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Welcome to Animation 11
Instructor email address:
T Linburg: Telinburg@sd43.bc.ca
Wacom driver install / MediBang drawing utility (ignore C ++ option!) Inuos 2015 driver / Wacom One Creative Pen Display
Our key focus in this class is learning the essential skills and techniques required to be a successful animator. Some of the skills that we will be developing include; 2 D sketching, computer drawing, pose to pose animation, motion / shape tweening, soundtracks, voice overs and learning techniques to add 'realism' to your movement cycles. Remember this...."The difference between good animators and great animators lies in the ability to identify and incorporate subtle realism in movement"
The approach for this course will be:
We'll start by developing a comprehensive 'animators tool kit' to allow us to bring our creative ideas to life. Some of the skills covered include tweening, layering, creating moving backgrounds, a study of 'realism', walk cycles, timings (on the two's), sound effects, dope sheets and lip syncing your characters with your story scripts.
Once we have gained some specific animation competencies, we will unleash your full creative talents in more lengthy animation scenes. Students will have access to drawing tablets and will have a specific subscription to Adobe software. We'll also have to figure out software install and how we'll use the tablets for both in class and for remote learning.
Please ensure you have access to my cloud animation resource files.
If you can't make up one drive links (label a folder with your full name and ALL related course work)
Create a one Drive share link - create an 'on line' spreadsheet for sharing course assignments
Create and Share links in ONE drive - A 'how to' guide
Example - T Linburg - (using Google Sheets - but you could use your Microsoft version of Excel)
T Linburg - grade and assessment link spreadsheet (adjust the share permissions to allow Mr. Linburg to edit) ...So download this spreadsheet as an excel file / rename this file in the format of 'last name first name - course' / then share with Mr. Linburg (in the share box type in 'tel' and my name should pop up. You should also give me 'edit' permissions not just 'view' permissions.
Instructions:
Download an excel version
Rename the file "Last Name / First Name" - Animation 11 - Block 1
Drop this spreadsheet into the hand in box and then add in One Drive Share links as you complete course assignments.
It is YOUR responsibility to keep this spreadsheet updated as you complete assignments
Please make share links that can be opened JUST by Mr. linburg ONLY.(to find me for sharing - start typing in tel... (and my name should pop up!)
Intro to animation - tell us about your journey...
Tell me about your interest in Animation?
Do you have a background with drawing? Do you animate for fun?
Tell us about the three most treasured animation productions!
(Share clip links – and describe your response in terms of story line – animation techniques incorporated – eg Claymation…)
Module # 5 Lip Sync A beginner's guide
Due:
In the next course segment, we will take character development to the 'next level'; talking characters, voice scripts and character voice. Voice or mouth positions allow us to put a voice to a character. This essential animation skill allows us to construct scenes and stories that are more relatable and dynamic. In order to accomplish this do, we need to learn some of the tradecraft around mouth positions, visimes, lip movements and tone of voice. This segment will follow a familiar path: tutorial, practice, and then generalize. As is the case with most creative endevours, we must...
.... "copy / replicate / innovate and then originate"....
Part I - Explore (auto) lip sync with a seagull or an Owl Follow one of these two tutorials. Since the first example has been created already, you are tasked with CHANGING the mouth visime positions to make them your own.
Base your first sketch on either the Owl or the Seagull. Please create your own mouth positions for a collection of sounds. You should have 12 mouth positions for the various sounds. Be sure you make a chart or a map outlining how many mouth positions and the sounds they will represent.
Steps:
Draw all the mouth shapes you need for your character. (your visemes versus phonemes)
Convert each one to a Graphic Symbol.
Auto Lip Sync references from this master mouth pose.
Align each one so it's centered on the stage.
Import your audio to a new layer and set it to Stream.
Lip sync explained in great detail here
Choose one of the two practice sets. Try to redo the art work AND redo the Visimes (mouth positions) - to practice and make them your own.
Option one 1 - Seagull - View finished project - use as a base for your seagull. Do not copy the visemes but rather create your own!
Option 2 - Owl - you will need to create the various mouth positions
Lip sync - talking owl example (This sample only has the master mouth position outlined only) You will have to compose the rest of them.
(*) Note: PLEASE compose your character(s) from a face on / or slightly angled perspective.
Part II - Write and perform your own Animation Voice over...
In this follow up exercise you are asked to create a drawn character of your own and then use your phone to make a "voice memo" (iphone) "record your voice" (android) to record your voice saying a couple of sentences "in character". You may use my quiet office to do your voice recording. In this section, we are not looking for anything too complex, just a drawn character, the various mouth positions (phonemes) and a second practice with a voice recording (this time yours). I would suggest that you write out a script (funny / tell jokes / tell a interesting story?) and to rehearse your script as we don't want a collection of (umms and ahhhs).
Something new....
1) AI voice generator (you can use only IF you are very uncomfortable 'acting' in your own production
Part III - Putting it All together!
In this segment, you will be creating a character that will match your Animation Voice over. You will need to draw the character (static) and then create the various GRAPHIC symbol mouth positions as described in Part I. You should use all of the '12 slots' available for mouth position art work. Once done, you should put it all together with the voice over, the talking character and a plausible background or setting for the animation. You may use an "AI" generated 'voice over' for your script OR you may record yourself as described above. Try to make your script either funny or 'dramatic'.
Steps to creating a Lip Sync
Prepare Mouth Shapes:
1) Create a Graphic Symbol for the mouth (e.g., mouthSymbol).
Inside the symbol, draw each mouth shape (viseme) on separate frames. Common shapes include:
A (closed mouth)
B (MBP sounds)
C (FV)
D (L)
E (wide E)
F (O)
G (U)
H (rest)
Label each frame with a name like A, B, etc., using frame labels.
2) Set Up the Timeline
Place the Mouth Symbol on the Timeline:
Add it to its own layer.
Make it a Graphic Symbol, not a Movie Clip.
Record/Import Audio:
Use a clean voiceover recording.
Import it by going to File > Import > Import to Library, then drag it onto the timeline.
Select 'auto lip sync' - and it should do the rest!
Module #4 Walk Cycles - Creation and use of Movie Clips
Introduction
Creating characters that move, jump, walk and run is one of the most important skills that all animator need to know. How a character moves in 'space and time' provides important clues into that character's mood, physical health and overall mass. As we all know, animation artwork is complex and time consuming to generate, therefore, it is critical that we draw 'walk cycles' in such a way that they convey essential insights into the character's personality, attitude and motivations. For example, a character with a lumbering stride and a slouched posture might speak to their lack of confidence or poor health. Conversly, a character with an arched back and a quickened pace might speak to their pride, sense of purpose and confidence.
Keep in mind that we like to create characters of all shapes and sizes as this reflects the world that we live in; diverse and complex.
So how do we accomplish this?
As animators we essentially have a few approaches to choose from; classic 'frame by frame' (draw main poses followed by the in-betweens) OR inverse kinesthetics. With this second approach, 'body parts' are drawn on separate layers and then they are connected together at the joints by the 'bone tool'. This tool connects drawn objects together like a doll or a maroinette with moveable joints. This link discusses everything you need to know about drawing and utilizing the 'bone tool' in Animate CC.
Both methods have their pros and cons and offer trade offs between high quality drawings and technical skill. Since walk cycles are time consuming, we prefer to make them as movie clips so that they can be stored and reused in future scene's and animation productions. When possible, we want to recycle are artwork and our character movement cycles to cut down on production time.
Two ways to create a movement cycle:
The 'bone tool' (inverse kinematics)
Create a Walk cycle with armature / How to use (hand example) / (related) Place each body part on its own layer and use motion tweens
Frame by frame modifications
Background links and Information
General information about 'walk cycles' - please watch video before proceeding.
Using the bone tool to help with movement and bone structure
Make a movie clip / 'Classic' frame by frame animation / camera tool
We will now be learning about 'frame by frame' and how to build a sequence within the context of a movie clip. Mastering these skills will allow you to create unique and original animations and how to "reuse" them as a part of your symbol library in Animate CC.
Different ways to create a walk cycle...
How to make a walk cycle method # 1 (using different layers)
A) Movie Clip practice set - (practice) This practice set is actually a completed example of a Movie Clip. You are simply asked to experiment with the files and make some alterations to the timeline and the art work. This is intended for practice only and you are not required to submit this work. Please practice so you understand the process.
B) Walk Cycle Part I - Intro. Classic 'frame by frame' AS a Movie Clip walk cycle (activate onion skin 'mode' to assist you) - (Make a walk cycle Movie clip)
Animation Walking Assignment
In this next segment, you are asked to create a walk cycle with all the various components (i.e. contact, recoil, passing, highpoint etc. - see illustration below) in the form of a MOVIE clip. Your walking character sketch should:
Have a 'run time' of at least five seconds (or put it on a 'loop mode' to make the walk look continuous) / simple walk cycle outline / simple pencil sketch type background to help with perspective (see video for example) / no colour or intense detail required.
A Movie clip (see above for explanation) lasting longer than 5 seconds
Use of "perspective" that is NOT a straight side view but rather it could be from behind or above or viewed from a slight angle
Add in some personality into the walk cycle. For example one might get the character to skip or to slouch. Try to add a bit of 'personality' to the movement.
Experiment with camera angles with pan and zoom
How a character moves through space says a lot about their personality or state of mind
There is of course more to this topic than simply the position of the arms and the legs. One can infer much about the character about the WAY that they move. If they are slouched forward then perhaps the character is sad, or if they walk with a confident strike with their back tilted slightly back, then one might suggest that the character is happy. In addition, our example here is a from a 'side' profile whereas one might also consider showing the character or scene construction from the FRONT or ABOVE. You are not expected to do this for this assignment but it is an important concept to be aware of.
C) Camera tool add on feature - (how to use the camera tools )
When you are finished your movie clip then please click on the camera tool to focus or pan the scene to add a more specific focus to your production. If you can't see the camera tool on your screen then be sure to select the bread crumbs to add it to your tool suite.
Resource Section
Module # 3 - Shape Tweens and Secondary Animations.... Animation's 'supporting cast'...
Due: Feb 26th 2026
In our next course assignment, we will be exploring how to:
Create a shape tween
Use shape tweening as a 'secondary animation' in a short project
Part A - Make a Shape Tween (practice) - Essential for 'realism' ('right click' on frame one of your animation sequence and select 'shape tween')
Introduction
Shape Tweens - What are they? And what are their importance to the art of animation...
Practice making a shape tween - could be a polygon shape or it could be something like a 'cloud' or a lit match or candle
Make a Shape Tween (in frame one make one shape and have it 'morph' into another) - Instructions / Second set
Create an 'artsy' candle with a flickering candle and glow effect - with other primary and secondary animations
Lit match with glow effect (written instruction set) / Great video with candle and glow effect
Part B - Create a short production that incorporates 'Shape Tweening'
In order to practice what we have learned, you are tasked with creating another short '5 second' or more scene that incorporates shape tweening. You could create a series of clouds 'floating' overhead with rain effect or a campsite scene with a burning fire in the fireplace or a jumble of objects spilling out of a bag.
Criteria
FIVE seconds or longer / a background / at least TWO different shape tween object(s) that move and change their shape and dimensions over the length of the production. So this could be trees swaying and clouds moving overhead or flickering candle and dripping wax. The possibilities are endless!
Module # 2 - The 12 Principles of Animation
12 Principles of Animation /12 Principles of animation described (playback link) /
Due: Feb. 20, 2026
Instructions
In our next assignment, we will try to use a basic shape (a cube / a ball etc...) to 'replicate' the twelve principles of animation. You could also combine two of the principles of animation in the same sequence.
For example, you might have a cube 'squash' in anticipation and then spring up which could be a way to illustrate "squash and stretch / anticipation / staging / and depending on the pathway 'arcs'. Please add a title before each part of the animation so that we know what principles you are trying to demonstrate. You may use motion tweens / shape tweens / or classic 'frame by frame' animation techniques for this.
Take a look at this example:
Take a look at this example - (Vimeo - The illusion of life!)
Classic frame by frame (using onion skin) - make a rough sketch of your own and change its look over a few frames
Example one (*) / Example two (of using the 'frame by frame' technique
Animation Resources
Module # 1 - Introduction to Animation essentials
Assignment # 1 - Introduction to Animation -
Two Parts to this assignment
Part A - A basic object, like a ball, where we will be practicing 'pose to pose' and movement on the twos (no art work) just timeline and motion tween
Part B - Project - 5 second production (see criteria and student folder of old projects) Must include: A background / an object that moves (ie a golf ball), use of a timeline, keyframes and a motion tween.
Due Date: Feb. 13th 2026
In our first look at animation style and techniques, we will be using Animate to create a ball bouncing sequence. This will allow us to start to learn more about the Animate software and how one opens and creates a basic animation project (please see PDF attachment below for further assignment details.
Here is the PDF outlining our first assignment / a set of how to instructions
Examples of this style of animation / Squash and Stretch in animation
Animate CC - program essentials (adjust the canvas rotate etc...)
Concepts covered:
Layering, creating objects, filling objects, creating backgrounds, tweening, movement on the ' two's ', a case study of 'natural' movement, introduction to sound effects library, drawing with a tablet, tracing objects in Animate CC.
A 'natural' bouncing movement trajectory. As animation is, in effect, a study of "realism" we need to understand in great detail how objects actually move in space and time. In this example, we can see that the ball not only does a "squash and stretch" but the object also moves at different rates in different speeds depending on the location of the object in the "arc". As the ball drops to the ground, the ball picks up speed while the reverse is true on the return. The final bounce is of course lower until the ball rolls to a stop
Resource Guide(s)
To add in 'easing' to your project please select this link - This allows for very subtle but important motion trajectories that allow for changes due to effects of gravity and object spin and movements.
To export your finished project as an MP 4 file - you will need to use H264 format and then use the video 'media encoder' to get the correct output!
Working wtih Adobe Animate CC Brush set
Adding sound to your project: (do at the end)
In order to add sound to the project please take a look at these instructions / Edit sound clips part II / free sound clips / my library of sound clips
Adobe's Official Animate sound site resource
All about sound Animate CC - how to synchronize sound effects and timings
Assignment # 2 - Drawing Essentials Your digital doodles....Due: Feb. 20th 2026
(fill your digital sketch book with the fanciful, the frightful, the fun... :) - at least 10 sketches
For today we'll be using the open source drawing software Krita or Adobe Fresco!
Perspective drawing basics / one point perspective drawing / learn to draw for beginners / how to draw faces (front view)
Instructions for making characters and faces (use Paint 3 D)
How to add in realistic curls / various hair styles
Try drawing scenes from different perspectives or sketch three expressive faces or animals. Use the above links as a guide. and just let your creative mind take over and do the 'unexpected'.....You are encouraged to do your sketched using Adobe Fresco. Adobe Fresco is excellent for offering a greater variety of textures / painting tools / watercolour brushes and so much more. One can use Adobe Fresco seamlessly with Adobe Animate. For example, one might create a background in Adobe Fresco and then export it to Adobe Animate for the character and movement cycles.
Adobe Fresco - a dramatic improvement in drawing tip and painting brush options. You can also easily stylize your projects to give your work a specific 'look and feel'.
Resource Guide - Artistically Inspiring Animation productions
' Mexican Standoff ' - effective perspective and view angles and excellent personalized sketch work / 'Hot Dog' (Bill Plympton) - effective use of stilted animations
Working With Animate CC - Video learning guides / Toon Boom (another software title used in the industry)
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