that the pivot point is placed on the knot of the little sack.* Position the bindle approximately where it needs to be for the cycle. Make any adjustments to the stick to accommodate this position.* Animate the bindle the same way as the cat body and the hat. Set keyframes and animate the up and down position to register with the stick. * Once the up/down position of the bindle has been Keyframed and Classic Tweened, add breakdown keys halfway between the extreme keys and transform the bindle to pose out the squash and stretch.* Add any additional flourishes or final touches to the cycle, for instance a little head tilt at the contact and passing positions.* Save your incremental progress as a new file.
Flexing the tail (20/25) Adobe Animate 2021-02-19 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Animate a rubber-hose style limb.What you learned: Shape-Tweening an Art brush is a way to create flexible, noodly deformations of your designs.* Isolate the visibility of the body and tail layers.The tail’s bounce is complex, so animate that before aligning it to the motion of the body.* There is more than one way to edit or reshape a line, or in this case, an art brush applied to a line.* The line can be edited with the Direct Selection tool. Beware that repeated editing of a line with this tool may introduce additional control points, and degrade the shape of the line.* Another way to edit the line is with the Subselection Tool. Along with the various Anchor Point tools, you can directly edit Bezier points and handles of a line without introducing additional points.* Accessing the Anchor Point tools may need to be done through the Edit Toolbar panel, which is accessed by clicking on the three small dots at the bottom of the Toolbar.* Creating an S-curve for the tail will require editing Bezier handles and the Convert Anchor Point Tool accessed as described above.* Once you pose out the first position for the tail, convert the first, middle and last frames of the cycle to Keyframes to set this position as the starting point for the other Keyframes.* Pose out the other frames of the cycle at the breakdown positions as determined by the timing used throughout your cycle.* Add a Shape Tween to your Keyframes and playback to test the motion of the bounce. Make adjustments as needed.* Once the bounce animation is set, go back and transform the Keyframes to register with the body’s position and twist.* Make sure the layer order from near to far is correct.* Save your incremental progress as a new file.
Swinging the arms (19/25) Adobe Animate 2021-02-19 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Animate nested Symbols to create flexible, free swinging limbs.What you learned: The process for making the leg strides is repeated to make the arm swings.* Select the arm Symbol. Ensure that the pivot point is aligned with the guides for the shoulder’s joint widget.* Go inside the arm Symbol and ensure that its timeline is extended out to the length of your cycle. * Ensure that the lower arm’s pivot point is aligned with the guides for the elbow’s joint widget.* Disable the visibility on all layers except the near arm and near leg Symbols. This allows you to focus only on animating the arm in reference to the leg.* Set keyframes for the arm based on the timing notes. Then pose out the swing of the arm by rotating around the shoulder pivot. Transform only the rotation for now.* Remember, the arm swings in opposition to the leg. When the near leg is forward, the near arm should be back.* Once the shoulder swing is set, go into the arm Symbol to bend the elbow, just as you did for the knee and the leg.* One way to introduce lag and overlapping action is to offset the timing of the elbow bend. In this example, the elbow bend keyframes are delayed (moved forward in time) by four frames. * The lag can be further exaggerated by introducing breakdown keyframes halfway between the existing Keyframes.* One the rotation is set, the position transforms can be set on the arm to track with the shoulder position on the body.* Now that the near arm position and rotation is set, the frames can be duplicated onto the far arm layer. This creates a second instance of the arm Symbol.* The far arm symbol can have its brightness lowered slightly using the Color Effects property, the same way the far leg was tinted.* While the entire frame span is selected, lock all the other layers and reposition the arm to track with the far shoulder.* Last, edit the Symbols of each of the arm components to set the pivot point crosshair layers as Guides again. This will keep them from displaying or rendering further up in the hierarchy.* Save your incremental progress as a new file.
Bouncing the hat (18/25) Adobe Animate 2021-02-15 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Put the finishing touches on the head animation with the addition of a bouncing hat.What you learned: The Classic and Shape Tween workflows are used once again to express traditional animation fundamentals.* Being mindful of the timing notes, plan to make the hat bounce the same methods from the body bounce animation.* Keyframe the up and down positions for all of the separate hat components.* Once the Keyframes are set, go ahead and apply tweening. Remember that the hat brim is a Shape – don’t Classic Tween it!* Once the up/down motion is Keyframed, add your breakdown Keyframes to pose out the squash and stretch of the hat parts.* Create the inside of the hat and convert it to a Graphic Symbol.* Adjust the transformation and exposure of the hat interior to give the hat appropriate depth.* Save your incremental progress as a new file.
Swaying the ears (17/25) Adobe Animate 2021-02-15 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Use eases and Classic Tweens to add overlapping action to the ear.What you learned: Overlapping action and follow-through can be achieved with Classic Tweening of Symbols as effectively as Shape Tweening of Shapes.* When animating a Symbol, remember to set the pivot point position before setting any Keyframes. If you don’t, you may end up animating the position of the pivot point, which can lead to unexpected results.* Being mindful of your timing notes, set the Keyframes for the ear Symbol which you will go on to translate and Classic Tween.* Once your Keyframes are set, rotate and skew the ear Symbol so it is positioned to swing and lag in time with the whiskers.* Add Classic Tweens to the entire frame span and playback to check the motion.* Eases can be set on your tween spans to favor or “cushion” the spacing closer to a keyframe. * If you are coming to Animate from a traditional animation background, be aware that the “in” and “out” designations for eases are opposite from what you are used to. Just think in terms of negative eases favoring the start Keyframe and positive eases favoring the target Keyframe.* Save your incremental progress as a new file.
Flapping the whiskers (16/25) Adobe Animate 2021-02-15 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Use the Frame Picker to add overlapping action to the whiskersWhat you learned: The Frame Picker panel is a convenient way to manipulate a Symbol’s internal Timeline from the Timeline you are currently in.* Often times you may need to animate in a Symbol without seeing how it relates to other Symbols on the Timeline. Creating a Layer for timing notes for specific frames can help you to know what marks you need to hit despite working in isolation.* If a Symbol has animation already in its Timeline, like for an arm bend, or hair flap in this case, then we can use that Symbol’s Looping Properties to display specific frames of that Symbol’s internal Timeline. * The Frame Picker panel is an excellent way to set the Looping properties for a Symbol on the timeline, since it uses a thumbnail preview of every frame to provide visual feedback.* Be sure to check the Create Keyframe option and set the Looping type on the panel to expedite the process. In this case, we want Keyframes to hold their exposure in subsequent frames, so “Single Frame” is the best option.* Go through your timeline and select the appropriate frames from the Frame Picker to pose out your Symbol from its catalog of available frames. This process may require some trial and error to get just right.* Save your incremental progress as a new file.
Tweening best practices (15/25) Adobe Animate 2021-02-15 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.What you learned: Classic Tweening of Shapes is problematic and should be avoided.* It is not possible to apply a Shape Tween to Symbols.* It is possible, however, to apply a Classic Tween to Shapes. This is to be avoided.* Animate will allow Classic Tweening of Shapes, and will ask if you want the Shapes converted to Symbols first.* Selecting “OK” in the Dialogue Box will convert the selected Shapes to Symbols before tweening, but it is almost certain that the resulting motion will not be the desired result.* Additionally, each Keyframe will be its own unique Symbol, which is counter to the preferred workflow of having the same Symbol instance in all Keyframes of a tween span.* The way to confirm this, aside from a very distinct slide to an abrupt shape change, is the Library will have symbols with the “Tween” prefix. These are the results of the automated process of converting multiple shapes into multiple Symbols.* The easiest solution is to delete the Tween Symbols from the Library and start over from the shapes. If you find yourself presented with the Dialogue Box asking if you want the Shapes converted to Symbols, select Cancel and add a Shape Tween to the Keyframes instead.
Making flappy whiskers (14/25) Adobe Animate 2020-12-16 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.What you learned: Deformations for overlapping or follow through animations can be easily achieved with a Shape Tween workflow.* Go into a Symbol that has a shape that you want to deform. In this case, it is the whisker.* Determine the duration of frames you want for the deformation. Set Keyframes for the start and end pose. * Add a Shape Tween between the Keyframes, and view the resulting animation.* If the shape self-intersects of deforms unpredictably, you will need to add Shape Hints to correct the tweening.* Go to the first Keyframe of a Shape-Tweened span and select Modify-Shape-Add Shape Hint. This will add a small red circular marker known as a Shape Hint to the stage.* Place the Shape Hint on a corner of your shape. Snap to Objects can help with placement. * Once the first Shape Hint (A) is set, go the to target Keyframe of the frame span and place the Shape Hint on the same corner of the shape as in the first frame. This corner may be in a different location than before.* Continue doing this for as many corners as you need. If you know you will need multiple Shape Hints, you can add several at once and then position them accordingly on their respective Keyframes.* Shape Hints work on a single tween span, between a pair of Keyframes. If you have multiple tween spans requiring Shape Hints, you will need to add a set of Shape Hints for every tween span.* For added stability (at the cost of editability), it can be useful to “bake out” the animation by selecting the tween span and choosing Modify-Timeline-Convert to Frame-by-Frame Animation. This will allow editing of the shapes on every frame, useful for having parts of shapes move on an arc.* Save your incremental progress as a new file.
Turning the head (13/25) Adobe Animate 2020-12-16 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.What you learned: The fundamentals of Classic Tweening Symbols are reused again and again throughout the puppeting workflow.* Multiple objects that will not need to transform in relation to each other can be combined into a single Symbol. For example, whiskers and ear on one side of the head can all be in the same Symbol. Just be sure each of these separate Symbols are on their own layers.* Follow the same workflow used to animate the body. Plan the quality of motion you want and within what Symbol is most appropriate to animate it.* Remember to set keyframes for extreme positions based on your timing first, before applying any transformations.* In this example, the left/right position of the head was keyframed to track with the body. Then the up/down position was keyframed to track with the body bounce.* The head turn effect is done by transforming all the symbols inside of the head Symbol: face, ears, whickers, etc.* Don’t get habituated to applying Classic Tween to everything. Remember, any Shapes must be Shape Tweened. Make a reminder in the Timeline layer names if necessary.* Save your incremental progress as a new file.
HTML5 Game Part 5 Add Simple Effects & Finish Adobe Animate 2020-11-19 | Five part series on how to create a simple HTML5 Canvas game (Balloon Shooting Game).In this part learn how to add simple effects. Git Repo : github.com/ramkulkarni1/BalloonShootingGameWithAnimateGame Demo: http://ramkulkarni.com/Games/BalloonShootingGame Part 1 - youtu.be/LbwlNjxGDHMPart 2 - youtu.be/m_keGdTnlXQPart 3 - youtu.be/AiBfCmm9J98Part 4 - youtu.be/W0_N0OWNSQ0Part 5 - youtu.be/lP84PxyVxMg
HTML5 Game Part 4 Start Replay Game Options Adobe Animate 2020-11-19 | Five part series on how to create a simple HTML5 Canvas game (Balloon Shooting Game).In this part learn how to add options to start and re-play the game.Git Repo : github.com/ramkulkarni1/BalloonShootingGameWithAnimateGame Demo: http://ramkulkarni.com/Games/BalloonShootingGamePart 1 - youtu.be/LbwlNjxGDHMPart 2 - youtu.be/m_keGdTnlXQPart 3 - youtu.be/AiBfCmm9J98Part 4 - youtu.be/W0_N0OWNSQ0Part 5 - youtu.be/lP84PxyVxMg
HTML5 Game Part 3 Calculate & Display Score Adobe Animate 2020-11-19 | Five part series on how to create a simple HTML5 Canvas game (Balloon Shooting Game).In this part learn how to calculate and display game scoreGit Repo : github.com/ramkulkarni1/BalloonShootingGameWithAnimateGame Demo: http://ramkulkarni.com/Games/BalloonShootingGamePart 1 - youtu.be/LbwlNjxGDHMPart 2 - youtu.be/m_keGdTnlXQPart 3 - youtu.be/AiBfCmm9J98Part 4 - youtu.be/W0_N0OWNSQ0Part 5 - youtu.be/lP84PxyVxMg
HTML5 Game Part 2 Add Collision Detection & Sound Adobe Animate 2020-11-19 | Five part series on how to create a simple HTML5 Canvas game (Balloon Shooting Game).In this part learn how to detect collision and destroy game objects.Git Repo : github.com/ramkulkarni1/BalloonShootingGameWithAnimateGame Demo: http://ramkulkarni.com/Games/BalloonShootingGamePart 1 - youtu.be/LbwlNjxGDHMPart 2 - youtu.be/m_keGdTnlXQPart 3 - youtu.be/AiBfCmm9J98Part 4 - youtu.be/W0_N0OWNSQ0Part 5 - youtu.be/lP84PxyVxMg
Creating picture puzzles with Animate Adobe Animate 2020-11-09 | Watch how to create picture puzzles quickly in Animate using scripts at github.com/ramkulkarni1/Animate-Puzzle-Creator
Adding twist and bounce to the body (12/25) Adobe Animate 2020-11-04 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Add additional appeal to the walk by giving it an appearance of mass and weight. Complex or compound motions are easier to create and manage if animated in separate Symbols.● The body will bounce and twist. Plan to animate the bounce in one Symbol and the twist in another. Think of it as animating in layers.● Remember to extend the exposures of nested Symbols to match the duration of the parent symbols or the timeline. For example, the extend the body’s timeline to twenty-five frames to synchronize with the overall walk cycle Symbol.● The body’s pivot point should be set to the center of the waist. This can be done with the Free Transform Tool.● Animate the up/down motion of the body first. This can be done by registering it relative to a point approximately between the hip pivots. This positioning does not need to be perfect – it’s more important that it looks good as an overall design and silhouette than to be placed exactly where the guides would indicate.● The overall silhouette of the contact and passing positions should be identical, and you can use this as a shortcut to position the body for the bounce. For example, the body will be in the same position in each contact frame and also in each passing frame.● The twist of the body is done by transforming the vest, which happens inside the body Symbol. Doing different types of motion on nested Symbols can be easier to manage than all on one Symbol because Animate does not keyframe transform attributes separately. ● Mass and weight effects can be added to the body through squash and stretch, expressed as non-proportional scale transformations on the body Symbol.● By default, the Free Transform tool applies transformations around the object’s pivot point, usually in the center. Holding option/alt when using the Free Transform tool will apply transformations against the side or corner opposite of the handle you are dragging. This is very useful for squash and stretch type poses.● If you duplicate keyframes that repeat in a cycle, remember to Synchronize Symbols afterward to make sure a Symbol’s internal timeline matches up with the timeline it is animated on.● Save your incremental progress as a new file.
Animating the leg strides (11/25) Adobe Animate 2020-11-02 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Explore the workflow for posing and timing a tracking walk cycle. A complicated workflow like keyframing a walk cycle can be broken down into a logical organized structure.● Before doing any transformations. manually set keyframes on a layer to correspond with your timing notes. This sets your timing structure and mimics the pose-to-pose workflow of traditional animation. It forces you to think about the overall motion instead of animating straight ahead.● Keyframe the first contact pose of the leg. Rotate the hip so the foot swings forward.● Also set the how far forward of center the hip will be on the first contact. Once that is set, go to the keyframe for the second contact pose (leg sweeping back) and move the hip exactly the same distance behind center as it is forward in the first contact pose. (Remember, a keyframe is set before transforming the Symbol.)● Now your hip position for both contact positions are keyframed. Rotation for the first contact position is set on its keyframe as well.● Once you are happy with the rotation and forward positions of the first contact, lower the hip to have the foot make contact with your ground plane guide.● Choosing View|Preview Mode|Fast will render objects on the stage with crisp hard lines. This can aid in precisely aligning and registering objects.● Verify the keyframe for the first passing pose has the hip on the center guide and the leg straight up and down with the bottom of the foot in contact with the ground guide.● With the first contact and passing poses set, you have determined the stride length.● Make sure the guides from the joint gizmo on the foot are visible. Register the horizontal position of your foot position Symbol with the center of the foot guides.● The horizontal distance of the foot position from first contact to the hip pivot point at first passing is half the stride length. Double it to get the full stride length.● Once the full stride length is determined, go to the frame for the second contact pose. Keyframe the rear foot position Symbol in alignment with the rear extent of the stride length. Classic Tween the foot Position Symbol between its two keyframes with no ease. This creates the foot’s registration points for each frame of the stride.● Go to the Keyframe for the hip’s second contact position and rotate the hip back slightly. This is the hip’s position and rotation at the end of the stride.● The knee may need to be bend slightly. Double-click on the leg Symbol to edit that Symbol in place. You should be on the same frame in this Symbol’s Timeline as you were on the main stage. ● Now that you are inside the leg Symbol, you can rotate the knee joint to make the leg bend.● Once the knee is bent, back up one. layer in the Symbol hierarchy by clicking on the leg Symbol’s name in the Symbol Path list above the top left corner of the stage panel.● Rotate the hip to align the center of the foot with the foot position. ● Lower the hip so that the foot makes contact with the ground guide.● For the second passing position keyframe, swing the hip forward and bend the knee. ● Alt/Option drag the leg Symbol’s first frame to overwrite the last keyframe in the cycle. This creates a temporary target keyframe for the Tween span so the cycle will loop.● Set Classic Tweens for all keyframes of the hip (leg Symbol) as well as on the keyframes of the knee (the lower leg Symbol inside the leg Symbol).● Once the leg parts have been tweened, there frames where the foot penetrates through the ground. This can be fixed by converting frames to keyframes and raising the hip so the foot is touching or above ground. ● For the tween from the second passing to the second contact, the foot penetration may need to be fixed with a hip rotation instead of position.● Continue registering the foot gizmo crosshairs to the foot locator Symbol throughout the stride, usually by adjusting hip rotation. When converting frames to keyframes in order to adjust the Symbol transformation, choose a frame halfway between existing keyframes. This usually results in adding fewer keyframes and smoother animation than adding keyframes sequentially one after the other.● Check playback by adjusting the Looping Range in the Timeline to exclude the last keyframe. This prevents playing back the same pose twice, (last and first frames), which makes the cycle timing irregular.● Save your incremental progress as a new file.
Preparing the legs for walking (10/25) Adobe Animate 2020-10-29 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.Determine a walk cycle’s timing and spacing goals before animating. Setting up guides and synchronizing your symbols’ timelines will make animating easier.● The first step in planning a walk is knowing how many frames a walk cycle should take and how much distance the stride should cover.● When creating an animated loop, you may need to keyframe the frame immediately following the loop duration as a temporary proxy for the first frame. This is so that any tween spans will have a target keyframe to tween to. This will be removed later.● It may be easier to animate in layers or focusing on a specific part of the body. For example, start by animating only one leg of a stride.● Create a layer for timing notes, and note specific poses that you want to hit by labeling blank keyframes.● Create a symbol to track the center position of the foot. ● Create a layer for a stride length guide.● Set guides for the ground plane, as well as for the X and Y axis of the hip’s pivot point.● Symbol-based hierarchies require animation to be synchronized on several nested Symbols. Set the timeline of every Symbol to be animated to the same duration before you set any keyframes. This will minimize the Timelines’ likelihood of being animated out of sync.● Save your incremental progress as a new file.
Assembling Alfonso (8/25) Adobe Animate 2020-10-20 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.What you learned: - Nesting Symbols within Symbols is a reliable way to create functional hierarchies for character animation. - When converting a selection of multiple symbols into a single symbol, the separate layers are condensed into a single layer inside the new Symbol. - Grouping Shapes within themselves will prevent them from flattening into each other when converted to a Symbol. - To create a new Symbol made up of separate symbols (and shapes) select everything on the stage that you want to be symbolized, then select Modify then Convert to Symbol. - Tweening Shapes and Symbols on the same Layer is problematic. Anything that will be animated must be on its own Layer. The easy way to make this happen is to select everything on the Stage and select Modify then Timeline & then Distribute to Layers. - Grouped Shapes can be Ungrouped after they have been distributed back to their own Layers. - When multiple Symbols have been converted to a single Symbol, they leave behind empty layers. These empty Layers may be deleted to clean up the Timeline. - Another way to think of a Symbol is like its own self-contained stage with its own timeline. - Save your incremental progress as a new file.
Putting the pieces in place (7/25) Adobe Animate 2020-10-20 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.What you learned: Layer order and managing Symbols instances is crucial for a successful puppet setup. - Lowering the Brightness Color Effect on Symbols is a way to quickly darken or shade things like far arms or legs. - The Properties Panel shows different properties for an object depending on whether that object is selected on the Stage or the Timeline. - Beware that duplicating a Timeline Layer will make new instances of any Symbols on that Layer, not make unique new Symbols. E.g. duplicate legs will all be the same arm instance. - To make a new separate Symbol, select Modify then Symbol & then Duplicate Symbol. You can also select Modify then Symbol & then Swap Symbol. When presented with which Symbol to Swap, you can click on the Duplicate Symbol button directly beneath the thumbnail preview. - Save your incremental progress as a new file.
Make a noodly tail (6/25) Adobe Animate 2020-10-20 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.What you learned: Shapes have different design and animation qualities than Symbols.- Classic Tweening Graphic Symbols is best for transforming objects.- Shape Tweening Shapes is best for deforming shapes.- Custom Paint Brushes can be tweened as any other shape, creating rubber hose or noodle style flexible parts.- Modify then Shape & thenConvert Lines To Fills is a way to expand a line to a shape that can be made into a Paint Brush.- Anything created with a brush or shape tools can be converted to an Art Brush.- Right-click on a selected shape and choose Create Paint Brush. After setting the options, the new Paint Brush will appear in the Stroke Style drop-down menu in the Pencil Tool Properties. - Sometimes a newly-created Art Brush will have a bounding box around it when selected. It can still be deformed with the Selection Tool, but you have to click off of the Object and then click directly on the Shape to deform it. If this is confusing, just Break Apart the Object so it returns to being a Shape, using Modify & Break Apart. - Save your incremental progress as a new file.
Planning a Perfect Walk (9/25) Adobe Animate 2020-10-20 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.With a little preparation, you can avoid the dreaded sliding foot effect. Planning how you will do the motion ahead of time will save you from making repeated corrections at the end.● A walk “tracks” correctly when the feet maintain their relative contact to the ground when the body moves forward..● Setting a horizontal Guide is an easy way to create a ground plane reference.● A tracking guide for the foot position can be made by Classic Tweening a Graphic Symbol of a simple vertical line.● It is crucial that any Tweens on a foot position guide not have any easing.● If a walk is designed to track correctly, you will know the distance covered in each stride as well as the amount of time it takes. With these two pieces of information, you can make a character walk perfectly from one point to another with only two keyframes and a single tween span.● Save your incremental progress as a new file.
Build a turning head (5/25) Adobe Animate 2020-10-16 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.What you learned: The shape and symbol workflow is the foundation of successful character setup. - Labeling features or body parts based on how near of far to camera they are can be easier to follow than using “left” or “right”. - Layer your design elements with camera depth in mind. Closer elements, like noses, will be on upper layers in the timeline. Elements further back, like ears, will be on lower layers. - Save your incremental progress as a new file.
Build a bouncy body (4/25) Adobe Animate 2020-10-16 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.What you learned: Mask layer effects can be used to suggest a twisting or rotating motion. - Modify then,Timeline & then, Distribute to Layers is a handy shortcut for quickly organizing and labeling Timeline layers based on Symbol content. - Label new layers as soon as you create them in order to stay organized. - The object-oriented design approach of creating and editing shapes with a mouse can be faster and more efficient than drawing with a stylus. - A shortcut to working with symmetrical shapes is to create one half and duplicate a new instance that is flipped. Changes to one half will update in the other. - Save your incremental progress as a new file.
Build a bending limb (3/25) Adobe Animate 2020-10-16 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.What you learned: Utilizing the “joint widget” approach to creating bending limbs is a best practice for animated character design. - Create a new scene file with a character animation workflow in mind. - Use File & Import to Stage to place a reference image in your scene. - Use the Eyedropper tool to add colors from your reference image to your Palette. - Create a “joint widget” to assist with the size and alignment of body parts. - Grouping Shapes is a way to temporarily prevent them from intersecting of flattening into each other. - It is not recommended to Keyframe or Tween Groups. - When converting Shapes to Symbols for character setup, Graphic Symbols are preferred. Do not use Movie Clip Symbols for character setup. - Modify then, Timeline & then, Distribute to Layers is a handy shortcut for quickly organizing and labeling Timeline layers based on Symbol content.
Fundamentals of puppet animation (2/25) Adobe Animate 2020-10-16 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.What you learned: How a character is designed and built directly affects how easy it is to animate.- Traditional character animation can be thought of as drawing motion.- Puppet animation can be thought of as the opposite – moving drawings.- Design elements can be animated in two main ways: - Deformation (changing shape) - Transformation (changing position, rotation, or scale)- Layering several discrete parts (each with their own motions) atop each other creates the illusion of a single drawing in motion. - A Symbol’s appearance may be enhanced with Color Effects or Filters.- Design elements like characters or environments may be built up by combining separate parts.
Meet Alfonso (1/25) Adobe Animate 2020-10-16 | This video is a part of the - "Create TV/Broadcast Ready Animations with Adobe Animate" series. In this series, Prof. Greg Araya from the Savannah College of Art and Design (SCAD) teaches how to create TV and broadcast ready animations with Adobe Animate. You can download Adobe Animate from adobe.com/in/products/animate.html.You can download Starter files for this video series from shared-assets.adobe.com/link/fc48840c-0a6b-4ce0-7494-bbfd66028abaAppealing character animation can be created entirely within Adobe Animate. This tutorial walks through a process of building and animating a complete scene starting from a blank file. You will learn how the principles of traditional character animation can be executed with the Adobe Animate tool set, and utilize the same best practices employed by professional animators.What you learned: A finished animated scene can be broken down to examine how it was created.A Scene’s Timeline layers can be organized and labeled based on their content.Alt/Option-clicking on a timeline layer’s attribute will toggle all the other layers’ attributes off.Each animated element (such as a Graphic Symbol) requires its own distinct layer.Symbols may be nested within symbols to create complex characters or motions.Mask layers may be used to create depth or lighting effects. A Symbol’s appearance may be enhanced with Color Effects or Filters.Design elements like characters or environments may be built up by combining separate parts.It is recommended to save incremental progress of your work progression to separate files using File & Save As…
Adobe Animate! Animating with Asset Warp Adobe Animate 2020-08-02 | In this video you will learn how to convert asimple stick figure into a sailor sitting in our boat, complete withsailor hat and how to use the asset warp tool to makeour little sailor wave hello!
Adobe Animate! Learn about Easing in and Easing Out Adobe Animate 2020-08-02 | In this video you will learn how to add easing-in and easing-out to your classic tweens to create more dynamic animations.
Adobe Animate! Graphic vs Movieclip Adobe Animate 2020-08-02 | In this video you will learn the differences in behavior of the Graphic Symbol and the Movie Clip Symbol
