Greetings from Ottawa media. In this character animation tutorial, we learn how to animate a character walk from the side view. Here's what we are aiming at. Observe that the characters walk is animated in the same place. Also, observe that the height and width of the character is also carefully kept intact. Know the way the characters entire body is involved in the walk.

This is the quality of output that you can accomplish with a character in Flash. Let's begin by opening the file character detection side angle. Remember how we detected and rigged the front view of the character. You'll notice that this character is also fully deselected and rigged. All right. Now let's ensure we do not cross the characters height.

For this, we'll use guides. This is a facility that provides strong references For your characters placement, and movement in the tutorial, let's see how to get these guidelines. To get guides, you need the rulers. If you do not have the ruler turned on, then simply right click on the screen and click on ruler. After that, click on the horizontal ruler and drag a line into the screen. Place the first one right at the bottom of the shoes.

This will give you the exact ground level on which the character will walk. The rule is the character's shoes should never violate this ground level. Now drag another line out of the vertical ruler and place it in the line with the characters spine. Remember, the center axis of our character's body should be calculated according to the body below the head. In our character design, the face is protruding even beyond the characters really. This makes the character look cute and cartoony but we cannot use Use it center as an axis for our walk cycle.

Next, again, drag a guide from the horizontal ruler and place it at the tip of the character's hair. As this is a basic tutorial on character walk, we'll stick to the fundamental principle that while the character walks on even ground, its height will remain constant. While working on the character, these guides must not be tampered with. So just like we lock layers, let's log these guides. simply right click on the work area, select the guides tab and click on lock guides. Okay, all set.

Now we're ready to save this file as a copy. As you have learned already, never ever work on the original file. Always make a copy. To do so you can go to the File menu and click Save As the name the new file has character walk side angle and press Save Before you go to work on the character, convert the detected character into a symbol. click and select the character. Now, press f8 to call the Convert to Symbol dialog box and name it as main character.

Keep the graphic radio buttons switched on and the registration point in the center. In the LAMP stack, rename the layer as main character. Now that the character is a symbol, it's time to define the duration of the characters walk cycle. Let's give the character 25 frames to complete one walk cycle. Click on the 25th frame on the timeline and press f5 to insert a frame. It's not important to give every symbol inside the character the duration of 25 frames, otherwise, the animation will not play.

Remember the rule. What applies to one part of the character applies to all parts of that character. So double click the main character symbol, click on the 25th frame on the timeline and press f5 to add a frame. Likewise, enter the boy symbol. Now drag the timeline to see all the layers. You will see all the deselected of the character inside.

Drag and select the 25th frame on all the layers and press f5 you will remember that every individual part of the body is dissected into smaller parts. So double click and enter them one by one and click f5 on the 25th frame of each symbols layer. Now observe carefully. The left hand of the character is not visible from the side view. So hide the other layers above it by clicking and dragging over the black dots. The icon in the layer stack We'll come to the legs later.

The next step is setting the pivot points or rotation points of the upper body parts. Select the right hand and move the empty circle at the middle of the character to the shoulder. Hide all other layers to view the left hand of the character and move its pivot point to the shoulder as well. Now turn to the legs. Double click to enter the right leg symbol and assign 25 frames to its three parts by pressing f5 on the 25th frame. Enter the right feet or shoes and repeated now again execute the same process for the left leg.

Remember, you will have to hide the right leg to work on the left leg After you're done, recheck all the different parts carefully. In character design. The detected character has several parts and inside views, some parts of the character are not directly visible, and it is possible to miss apart. So, as a matter of practice, make sure you double check and triple check every single part. Before you go ahead, there is another crucial point here. When you assign more than one frame to the characters parts, there is another level of checking.

Drag the timeline seeker forward and backward and keep a sharp eye on the character. Check if any part has moved by accident. while adding frames to the various objects you could have accidentally clicked and moved apart. This checking system helps you detect the errors in position and makes it easy to fix them all Right, we can move to the actual animation now. But before that, try to remember what happens when a person walks. You would have observed that our entire body moves to and fro.

When we walk. The upper body bends forward slightly. As we take our next step. We are now going to work on this bending, pay close attention. We are inside the boy symbol, unlock all the layers in the layer stack. Before taking the first step, the character will be standing straight as it lifts its food to take the first step.

It's upper body, that is the head, the neck, the hands, the T shirt part and the tummy should bend forward. Remember that there will be changing the character's position here, but it is also important that we store the original straight position of the character. So to avoid any problems later, we'll create a keyframe for all the books parts on the seventh frame on the timeline, drag and select the seventh frame on all layers. Press f6 to add a keyframe on all the layers. Now come to the first frame to create the first pose of the character. We are aiming for the pose in which the characters left leg is bent at the back, the right leg is lifted forward, the left leg is behind and the character is bending just a bit forward.

Select the upper body by dragging your selection tool over it. Access the Free Transform Tool by pressing q on your keyboard. You want the character to bend from the west. That means it must rotate from the west. So hold the pivot point. That is the empty circle in the middle of the selection.

Now drag and drop it on the midpoint of the West. routed the selected upper body forward. Remember the character We'll walk at a normal pace, so the bench should be slide. If the walking speed is more than the bend will be steeper and faster. Let's animate the characters First Step. Select the right leg of the character and rotate it around the knee so the food extends forward.

Rotate the leg just a bit further, so the food stays about the ground level. Zoom inside the screen to observe that the heel of the right shoe or below the ground level. Next, the left leg must go symmetrically backwards on the same frame. Use the free transform tool to rotate it backwards. You will see that the tip of the food is going below the ground level. Let's correct this by double clicking on the left leg symbol.

Inside the left leg symbol. You can see the calf, thigh and feed symbols before making any changes will preserve the original purpose. Have the parts on frame number seven. Select the seventh frame on all the layers and press f6 to add a keyframe. Now come back to the first frame. Select the feet and calf symbols and rotate it backwards.

And just the pant outlines for smooth visual. Double click outside to come back to the boy symbol and move the left leg a bit to suit the characters proportions. Now, again, enter the left leg symbol. Observe that when we take the right foot forward, our heels bend upwards while the toes stay on the ground. We'll see how to achieve this effect. Double click on the left feet symbol.

Inside you can see two different layers, one for the toe part named as feet front. The other layer has the heel named as feet back. Select the seventh frame on both layers and press f6 to add keyframes. Now, come to the first frame and rotate the front part so it is parallel to the ground. adjust its outline with the back part, double click outside to exit the feet symbol. Select the feet part and push it down with the down arrow on your keyboard till it touches the ground level move and situated on the screen to suit the left legs proportion.

Now double click to come to the boy symbol. Now, on the first frame, select the right hand. Here's an interesting observation about walking. When our right leg moves forward, our right hand moves backward. And when our left leg moves backward, our left hand moves forward. The character's right foot is forward.

So the right hand should move back. With the free transform tool, rotate the right hand just a bit backward. Also, notice that we're Your hand moves, the shoulder shifts just a bit backward too. So, with the left arrow keys, move the shoulder a bit to the back. When you move the parts of the character in this way, always double check if the characters volume and body proportions are all right. When you walk, your hands don't move like stiff sticks, the bend at the elbow smoothly.

Let's work a bit on the hands to get that effect. Double click on the right hand symbol. Here, you can see the forearm, arm and bomb symbols on different layers. As before, we'll preserve the original position of all the parts by selecting the seventh frame on all the layers and pressing f6 Now, come to the first keyframe. Select the forearm and palm and bring the pivot point at the center of the elbow joint. Rotate the forum For a slight curve, double click twice to come to the boys involved.

After making changes to the right hand, let's work on the left hand. As before, you need to hide the overlying layers to see the left hand, the left foot is back, so the left hand should be forward. So select the left hand and rotate it forward unhide the other layers and rotate it a bit further forward. Let's see how the animation is happening. Drag the timeline seca forward and backward a bit. All right.

Let's learn an important pointer here. Character walks are designed in cycles. That means they work in a continuous loop. For this, the first and last frames must be identical. So let's copy the character's body position on the first frame to the 25th frame. For this select all the first keyframes on the timeline, press and hold down the Alt key.

Drag the keyframes to the 25th frame and drop them. Now release the Alt key. This process should be carefully repeated inside every body part symbol. Let's do it for the left leg first. Let's follow it up with the right leg, the right hand the left hand while copying the first keyframes to the 25th frame for all body parts. Also remember to create the seventh keyframe.

If you drag the timeline secret now, you will see that the character is switching between the two positions. It's time to add the next position. For our character, come to the first frame. In the next pose, the character's left leg is lifted forward, and the right leg is at the back the exact opposite of what we created on the first keyframe. Let's see how to do this. First, copy all the keyframes to the 13th frame.

For this, select all keyframes on the first frame, press and hold down the Alt key. Drag the keyframes to the 13th frame and drop them. Now release the Alt key. As you observed before, this position will be the exact opposite of the first position. Select the right hand. Select the Free Transform Tool by pressing Q and rotate it forward.

Move the entire shoulder slightly forward. Then select the left hand and rotate it backward to see if the positions are okay. Drag the timeline seeker forward and back Let's work on the leg positions now. Before you begin, check whether you are on the 13th frame. Now, select the right leg, rotate it backwards with the free transform tool. Now double click on the right leg symbol on the timeline.

Select the 13th frame on all layers and press f6 to add a keyframe there. Select the calf and feed right symbols and move their pivot point to the knee joint rotated to match the left leg that can be seen in faded color. Observe that the shoes are going below the ground level. To fix this, double click on the feet right symbol. You will see that we haven't added keyframes on the seventh and 13th keyframes yet. Select the frames on both the layers and press f6 to add keyframes, go to the 13th keyframe and select different parts of the food With the free transform tool, rotate it so it is parallel to the ground and just the outlines of the front part with the back part.

Double click outside to exit the right feet symbol. Select the feet part and push it down with the down arrow on your keyboard till it touches the ground level move and situated on the screen to suit the left legs proportion. Now double click to come to the boy symbol. To see the effect. Drag the timeline seeker again. Let's complete this level by creating the new position for the left leg.

Double click on the left leg to enter the symbol. Select the 13th frame for all layers on the timeline and press f6 to add keyframes. Come back to the boy symbol. Make sure that you're on the 13th frame and select the left leg. Use the free transform tool to rotate it so that it comes forward. Again, it is important to keep a watch on the heel of the shoe.

It shouldn't go below the ground level. Use the up arrow on your keyboard to bring the corner of the heel just on the ground level. You can see if this is looking okay by dragging the timeline seeker forward and backward a number of times. If you find something odd, you can use the arrow keys on your keyboard moved like so it suits the character design. Another observation for you. If you have observed people walking, you would have noticed something interesting.

When their feet are apart, they seem shorter. When the feet are together, they appear slightly taller. Let's apply the principle to the character. On the first frame. Select the upper body and push it slightly down with the keyboard arrow keys. The feet are apart again on the 13th frame.

So, let's repeat the process here to select the upper body and push it a little downward. You would have also observed that the neck also Bob's up and down as we walk. To achieve the same effect, go to the first frame, select the head and push it just a bit down with the down arrow keys. Go to the 13th frame and repeat the process. Run the timeline seeker back and forth to see the effect. Now, when you see the walk, you would observe that the frame number seven doesn't look natural.

It is stiff, as if the character stands still after every step, and then takes the next step. That's not how people walk. When we walk. We never stand on both feet together. So what happens when we come to the midpoint between the two steps? Let's recap.

On the first room. We have the left foot back The right foot forward. So the next step would have the left foot forward. But before going forward, the left leg has to bend in the knee, then bend forward from the west, and then straighten forward. Let's see how to animate this. Go to the seventh frame on the timeline.

Select the keyframe on the layer named boy underscore leg left rotated forward so the knee comes forward just a bit. Now, double click on it to see the three parts of the left leg. Visit the seventh frame here as well. Now select the calf and feet parts. Drag the pivot point to the center of the knee joint and rotate the lower leg just so that it comes directly below the body. Drag and move the selection to suit the thigh of the left leg.

Match the ages of the tie and calf symbols using the arrow keys on your keyboard. Come back to the boys involved by double clicking outside. With the free transform tool. readjust the leg so that the left knee and feet are ready to stretch forward the next step to see if this looks natural. Drag the timeline seeker back and forth. Observe that on the first and 13th keyframes, the character's head is bending forward, but on the seventh frame, it looks stiff and unnatural.

To remedy this, again, go to the seventh frame, click on the head symbol. Now, select the free transform tool again and routed just a bit backward. Use the timeline seeker to see if the effect is natural. Seems good. Just like the keyframe in between the right and left steps. You need to have a keyframe between the left and the right steps to let's draw this midpoint at the 19th frame.

For this go to the seventh frame on the time line. Select all the keyframes on all the layers, press and hold down the Alt key. Drag the keyframes to the 19th frame and drop them. Now release the Alt key. Now, when the left leg goes forward, it has to bend in between in the same manner. This time the right leg is going forward.

So, let's bend it on the 19th frame. Observe that this position will be the exact opposite of the position on the seventh frame. Let's go to work on it. Select the left leg and double click to edit it. As we have done before, add a keyframe for all the layers on the 19th frame. Now, rotate the left leg so it comes directly below the character's body.

Make sure the shoe of the left leg is on the ground level. Now, double click on the right leg to make further changes. You will find that we need to add keyframes on the 19th frames here will simply copy the keyframes on the seventh frame and paste them on the 19th. Go to the seventh frame. Select all the keyframes on all the layers. Now press and hold down the Alt key.

Drag the keyframes to the 19th frame and drop them release the alt symbol. Double click outside to exit the symbol and come to the bar symbol. Rotate the right leg to create the position where the lower leg should bend. To edit the position further, again, double click and enter the right leg symbol on the 19th frame. Select the calf and the feet. Shift the pivot point to the center of the knee with the free transform tool, rotated backwards and just Stick to suit the outline of the Thai baht.

Scale the shape slightly to achieve the right proportion for the lower leg. exit this symbolic to see the result. Drag the timeline seeker. Look at each part of the character as it changes position. Try and spot any problems of proportion or position and fix the errors if you find any. This is also a good time to revisit every little symbol and see if appropriate keyframes are added to all the layers on the seventh 13th 19th and 25th frames.

What we have done till now is that we have created basic poses for the sidewalk cycle. It's time to assign motion to end to all the layers. For this, come to the boy symbol on the timeline. Select all the frames from all the layers. Right click and select create motion twin. You will find some movements seem odd.

Let's resolve this issue. Double click the right hand symbol to enter it. Now, on the timeline, select all the frames on the layers, right click and select create motion tween. You'll also find that the layers do not have the required keyframes on the 13th and 19th frames. As you learned before, copy the first keyframe onto the 13th frame and the seventh keyframe on to the 19th frame. Use the Alt and drag technique to speed up the process.

Next, enter to the right leg symbol and give motion tween to all the frames on all your layers. Enter the feed symbol inside the right leg symbol and repeat the process. Again do the same for the left leg and left feet symbols. Exit the symbol to come to the bar symbol. Drag the timeline seek out to see if the animation is playing right. You can see that overall the walk is looking okay.

But on deeper observation, you will find that the positions of the characters body parts are showing cuts once a while. The next step is to fine tune the walk cycle. Make it still smoother and natural and fix the small errors to achieve the perfect sidewalk size. For the character, this will be our next and final session in this sidewalk cycle tutorial. In this session, you will learn how to remove all the rough edges and cuts visible in their character. To make the animation much smoother, you will know how to create the in between positions.

Most important of all, you will learn how to synchronize every part of the character with other parts for a much better result. As you observed, the animation isn't totally perfect yet to make it so you will have to magnify the character and work on it. Observe that at this stage, you will be working far more inside this involves scaling, skewing, stretching, rotating and editing them to create a far smoother sidewalk cycle. Here's what you should aim at. To start the proceedings. Go to the timeline.

Select the fourth frame on all the layers and create a keyframe between the first and seventh frames By pressing f6 Let's visit the layers one by one and iron out the finest of errors. We'll take the right leg first. You can see that on the fourth frame, the shoe is going below the ground level. With the up arrow on your keyboard, move the right leg and settle it at the ground level. Now, enter the symbol by double clicking it. The first process you execute once you are inside any symbol is to create the new keyframe on the fourth frame.

Select that frame on all the layers and press f6 notice how the tip of the characters right food is pointing up a bit too much in reality, when you walk the tip of your shoes make a very slight upward angle to begin with. To change the steep angle to a gentle one. Select the feet symbol and rotate it using the free transform tool. Push it closer to the ground level. Using the down arrow keys on your keyboard. Now to the caf part, according to the original design, the bottom of the pan should cover some part of the shoes.

So, using the free transform tool, skew the shape horizontally and vertically to conform to the design and just the thighs involved by matching it with the caf symbol. To achieve the perfect proportion, the design, you will have to work on all these parts simultaneously. The key points to be remembered are recognizing the volume of the parts and being consistent with the design. To check the result. Exit the symbol and run the timeline seeker forward and backward. The new keyframe looks okay, but when you magnify the right leg, you will again see the shoes venturing below the ground level.

This is around the 10th frame. So let's put an in between keyframe here. Select the 10th frame on all the layers and press f6 Now magnify the right leg symbol further and move it upwards till the foot touches the ground level guide. If you look carefully, you'll note that the shoe lines are not matching either to remain it is double click and enter the right leg symbol. As before, insert key frames on the 10th frame of all layers. Now select the feed symbol and rotate it so the bottom line matches the ground level guide.

If the snap facility is causing problems, you can switch it off for the moment. Run the timeline seeker here you can still see the problem of ground level and mismatching lines. That means work needs to be done inside the feet symbol. Double click on the feet symbol to enter it as well. Our process, first insert a keyframe on the 10th frame of both the layers. Now, add just the two symbols with the free transform tool, so they match each other.

Let's see the result. Exit the symbol by double clicking in the empty space. Note that when you wish to check the result, come back to the void symbol. That's where the final animation is reflected. Drag the timeline seekers slowly back and forth. This looks good.

At the same time, observe a serious cut in the left leg on the 10th frame. Let's resolve this immediately. While you're on the 10th frame. Double click on the left leg. Once inside, select the 10th frame on all layers and press f6 to add keyframes. Now, select the calf symbol and match it with the tie symbol Again, remember the original design, the bottom of the characters pants should be edited.

With the free transform tool, reduce the height of the calf symbol and skew it a bit to match the design. Check if there are any rough cuts left out and edit them at this point. Run the timeline seeker to check if the left leg is moving all right on all the other frames. Move the symbols so they work smoothly and exit the symbol to come back to the boy symbol. recheck the animation by dragging the timeline seeker back and forth. Do this very slowly so you can easily see what is happening on each frame.

You will find that around the 16th frame. Again the heel of the left foot is going below the ground. Level guideline. Let's again create the in between keyframes here. Select the 16th frame on all layers and press f6 zoom in for a better view. Select the left leg symbol.

With the up arrow keys. Push the leg so the heel settles on the ground level. Now, double click the symbol to work inside. Select the 16th frame on all the layers and press f6 to add the in between keyframe. Select the food symbol and rotate it to achieve a gentle slope. Push it close to the ground level with the down arrow keys.

While you are on the 16th frame, select the caf symbol and skew it with the free transform tool. match it with the tie symbol. Make sure you match it with the original characters sideview design. Exit the left leg symbol. Run the timeline seeker again slowly frame by frame. Observe the animation as many times as you think necessary to find out the errors in animation.

Carefully see the animation of the right leg on the 16th frame. There is some issue here again, select the left leg and move it up so that the food settles at the ground level guide. Enter the symbol by double clicking it. Select the 16th frame on the three symbol layers and press f6 add just the thigh symbol just a bit. Select the caf symbol and skew it a bit so it covers the shoes as in the original design. Make sure you're not tampering with the proportions when you use the free transform tool.

Using the free transform tool, move and rotate the food symbol and bring it closer to the ground level. Exit the symbol. Check the result by dragging the timeline seeker. Let's enter the right leg symbol once more and edit the right food. Select the 16th frame and press f6 to create keyframes on both the layers. zoom into the food symbol to spot the mismatch of the soul of the shoes with the free transform tool skew it to match the heel part with the toe.

Exit the symbols to come to the voice and ball again, use the timeline to see if the animation appears satisfactory. It's looking good On Vigo, let's create the last in between keyframe Now, select the 22nd frame on all the layers and press f6. To add keyframes zoom into the lower body of the character. Observe that the left leg is below the ground level. As before, select the left leg and push it a little above the ground level guide. Let's repeat the same for the last keyframe.

Go to the 25th frame. Select the left leg and push it up a few notches above the ground level. Before we move to the right leg. Let's ensure the left leg is on the higher position on all keyframes one by one check all keyframes and use the arrow keys on your keyboard to make the required changes. Okay, let's again run the timeline seeker. On the 10th frame, the left leg is rotating in a little odd way with the free transform tool rotated to the require degree, this will give the feeling of the stretching of the left leg forward.

Now back to the 22nd keyframe, you can clearly detect the mismatch between the thigh calf and food symbols of the right leg here. The rotation to isn't enough with the free transform tool rotated a bit so it comes forward. Now, enter the symbol. Select the 22nd frame on all layers and press f6 so you can edit the shape and position as usual, make the required changes to keep the design intact. Exit the symbol after you are done. After working on the lower body will now turn to the upper body.

Drag the timeline seeker many times over to see if any more corrections are required. Observe each frame in super slow motion. Note that the character is bending too much at the beginning. Also see that the straightening and bending of the upper body is also not very smooth. If you go over the animation frame by frame, you will see that in some frames, the character appears too stiff. So, how to remedy this?

Let's fix the mistakes in the upper body first, watch very closely. The problem is with the keyframes, so it's natural that you need to delete a few keyframes. Remember that the upper body movements are only to bending forward and a slight bend backward. The hand movements are also to left and right hands swinging forward and backward and then swinging in the opposite directions observed that is why the first the 13th and the 25th frames are simply each other's clones. So how do we go about it? Make the job simple.

Work only on the first step. That is from the frame number one to frame number seven later, all you do is simply copy and paste. As we want only two keyframes to work with will remove the in between keyframe, select the fourth keyframe from the upper body parts. That is the right hand, the head, the T shirt, the neck and the left hand and remove them by pressing Shift plus f6. Now to the first frame. Here, the character is bending forward too much.

On the first frame, select all the upper body parts. Now, select the free transform tool and slightly reduce the Forward Bend. Now, as we discussed before, the first 13th and 25th frames are clones. So copy the first keyframe onto the 13th and 25th keyframes holding down the Ctrl key and select The upper body parts. Now hold down the Alt key, drag the selection and drop it onto the 13th frame. Again, take the first keyframes and drag and drop them to the 25th keyframe.

Now, on to the 13th keyframe, the left leg comes forward. So the right hand should come forward to select the right hand and rotate it so it comes forward, move it to the required position. Then select and rotate the left hand backward on the 13th keyframe no will again add the fourth key keyframe to the upper body. Select the fourth frame on the layers with the upper body parts and press f6. Do the same for keyframe number 10 and 16. The upper bodies final keyframes are ready for keyframe numbers 147 1322, and 25.

Now press the Enter key to play your animation. Watch it a number of times, concentrating on a single body part at a time. You will see that after the several rounds of corrections, the character is now walking smoothly. It has got a life of its own now. All right, let's make the character a bit stylish in this part will work inside the head symbol. Note that when we walk along with our head on head also slightly move up and down.

Let's try to get the effect with our character. For this, double click the head symbol and enter it. In order to animate parts of the head symbol, you need to add frames to it. So select the 25th frame on all the layers and press f5 to insert frames. Now, double click on the first keyframe of the hair symbol here to click on the 25th frame and press f5 to add frames. Let's say you want to animate the two tufts of hair in the front.

Let's separate it from the main hair part. Let's see how to do this. Select the line tool and draw a line that separates the two tufts of hair from the rest of the hair body switch on this snap tool. Now, double click to select the hair you want to animate and press Ctrl plus x to cut it from its place before pasting it select the stroke color tool and click on the Order of the cut part to get an outline there, just like we did during the dissection process, extend the size of the cut part so that no leaks can be seen when we animate the hair. After that, create a new layer for the hair to be animated, and press Ctrl plus shift plus V to paste it in its original place. Now, before you proceed, delete the line that divides the hair.

In this tutorial, you are working with motion twin, so convert the tuft of hair into a symbol. Select the object and press f8 to bring up the Convert to Symbol dialog box with the graphic option on and the registration point in the center. Click ok. Here all said to animate the hair. First up, change the pivot point of the symbol to define the center of rotation. The last keyframe should be the same as the first.

So go to the 25th frame and press f6 right click between the two keyframes and select create motion twin As we did for all parts of the characters body, create the in between keyframes for the seventh and 13th frames, select them one by one, and press f6. Let's go to work on the seventh frame to begin with. Select the tuft of hair on the seventh frame. Remember that on the seventh frame, the characters straightens up. If you have observed, when we straighten up, our hair settles down, and when we bend, it rises upwards. Let's create that effect here to choose the free transform tool and skew the tuft of hair a bit downward.

Drag the timeline seeker to see if the animation is playing. Okay, now, copy the seventh keyframe to the 19th you can hold down the Alt key and drag the keyframe to the 19th frame. Come back to the main character Animation by pressing the enter key. Let's find out the reason why the hair animation is not showing. Enter the hair symbol. Copy the first frame to the 13th and 25th frames.

Copy the seventh frame to the 19th frame. Drag the timeline seeker to see the animation playing. Let's go to the boy symbol to see if now the animation is visible there. Drag the timeline seeker to view the animation. And now the final test, exit the boys in ball and come out on the stage. Drag the timeline seeker here to check if the hair is getting animated here or not.

There it is. Now let's exit all the symbols to come to the main stage. Go to the hundredth frame and click f5 to add frames. Remember that the animation is Inside the symbols is 25 frames long. So when you play over 100 frames, you will see the walk cycle repeated four times over, go to the first frame and play the entire animation by pressing the Enter key on your keyboard. If you feel you want more animation for the hair, you can enter the hair symbol to edit it.

No, let's view the animation without the guides. Come to the main stage again and right click on the stage, select the guides tab. Switch off the show guides option by clicking on it. Zoom in to the character so it fills the stage. And again press the Enter key to preview the animation. play the animation as many times as possible.

Remember that a lot of work still remains to be done. If you watch very closely, you will note that there are still parts where some cuts are visible in various parts of the body. Now, in cases where motion twin doesn't fill up the gaps and the leaks, the animators should resort to the frame by frame animation. First, preview the animation. Second, spot the part where the problem shows. Third, go to the frame where you detect the problem.

Fourth, press f6 to add a keyframe wherever The adjustment is required. Fifth, enter the symbolic and sixth, use the free transform tool to skew, rotate, move and scale the parts. While you work this way, the most important points to be remembered are first, strictly follow the characters original design. In our case, keep referring to the side angle view of the character. Second, keep the volume of the character and its parts unchanged. And third, keep the body proportions intact and consistent with each other.

Observe closely how each symbol is magnified on the screen and then edited one by one. After every change you make in the animation, it is extremely important to preview the animation on the main stage. Instead of playing the animation, we recommend you drag the timeline sequence slowly frame by frame to view and review your progress. Here's the best way to go about this process, especially when you are a beginner, always concentrate on editing single body parts in one go. At this stage, if you switch from making changes in one body part to editing the next and then back again, you will get confused. This can be stressful.

You can easily avoid this by taking one body part and then editing it from the first frame to the last. For this, you can make a list of body parts and take them off one by one as you finish editing them. This will make it more organized and less stressful. As you get experienced in animating the character you can find out your own techniques to simplify this process. When a character is animated in Flash, its walk cycle is designed only once. It is then used as it is for all times to come.

That's why there is no place for errors here, it has to be perfect. animating walk cycles is a very specialized skill that requires great observation skills. In the beginning, you will find it a bit difficult. But as you work more and more on character detection, character, rigging, and character animation, it will get easier and easier. We recommend you practice these procedures tirelessly. Until you get it right, you can ask your course instructor or animation team leader to guide you in this process, and learn some hands on tips and tricks.

It's worthwhile to remember that this is a basic tutorial on character walk cycle animation. In your career as a flash animator, you will work on characters that are not symmetrical, or characters with different working styles. You should try and acquire the skills to handle such characters by practicing the techniques you have learned in this tutorial. Try to work on really difficult characters. Ask for help from your instructors, colleagues and superiors. Okay, you can see that the editing process is done.

The characters sidewalk cycle is complete. We recommend you watch this tutorial, and actually practice it on your own several times to get your basics right. After your confidence rises, you can go ahead and challenge other characters too. We hope this tutorial helped you gain some insight into the principles and techniques used in animating a character's sidewalk cycle. Thank you so much for watching this original presentation by our Ohio media. Keep animating.

Stay animated. Thanks again.