Roja media welcomes you to another tutorial for you in the character animation series. In this tutorial, we'll learn how to animate a character walk from the three fourth side angle view will follow exactly the same process as we followed for the sidewalk cycle tutorial. This is what the end result should look like. Let's begin work on doing the actual walk now. This is also called the front three quarter view. Remember, in any character animation project, walk cycles must be created for the front view, the side view and the three foot side view.

In the past tutorial, you have created the sidewalk cycle without moving the characters position. You will repeat the same in this tutorial To to begin with, see the three four view of the character on the layer named vector. Before you begin working on the walk cycle, do check if the character is fully deselected and rigged. For this, double click and enter the by symbol and click on various parts while checking the character, don't just see if the parts are sacred. See, if the pivot points that is, the rotation points for the various body parts are placed rightly. For instance, let's check the upper body first.

The head rotation point is in the neck. The shirts rotation point should be the center of the waist. The palms center is in the middle of the wrist. The forehand rotates around the elbow joint, the upper arm around the shoulder Joined and so on. Now check the lower body thoroughly. After you have checked the detection and rigging, you can now save a copy of the file to animate the three quarter walk cycle.

Let's name it character walk cycle, three four angle. You will recollect that in the tutorial on sidewalk cycle, you created a reference guideline to mark the ground level. In this tutorial to you will do the same only there is a slight difference. Let's see what it is. Double click the bond symbol to enter it and click on the Insert layer tab at the bottom of the layer stack. rename the layer as ground level.

Observe that the three quarter character view is perspective view. In this view, the character will approach the screen diagonally, so the ground level cannot be horizontal, it should be diagonal. Let's draw this ground reference line on the new layer. Select the line tool. The best way to decide the diagonal angle of the line is to match it with the direction at which the shoes are pointing. You can also refer to the direction at which the eyes are looking that makes your job a lot easier.

Change the color of the line through the stroke color tool. In this case, you can choose the color red, situate the line close to the right food. Now, since this is a perspective view, you will need another line that will create depth in the scene. The angle of this Line needs to be just slightly different from that of the first line. As you go further, you will find that these two lines actually form the line of movement for the left and the right food and just them so they suit the three quarter view. Here comes a pointer regarding guides.

To create a 3d guide for a three foot perspective, you need to draw lines that give the screen some more depth. You will call it the Zed access your tool to create a 3d effect in view. Select the line tool and drawn such a line. Make the required adjustments till it looks okay. You will need such guidelines in front of the character one at its back and one directly under the center of the body. All right.

With the guides in place, you can now begin the actual animation. Just like in the sidewalks cycle tutorial. Let's put the right foot forward on the first keyframe, select the entire right leg, position the pivot point on to the waist and rotate the entire leg forward and upward. Here is the vital point for you. The three quarter front view is a perspective view. So the different body parts need to scale up as they come closer to the screen and reduce in size when they move away from the view.

Let's see how this would work. observe closely as the food gets lifted, it comes closer in the viewer site. So it should scale up just a little bit. Bring up the scale and rotate dialog box with the shortcut Ctrl plus alt plus s and enter the value 105 in the scale box. Repeat the same proportion again to increase the perspective if Now, in this view, with every movement, the position of the body parts with respect to the body can change. So you need to account for this.

When you lift your right leg, the right hips move forward as well. So, move the leg a bit forward. We will edit this part further in some time. But before that on the same frame, let's rotate the left leg backward so it is symmetrical to the position of the right leg. Select the entire left leg. This time again think about perspective.

Please the pivot point at the left side waist corner. Now, using the free transform tool, rotate it backwards. Zoom the view and adjust it with the tummy line. Back to the right leg. Again, select it and begin adjusting it. You will easily see that the ground guides are extremely helpful in maintaining proportion and direction.

When we make these rotations and adjustments. Remember that in the three quarter front view, the side that is closer to the view will always dominate. In our case, it is the right side. Okay, before you go for further adjustments, let's see how the right foot forward action would affect the upper body. Select all the upper body parts, the head, the neck, the shirt, the two hands and the Tommy. Observe that the pivot point isn't right.

So position it on the waist and then with the free transform tool, bend the upper body forward slightly. You can see that the body is looking much more balanced than before. Another thing to be considered here is that When the character lifts its right foot forward. It should also sway slightly rightward. To achieve this effect, select the right leg and use the free transform tool to skew it towards the character's right side. Make further adjustments to suit the perspective.

As we go ahead. We'll work on other parts as well. Like the zip bot needs to be repositioned and skewed so that it suits the body. Before going forward, let's check the hands. Select the entire right hand, move the pivot point to the character shoulder. Since the right leg is forward, the right hand has to rotate backward with the free transform tool, rotate the hand you will see stiffness at the elbow joint.

To solve this issue, select the palm and forehand and rotate it slightly forward for a much more relaxed right hand magnified view and adjust the outlines of the hands with each other to smoothen the borders. Now, the left hand as opposed to the right hand, so selected and rotated forward slightly, it is coming closer to the viewer as well. So, for the feel of perspective, you need to scale it up. Press Ctrl plus r plus s to call up the scale and rotate dialog box and input 105 as the scale value magnified view and adjust the outlines for smoothness. Remember that the right hand is moving away from the viewer as it rotates backward. So selected and scaly down to 98% Adjust the outlines of the shoulder with the bicep part.

Let's review the characters pose on the first frame. Now, look at the shoes. When the food is lifted high in the front, three fourth quarter perspective, the sole of the right shoe becomes slightly visible. You can see that the original drawing of the shoes doesn't have souls. That means the shoes need to be redrawn. To do so, double click the right foot symbol.

Before editing the original drawing, you should make a copy of the original. In flash, you can use the concept keyframes to preserve the original drawing. Let's see how to do this. To begin with, define the duration of the walk cycle on the timeline, click on the 25th frame and press f5 to insert frame then Click on the third frame and press f6 to add a keyframe. Now, even if you make any changes on the first frame, the original drawing is preserved on the third frame. Let's edit the right foot now.

Come to the first frame and move the food from its position for the time being. This is a group, turn it into an editable object by selecting it and pressing CTRL plus be the keyboard shortcut for break apart. Now, let's draw a rough sketch of what we want the shoes to look like in this pose. But what about the proportion? Well, there is a tool you can use to ensure that the volume and proportion of the body parts are consistent with each other. It is called the onion skin option.

At the base of the timeline, click on the audience came to like on observe That you can see the shoe back in its position, although you have just moved it away. So, what does this tool do exactly? the Odeon scan tool allows you to see previews of the previous and subsequent frames. This acts as a visual guide, and helps you draw the current frame easily. In this case, the onion skin tool is showing the original food skate preserved on the third keyframe. This process is very similar to tracing a bitmap image.

Let's now go to work on creating a new drawing with the help of the original reference. Since there is no reference for the shoe with the visible soul, you will need to make some sketches first. So, press Y to select the pencil tool and begin work. Wherever required, you can use the selection tool. Also use the smooth Australian options at the bottom of the toolbar. To get the shapes and sizes, right, you can use the free transform tool and the scale and rotate options available.

The idea is to match the proportion as well as the design of the shoes while making the alterations in the original. It's important to take care that the number of lines in the original are reflected in your sketch as well. If this is not done Your sketch will not match the original causing and unpleasant jerk in the animation. Slowly you see that the right shoe is taking shape. Keep on magnifying the view to get the angles and curves right. As you learned in the bitmap tracing tutorial, make sure that there are no open ends to the lines.

After you are done with the sketch, simply select the color of the shoe from the original shoe with the color picker. Then fill the color in the new object using the paint bucket tool. Now that you have the sketch ready, turn off the onion skin tool to disable it. Now, magnify the new sketch and edit it for smoothness and proportion again Now select the line tool Complete the sketch by drawing a line to show the thickness of the soul. Observe that the souls color is the same as the shoe, it should be slightly darker. to choose the right shade, select the shoe color with the color picker.

In the color box, run the slider of the color brightness bar downwards to choose a darker shade for the same color and click OK. Before you go ahead, delete the original sketching for the same frame to avoid confusion later. Now, let's adjust the parts of the characters right leg to suit the new view of shoes. Double click in the empty area to come out of the boy symbol again. Select the right calf object. Since the changes you require in this case are related to design, the free transform tool cannot be used. You will need to make the changes in the original drawing So, to repeat the same steps you used to edit the shoes, first, define the total duration of the animation 25 frames.

Then create a keyframe on the third frame by pressing f6. Now that you have preserved the original drawing, enter the right calf group and switch on the outline mode. Now, come back to the right calf symbol by double clicking outside the drawing. Use the selection tool to make the required changes. After you're satisfied with the editing, you can again click on the outline Mode icon to switch it off. Zoom out to see the entire character If you think any changes are still required in the sketch of the right foot, you can execute them.

For instance, look at the zip symbol match it with the changes in the position of the characters pants. This completes our first pose in the front three fourth walk cycle. Before we move to the next pose, let's specify the duration of our walk cycle animation. Select the 25th frame on all layers, and press f6 to insert keyframes. Note that you need not select the layer having our ground level guidelines as these lines will not be animated. In the sidewalk cycle tutorial, you have already learned that the first and last keyframes in any walk cycle must be same.

Now that you have created the first and the last keyframes, you can safely head to creating the in between keyframes. Let's move on by creating the middle keyframe. That is the keyframe in which the left food goes forward and the right food goes back. For this, go to the timeline and select the 13th frame on all layers except the ground level layer. Press f6 to add keyframes for the ground layer, click on the 25th frame and press f5 to extend the frames. This is a good time to make sure that the ground level guide layer is locked.

The 13th keyframe is the opposite of the first keyframe. So let's begin work on the right leg here. Select the entire right leg and rotate it backwards. Since it is moving away from the viewer site, it needs to scale down call up the scale and rotate dialog box with the ctrl plus r plus s shortcut. scale it down by the value 90%. make a few adjustments to match it with the ground level.

The leg seems a bit odd for the time being, but we'll first get the basics right and then work on them in detail later. Let's get the left foot forward. Select the thigh, calf and foot parts of the left leg together and rotate them forward. Again, note that the left leg is coming close to the viewer now, so it needs to be scaled up. Use the shortcut Ctrl plus r plus s to access the scale and rotate dialog box and enter the value hundred and 5% you can repeat the scalar operation to suit the perspective. Now move the object, rotate it a bit further and skew it a little to match it with the ground level line.

When the left leg comes forward, the right hand comes forward to. So let's get this part right now scale up the right hand sufficiently and rotate it forward. magnified view to make sure there are no cuts and leaks in the outlines. Select the bomb and forehand. Reposition the pivot point in the elbow joint and rotated to give the character relaxed and natural body language. You can also rotate the palm a bit for added effect.

Review the scales by looking at the complete character and scale it up or reduce its scale as required. Turn to the left hand. Since it is now going back and away from the viewer, scale it down with the scale and rotate dialog box. Balance its backward rotation with the right hands forward rotation. Again magnified the screen and match the outlines of the shoulder with the arms. Now we have the three basic positions of the character necessary for the walk cycle.

Run the timeline seeker forward and back to see if the characters are looking good. Now, let's come to the right leg on the 13th keyframe. Watch closely and use the scaling function and the free transform tool on the right foot and the kind of symbols to achieve the required effect. Again, the React just the zips and ball to match the changes in the positions of the right leg and the left leg. Also, check if any other parts like the hands, the head needs some tweaking in positions and proportions. If you observe Well, you will see that on the first keyframe, the left hand needs to be scaled up a little to suit the perspective.

So, go to the first keyframe, select the entire hand and use the scale and rotate function to bring the character in proportion and perspective. Now, remember that the first and the last keyframes must be exactly identical. So, select the first keyframes of the hand parts one by one and press Ctrl. Press ALT plus C to copy keyframes on the timeline. Now go to the last keyframe of each hand part and press Shift plus f6 to remove the existing keyframe and press Ctrl plus alt plus V to paste the first keyframe on the last keyframe. Now, run the timeline Sega to and fro again to see what changes are required.

Now come back to the 13th keyframe. Remember that in front three four view when the character lifts his food, the bottom of the shoe of the soul is seen. Double click the right food to enter it. To extend the duration to 25 frames, click on the 25th frame in the timeline and press f5 Now, let's repeat the same procedure of editing the food symbol we followed for the right food here. You will have to sketch the left food on the 13th frame. So for the time being, remove the existing object.

Switch on the scan tool at the base of the timeline to get a reference for the previous In subsequent positions, the drawing will be quite similar to the one drawn for the right food. Use the pencil tool to draw the left shoe. Use the Select tool and line tool to add parts of the shoe as depicted in the original character design. Adjust the size and scale with the free transform tool. keep referring to the faint outlines of the shoe on the previous keyframes. For better and faster sketching One sketching, take care that the lines are complete and without lose or rough ends.

You can use the color picker and the paint bucket tools to fill it in the new sketch. And then continue sketching inside with the line of pencil tools as well. For the sole, again, go to the color dialog box. Visit the brightness gradation bar in the right and push the slider down to select a darker shade. You can Now delete the extra left shoe from the screen now and switch of the onion skin tool. Before you exit the symbol, hold down the Alt key.

Click on any frame before the 13th frame and drag and drop it on the 15th frame so that the previous position can be preserved, just in case something goes wrong. Double click and exit the same ball. Run the timeline seeker back and forth to preview the key frames. You will find that the changes made in the left road are not yet reflected on the main stage. So click on the left foot layer, right click on the selected frames and click on the synchronize symbols option. Now if you run the slider again, you will find that the new sketch is showing on the main stage.

But there is still some editing to be done in the left leg. See how the calf symbol is disproportionate to the new food symbol. Use the free transform tool and skew the calf symbol so it matches the shoes. Again, drag the timeline sleeker to preview the overall effect. If you feel any part needs changes in scale, you can call the scale and rotate dialog box by pressing Ctrl plus alt plus s and make the required alteration. Coming back to the stage and running the timeline seeker again, you can see that the left calf symbol needs some editing.

For this, double click on the symbol and enter it before beginning the editing, extended duration, clicking on the 25th frame and pressing f5 here too, you should insert a keyframe on the 15th frame to preserve the other original position on the 13th and 15th frames, press f6 to add keyframes. Now, switch on the outline mode and use the selection tool to edit it with reference to the earlier frames. After you're satisfied with the editing, double click to come out to the bar symbol to view the result. To refresh the animation, click on the layer with the left calf symbol. Right click on the selected frames and select synchronize symbols. The synchronize symbols function not only updates the recent changes made in the layer but also ensures that the changes are seen at the exact frame where they are done.

Drag the timeline seeker to and fro to see the changes inside the symbols are updated in the animation on the stage. If you preview the animation again, you will find a glitch in the left Cough symbol at the 13th keyframe. To resolve this, select the object. Select the free transform tool and skew the symbol to make the necessary change. Now, enter the left calf symbol again to edit the 13th keyframe again, where you can see the bands are overlapping their shoes. This time, let's use the sub selection tool, as it will give us more options to edit the outlines.

The shortcut for the sub selection tool is a now we'll turn to the right leg. We have seen that its proportions are looking odd So, double click on it to begin editing. Go to the 13th frame and create a keyframe there by pressing f6. Again, to preserve the original object, click on the 15th frame and press f6 to insert a keyframe there. Come back to the 13th keyframe and press Ctrl plus B to break apart the object. Now, select the bottom line of the band.

Note the straighten tool at the bottom of the toolbar. Click on it to straighten this line. Select the line above it to and click on the straighten tool to turn it into a straight line. Do the same for all the other lines. Now, you can again create the curves to suit the original character design. After you're satisfied with the editing, double click to exit the symbol.

Again, select the entire right leg. Press Q to access the free transform tool and skew it a bit to match it to the ground level. While you're on the 13th keyframe, select the entire left foot and skew it to suit the ground level lines. You can enter the individual objects to edit them so they fit in well with the proportions of the character. Observe the right food symbol. It is not matching the bottom of the right calf symbol.

Rotate the symbol just a bit and enter it for further editing. On the 13th frame, press f6 to insert a keyframe. Since you will need to draw the object again, shift the existing right foot away from the movement and switch on the onion skin tool at the base of the timeline to begin sketching again. Like before, select either the pencil tool or the line tool. The shoe position here should be the don'ts touching the ground and the heels in the air. The shoe needs to show a bend in between switch the audience Kindle on and off to see the previous frames for reference.

Here again, you have to take care not to miss any part of the shoes. So, keep a close watch on the original design that appears paint in the background. You can see that the right shoe has taken the right shape now. So, like before, use the color picker and paint bucket tool to fill color in this sketch. Now select and delete the extra shoe from the screen, exit the symbol and come back to the stage to see the effect. You can see that now the right leg is much more proportionate than before.

To edit it further, select the entire right leg and use the free transform tool to synchronize it with the ground level guidelines. Drag the timeline secret to check for any inconsistencies or errors. zoom in and zoom out of the various body parts to detect and fix the mismatches and errors in the three character poses. We now have the three main keyframes for the front three fourth walk cycle ready. Now, it's time to create the keyframes that will come in between the first and the 13th keyframe. Select the seventh frame on all layers, and press f6 to insert in between keyframes.

Let's work with the right hand first. This keyframe should have the hands in the middle position near the waist. Since they are still close to the viewer side, scale them up using the scale and rotate dialog box. magnify the scene and try to match the borders of the shoulder with the right arm. Now select the entire left hand scale it down as it is going away from the viewer side. Set the pivot point in the shoulder and then rotated so the left hand reaches its middle position that is close to the rest.

Match the left arm with the left shoulder area, so there are no rough cuts. If the snap option is not allowing the free movement of the left hand, you can switch it off for the time being. After your editing is done, remember to switch it on again. It's time to preview the animation again, run the timeline seeker back and forth to see whether the animation is satisfactory. Let's create the right legs position on the seventh keyframe now. Select the entire right leg.

Switch on the outline mode and rotated so it comes as close to the ground as possible. Again switch off the outline mode. magnified the right foot and rotated so that the toe looks like it is approaching the ground. Select the right calf symbol and using the free transform tool, match it with the right shoe. Now, select the Thai baht and make changes in them so that there are no edges and the outlines match each other perfectly. To know where a change is needed, keep previewing the animation closely.

Drag the timeline seeker back and forth frequently to achieve the best results in editing. It's time to turn attention to the left leg. ensure you're on the seventh keyframe and select the entire left leg. Rotate it a bit. Here, the position required is the left foot, slowly bending back as the right foot touches the ground. Here's how to do it.

Select the left thigh and rotate it for a bend. Select the left calf and match it with the left thigh. Finally, select the left foot and rotate it to match the left calf. You can again switch on the outline mode so work becomes easier After situating the left foot in the right position, switch off the outline mode. To preview the result, either play the animation or drag the timeline seeker back and forth. You can see that with every edit, the animation is becoming smoother and better.

If you find any problems in the keyframes drawn before, you can fix the errors immediately. This will save precious time later. The next in between comes on the 19th frame. Select the frame on all layers and press f6 to insert key frames. He has a pointer for you. The seventh and the 19th key frames are identical in terms of position with just one difference.

On the seventh keyframe, the left foot bends back and prepares to stretch forward and the right foot has touched the ground. Ready to stretch backwards. On the 19th frame, the right foot bends back and prepares to stretch forward while the left foot touches the ground, ready to swing back. It's interesting that the seventh key frames for all upper body parts head neck shirt, the three parts of both the hands and the tummy are exactly the same on the 19th keyframe, so, select these keyframes, hold down the Alt key on the keyboard and drag and drop the selection on to the 19th frame as it is. Drag the timeline seeker to see what changes are needed on the 19th frame. On this keyframe, the left leg touches the ground.

So select the entire left leg and rotated So that the left foot reaches and touches the ground as it is beginning to go away from the viewer side, use the shortcut Ctrl plus r plus s for the scale and rotate dialog box to scale it down, reposition and rotate till it matches the ground guide. Now, select the right thigh symbol and bend it a bit forward. Next, match the right calf symbol with the thigh by rotating and skewing it as required. Drag the timeline secret again and again so you can view the result. Select the right food and match it in angle and position with the right calf symbol. You can See that there are some unwanted keys in the shoe symbols that we had created to preserve the original drawing as our keyframes and are ready, these extra additional frames can be deleted safely.

Enter the individual symbols for the food. Select the unwanted keyframes and press Shift plus f6 to remove them. Run the timeline Sega to find out and delete all such extra keyframes in the animation. After you're done with the cleanup, you can come back to the boy symbol on the stage. added the zip symbol here on the 19th keyframe. Edit and fix the errors in the various body parts one by one.

This is a good time to enter the individual symbols one by one, and copy paste the first key frames to the 25th frames. As we have already learned, the first keyframe in a walk cycle must be exactly identical to the last keyframe. To do this, enter the symbols one by one and select the first keyframe. hold down the Alt key on your keyboard. Drag and drop the keyframe on the 25th frame and then release the Alt key Here's a thumb rule for you. You can make any changes as required on the first frame.

But after such a change, always copy the change to keyframe to the last keyframe. A good way to check sizes and proportions is to switch the outline mode off and on. Now that we have come close to the actual result, it's a good time to take the final step of assigning the motion tween to the character. Go to the timeline and select frames on all the layers. In the Properties tab, go to the tween section. Choose motion in the drop down menu.

You can also right click on your selection and click on create motion trend. Press Enter key to play the animation. review it a few times to detect any errors. You will find that while the feet movement of the character is satisfactory, the upper body is absolutely stiff. The natural sway of the body as it walks forward is not seen. To fix this issue, you will have to work with the upper body exclusively on individual keyframes.

Some of the upper body parts are hidden. To make the selection easier. You can work in the outline mode, switch it on by clicking on the empty square at the top of the layer stack. First, ensure that you are on the seventh key frame and select the entire upper body, the head, both the hands, the shirt and the tummy now You have selected them, you can switch off the outline mode by clicking on the empty square again. On the seventh and the 19th keyframes, the characters two feet are closest to the ground, so the height of the character will be the highest on these keyframes. So, click the up arrow keys on your keyboard to move the upper body parts upwards.

To review the result, you can drag the timeline seeker back and forth. You can see that now the body is bobbing up and down. According to the movement, you will have to give the exact same effect on the 19th keyframe. To make sure it is exact, you need some guides for this. In the sidewalk cycle tutorial, we access the guides from the rulers. Let's make the rulers visible on the screen.

For this, you have three keys. First, you can right click on the screen and select rulers Second, you can go to the View menu and click on the ruler stab. And the third way is to simply press Ctrl Shift plus r on your keyboard. From the horizontal ruler, drag a guide down to fix the topmost height of the character. Now go to the 19th key frame. Again, select the upper body parts of the character using the outline mode.

Magnify the screen and begin moving the body parts upwards. With the up arrow keys on your keyboard. Move it till the topmost part of the hair touches the guideline. Press Enter key to play the animation. You can see that the upper body animation is going well. All right, now again, preview the animation slowly by dragging the timeline Sica.

You will see that around The third frame, the right foot is not touching the ground level. Select the right foot layer and go to the third frame. To make any changes on this frame, you need to insert a keyframe. Press f6 to insert one. Now, select the right foot symbol and rotated to match the ground level first. You can see the mismatch in the food and the band.

So select the right calf symbols layer and press f6 on the same frame to insert a keyframe with the free transform tool, edit the object to suit the new position of the shoes. Press Enter to preview the app animation and to detect if any further changes are required. Also, make some adjustments in the face and ball and match the outlines as per the origin of this design. Again, review the animation. When you preview the animation, it's best to preview it both in sequence and reverse sequence that increases your chances of finding out delicate flaws in the animation. You can also see the complete animation in just one frame with the technique you learnt in this tutorial.

Click on the onion skin tool below the timeline to switch it on. You can see all the movements of all body parts with the help of this tool. This tool can change Whether the flow of the various body parts is consistent on every frame. If there is any flaw, you can remove it by selecting any specific body part and move it to suit its position on other keyframes. Click on the onion tool icon again to switch it off. preview the animation again.

With the help of the timeline seeker. You can see some problems in the left leg around the 10th frame. So select the object on the seventh key frame and double click to enter and edit it. Once inside, insert a keyframe on the seventh frame. Exit the symbolic select the entire left calf layer. Right click on the selected frames and click synchronize symbols You can now make the changes required by entering the same ball again.

Again, drag the timeline seeker to look for other errors. You will see that around the 15th frame, there is a jerk in the left food symbol. So, while you're on the left foot layer, go to the 15th frame and press f6 to insert a keyframe. Rotate the left foot to match it with the ground level as before, now make changes in the left calf to suit the left foot. Use the free transform tool to match the proportions To remove any jokes in the animation, you can enter the symbols. Create new keyframes and shuffle the keyframes around.

Watch the process closely to understand how at every step the animation gets smoother and smoother. Medicaid two point to view the animation plenty of times. This will help you spot and iron out the smallest of errors and achieve perfect animation. Remember to make maximum use of the audience can tool to check and maintain the smoothness in transitions. After you're satisfied with the result, exit the bar symbol and come to the main stage. Select the hundredth frame on the timeline and press f5 to extend the animation duration on the main stage.

Press Enter on your keyboard to play the animation. Even at this later stage, you should look for problems. You can observe that the zip isn't matching the pan on some keyframes. You can enter the individual symbols again and ensure there are no cuts or leaves. You should also look closely Get the outlines of body parts and match them for a smooth animation visual where necessary, add new keyframes to make the required adjustments. What is most important is keeping the original character design and its volume consistent during every animation step.

Keep coming back to the main stage, and previewing the results to make the animation even more perfect. That brings us to the end of the three fourth walk cycle tutorial. We enjoyed presenting this tutorial to you. We hope you had a good time learning how quickly and efficiently you can animate a perspective walk cycle in Flash. Remember that there are several different kinds of perspectives in animation. To do well in this, we recommend you give enough time for sketching practice, do make it a point to draw as many characters in their front side and three four wheels to get the hang of this technique.

Also watch a lot of animation films and make notes about how different animators use different ways to animate walk cycles. Thank you very much for watching this presentation from aro homies. Yeah, happy animating