What Do The Icons Mean On Layer Animate Cc

Learn the how to master symbols in Adobe Breathing with Taylor Jon Peters.

The principles of animation are style more of import than the software. However, sometimes you may find yourself wasting as well much time in your workflow if y'all'd not aware of the tools at your disposal. Adobe Animate is ane of those tools. Adobe Animate is an incredible tool for doing mitt-fatigued style animation and information technology's used in some of the biggest Motion Design studios in the world.

Now if only in that location was a globe-grade animator to show united states of america this tool...

In an incredible stroke of proficient luck, Taylor Jon Peters is here to bring the states an in-depth tutorial showing how to work smarter in Adobe Animate. In the vid, Taylor breaks down the various types of symbol options available in Adobe Breathing and when to utilise each specific ane.

Got you thinking cap on? This is going to exist a very useful lesson! Let's get started...

Use Cases for Adobe Animate Symbols

Here's a quick breakdown of the importance of using symbols in your Adobe Breathing workflow

1. LOOPING ANIMATIONS

Imagine if you need to create a flag on a windy day. You're non going to desire it to ripple once and then stop. No, you're going to want information technology to loop until it's out of frame, or until you've decided there is no more current of air.

In Adobe Animate you can set up your symbols to loop! This is amazingly useful if you lot're needing a lot of niggling things, like swaying grass, to keep repeating over and over once again. This can also exist useful if yous don't want to animate the stop and beginning of each cycle.

2. SINGLE FRAME PLAYBACK

What exercise you use if you don't desire a loop? Well, if you need an animation to play and then stop when all the frames have been shown, use the Single Frame playback option. For instance, if yous accept an explosion or dust flying away you'll only demand it to play through one time.

3. SINGLE FRAME

Need to set specific mouth movements for vowels or a closed mouth smirk? Use the Frame Picker panel as you're scrubbing through your timeline. Just choose which frame you desire by clicking the representative graphic. In one case clicked it will automatically create a keyframe on your layer so that you rima oris land changes.

How to make symbols in Adobe Breathing

To catechumen an animation to symbol in Adobe Animate simply click Modify > Convert to Symbol. In one case clicked you lot'll have an opportunity to name your symbol and choose from various setting. For this tutorial become alee and set up it to graphic and not picture show.

When you're creating your symbols attempt to add them to binder of groups that pair well together. Effort to use skilful logic when creating symbols, for example create a 'head' folder for symbols related to the head, and if you're creating elements for the artillery, well... make an artillery folder. This will save you lot a lot of trouble once yous've built upwardly several dissimilar animated symbols for your library.

ADVANTAGES OF USING SYMBOLS

Symbols are similar compositions in After Effects. Symbols are super dynamic and can relieve a lot of fourth dimension with nuanced animations. Not but that, but you don't want to have to redraw sure assets if you tin can merely duplicate them using Symbols. They're especially helpful if you lot're looking to go better at grapheme animation.

Why would yous want to practice this instead of straight ahead drawing every frame? Well, here are some benefits of using symbols in Adobe Breathing:

Easily indistinguishable pre-congenital animations
Symbols accept transform properties on pre-congenital animations
Symbols tin can loop animations
Symbols can create a library of poses
Symbols can replace poses for a frame using frame picker
Symbols tin reduce the need to redraw mutual elements
Symbols alter the starting frame

LOOKING TO LEARN MORE?

That's all for this lesson. Taylor will exist back with a follow-up tutorial very soon!

In the meantime, cheque out our courses to find your next learning adventure. The globe of blitheness is heady, but learning it doesn't accept to be frustrating. If you lot're set up to really upwards your animation skills cheque out Animation Bootcamp or Advanced Motion Methods. See ya side by side time!

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Tutorial Total Transcript Below 👇:

Joey Korenman (00:00): Hey everybody. This is Joey and I am super excited to introduce a new tutorial creator here on schoolhouse of move. Taylor, John Peters is a motion designer who has worked for some of the biggest studios in the world, including giant pismire. You may accept heard that in this tutorial, Taylor is going to show you lot how he works in Adobe animate. And he'll start by introducing you to symbols, a powerful tool for creating traditional animation. Taylor is awesome, and yous're going to learn a ton. So if you're ready to dive into a program that you may non exist very familiar with, go download the projection file at the link below and let's get started.

Music (00:36): [intro music]

Taylor Jon Peters (00:45): What's up, everybody let'southward get into this. Beginning of all, I'thousand just going to testify you a couple of demos, what symbols can be used for in wink. And and so nosotros can go into making symbols, and then I'm going to open a project file that I have with a character. And we're going to start moving towards making a lilliputian bit of a rig for a person'due south head using frame selector option or frame picker rather. Simply first of all, permit'southward just take a look. What these things practice. I retrieve a really good fashion to look at symbols in flash are just, just consider them like compositions in after furnishings. You lot can abroad from your main timeline and flash make sub comps that comprise blitheness in them. And then from at that place, move effectually these parent comps and you can just layer a bunch of animation. Yous can loop things.

Taylor Jon Peters (01:40): Yous can, um, hide a bunch of different angles of objects and stuff and apply frame picker and select those objects and not have to describe as much. And as much as I'thousand an advocate for forget about the software, learn the fundamentals, apathetic, blah, blah, blah, blah. This, you know, sometimes you just don't want to have to similar exist similar a pure traditionalist and similar draw everything. This saves you time. And there'south been times where I'll be like cleaning up someone's piece of work. And they did these refs and they copy and pasted a bunch of things like say, y'all draw a brawl or something. That'southward like really good on model. And like, you just, you killed it. And then you needed to motility information technology beyond fourscore frames, only similar a linear movement across the screen. And you lot copy and pasted every single thing. At present, when you need to go clean that up, you lot're going to have to become clean that matter up eighty times.

Taylor Jon Peters (02:32): Whereas if you use a symbol, you tin, equally long equally you lot're proactive with what you're doing, you tin make certain that, yous know, you're going to be using a duplicate object, start with a symbol, so only take to clean up that thing in one case. And that's a super useful thing, but nosotros're going to go into that more later. First of all, I'thou just going to testify you, um, some of, some of its features. So the first option under graphic, you have options to different looping options. You have loop play once in single frame. So I'll show you what the benefits of loop are. I'll just play these two lovely gifts. I mean, they're non gifts, but looping animations. I take a flag that loops and so I accept a Bush that gets blown over and then comes back and loops. Then, I mean, right off the bat, you tin can see that this would exist useful if you lot were trying to populate an environment with a bunch of bushes.

Taylor Jon Peters (03:26): Wow. Um, and so basically the manner this is working is you have a symbol and that symbol is filled with an blitheness. Um, you can have every bit many layers, y'all can do everything that y'all tin do in the normal timeline, just in, um, just in, in the symbol. And and so when you move that symbol, now, all of a sudden yous accept, you have this, this limerick. If you lot think about it, that manner that, uh, you can movement around calibration and kind of do anything you want with, y'all can really animate it outside of that comp if you lot wanted, um, information technology'southward incredibly useful. And with these loops, you tin, um, of form change the get-go frame. So if nosotros accept that one started to, and then like, we'll move on to kickoff a four. And now we have a nice bit of offset animation in there.

Taylor Jon Peters (04:17): And like, yous can actually, y'all can actually build up off of this really easily. And then yep, the, the loop has only, uh, of the flag is just a ten frame loop. It loops perfectly. Yeah. And you lot can animate it. You lot tin can breathing the symbol, you tin scale the symbol, you lot can do everything, skew information technology, whatsoever, any y'all want to do with it. That's peachy. And we'll, and I'll go into more depth on like what the benefits of all these things are in a second, besides looping, there's a unmarried frame playback where, um, this is, this is really good for things that are like responsive. If you, then what I'll show y'all are 2 explosions and a dust deject. If you, if yous take something that needs to react, um, and y'all just want it to play once and then be done, that'south what this does.

Taylor Jon Peters (05:09): Information technology'll play your frame and it stops. Information technology but won't loop again. And so that's practiced if you have, I don't know, something fall. Oh, oops. If you had something autumn and you just wanted a grit cloud at the bottom of it, you can just nail, and y'all tin move them around again, duplicate them. You tin can transform them, flip them just super useful considering here, if nosotros have this explosion, look at that. Cool. So play once we'll go through your blitheness and your frame. So this is a 10 frame animation. Information technology'll play the 10 frames and so it'll, it'll stick on the last one. So if, if I went into this and on my terminal frame, yous tin can see information technology's bare. If I drew a squiggly, it's going to stick on that squiggly line. And then just be aware of that. Absurd. And then the terminal one is called unmarried frame. So it was kind of hard for me to figure out how I wanted to practice a demo with this. Um, single frame is exactly what it sounds like. So within of this, I have iv rima oris shapes.

Taylor Jon Peters (06:sixteen): And, um, if this was set up to loop or set to annihilation else, information technology would kind of only spam through these, but right now information technology'southward stuck to nothing. So the benefit of this is, I mean, the best use case I could recollect of is a rima oris. And we're going to go in with the face rig. I think I'm going to primarily focus using the single frame, uh, option, because it's just, it's just what we're going to do. Then with the single frame option, you actually have this lovely window under windows. It'southward chosen frame picker correct here. And, and you can, you can come across all your frames that are within the symbol and you can choice the frame. And it'south, information technology'southward really nifty because if at 10 frames, I want him to open his oral cavity. You can do that. And there's this little checkbox hither that says create frame.

Taylor Jon Peters (07:00):And, uh, that'll, that'll make sure that whenever you lot click on a new frame, it's, it's gonna, information technology'll make a new frame for you automatically, which is nice. So this is really good for lip sinking or whatever. There yous get. Beautiful. You could have an endless amount of frames in here and you could select through if you lot had, if y'all had hands that had unlike poses, if yous had eyes that had dissimilar poses, all nifty things for that case. So that's a really quick brief intro. And now let'south see if we tin go a little bit more complicated. Alrighty. And so to outset that off, permit's get-go making some symbols and start taking reward of what they practise. So I'm going to make an eyeball blink loop. I recommend using symbols, anytime, you know, you have something that yous're going to have to animate, but you don't desire to take to animate a bajillion times.

Taylor Jon Peters (07:57): And I hateful, I think an eye is a really good case because if he'south just blinking, you don't desire to have to make sure that his blinking optics in the right position, every fourth dimension that'southward blinking at the right fourth dimension, you just like to have an eye that'southward blinking, you know, and just leave it and not have to think almost it. So what I'm doing right now, just cartoon my assets out. I'm using the pen tool or pencil tool, I suppose, in his eyes. And now what we're going to do, select that asset. And so we're going to go to modify, catechumen to assemble or FH. Okay, now we are confront-to-face with, uh, this beautiful menu. This is the convert to symbol bill of fare. This is where you lot can offset being as organized as you desire, or, um, just leave things unnamed and brand other animators aroused at you.

Taylor Jon Peters (08:46): Um, so I'm just going to name this I, and and then I'll just name it blink. Uh, I often find myself making multiple symbols of the same asset because they achieve different things. So if I needed to make the eye look left or right, I would make a new symbol with the same nugget that looks left or correct. And and then I would switch symbols dorsum and along and I'll bear witness yous how to practise that in a 2d. So you tin can also cull the root folder. It's probably a good practice to just accept this in hither under head assets, make a new folder under your, uh, library. This is going to exist your favorite place. In one case you first working with a lot of symbols equally your library, all the symbols that you make will alive in here and this place will go the, or the library will get super messy if you don't pay attention to information technology.

Taylor Jon Peters (09:xxx): So make sure you're keeping track of that. I'll just keep information technology over in the corner over here. Okay. And then now we've fabricated our first symbol. This is an eyeball, what I'grand going to do considering of the advantages of symbols. Ordinarily when you blink, you blink with both eyes at the same time. And so what I'm going to do is click and drag while holding alt and duplicate this eyeball, then I'one thousand going to correct click and go down to transform and flip horizontal. And I'll just reposition that. And there we take the exact same eyeball, uh, same, same, uh, symbol, one eyeball. And now nosotros merely have to animate one eyeball blinking, which is great. Let's zoom in on hither. I'm going to go to, uh, brand 24 frames.

Taylor Jon Peters (ten:19): If y'all're not familiar with flash, I just pressed F 5 in that location to extend my frames all the way out. And so 24 that's i second. At 10 seconds, I'g going to press F six, make a new frame. I'grand going to have him blink. I don't desire to keep his stroke with that big, just considering it looks chunky. It doesn't await like a blink that much. I hateful, it kind of does, but why would his close middle look like the aforementioned size every bit his open up dye? Okay. So I'll only half stroke that there you lot go. Lovely blink. Then I'm going to drag this frame over here, so I'm going to press F six once again, to set upward my easing blink. I have this almost fully open.

Taylor Jon Peters (11:10): So there y'all go. And so when we press play here, it should but be a super simple blink. Overnice. I'm just going to go and make sure. Well here, this is skillful practice to, um, make a new layer. I'thou going to cut that eyebrow and put it onto this new layer because in your symbols, you can take new layers. Y'all can, y'all can have every bit many layers equally you want. It'due south it's but a whole other scene within a symbol. I'll merely go delete all those other eyebrows on those frames. Now here'south your eyebrow half dozen over again? Oops, drop that.

Taylor Jon Peters (12:00): I'one thousand actually just going to motility this up so that in that location was a bit more than of that. And and then f6 the eyebrow starts to come up and and so I'chiliad just going to drag again, to become that concluding position. Actually, I'll simply move this over and we'll ease dorsum into that final position, the finest animation you've always seen. Okay. So with looping, if you want, I mean, you don't want your person to exist blinking like crazy. So what yous'll come across I've done here is I've left a little bit of a, a pre-whorl and a post role. And then it'due south not going to loop. It'due south not going to loop until you go through all these frames. And then if you lot want them to blink less frequently than just extend a one or both of these, and at present he's going to simply blink every similar 15 frames. So when we leave, since these are set to loop, you volition run into blink and he's non going to glimmer once more because nosotros don't have enough time.

Taylor Jon Peters (thirteen:eleven): Um, so I'll actually merely get in just for sake of showing you lot we'll brand them blink every, I don't know, five seconds requite or accept lovely. So now he'due south a blink and monster just blink so much. It'south crazy. Um, and you'll meet here, uh, the interval of the, the, uh, the loop is off from the, um, the amount of frames nosotros have within that symbol. So it's merely going to stop on a one-half frame. Um, then y'all tin can, you can either, you kind of have to do a little bit of math to make sure that y'all're setting enough intervals. If you want to make a perfect loop only for quick math sake. You know, if you have a 12 frame bicycle and you desire to do a 24 frame looping GIF, you lot're going to make sure all of your loops like your eyeball blinks and stuff are going to exist either 12 or six or three, correct.

Taylor Jon Peters (14:07): Uh, and that that'll make sure that it will information technology'll it'll loop perfectly. So that's just a prissy tip if y'all're planning on making net gifts. And then, and I mean, in our scenario here, permit'southward make this, uh, allow's terminate at 15, and then we can just make this, uh, terminate at 30 and now information technology should loop perfectly. Um, another tip, if y'all want, uh, y'all can get under control and y'all can become loop playback, and that'll really only loop your, your scenes playback, non your it's not going to bear upon your, um, symbol or anything. So there y'all go so far, this is our beautiful gift.

Taylor Jon Peters (xiv:48): I'll just proper name that layer just for the sake of it. Now we are going to apply the single frame setting to start making some angles of this head. There are ii means you could go most doing this. I'thou going to exercise this, non actually considering super smooth motion nevertheless. I'm going to, I'yard going to go over that a little bit more in the next video. When we first talking about tweens, which is a really cool thing, and that'due south really going to accident up, accident your mind up, so accident your mind upwardly. So permit's offset by making, uh, some assets for this head here. Really, I'thousand just going to get through and I'm going to make a agglomeration of these avails, then I'll come back. And then y'all don't have to spotter me do this. All right. Alrighty. So I have gone in, and I've fabricated a bunch of assets for this head.

Taylor Jon Peters (15:36): Um, everything is a symbol. Uh, so the, I made, I made a caput symbol then inside that head symbol, I accept all the other assets. So you can, you lot can kind of stack all your, your symbols. Then I accept the ears, or those are eyes. I have the eyes. Um, I have the ears of two years, whereas the other yr, what layer is that on? Oh, there's the two years. Oh, that's why I'thou crazy. Um, everything's on their ain layers except for the eyes apparently, which are now on their own layers. And let me see if I can find this guy. Then everything's its own symbol. And at present what we're going to do, I've washed a actually beautiful animation. I'thousand actually going to add one more ease frame here then that it'southward not and so quick or maybe I'll practice an Antech. Okay. And so at present we have the super quick caput turn.

Taylor Jon Peters (16:26): Um, simply unfortunately his head doesn't turn. And so what we're going to do is we're going to go in and make all of the frames nosotros need for his head to plough. Then I'k going to practice a, just a left facing pose here, a left facing head. And, um, we're going to exercise that all within the symbol and we're only gonna need, uh, we're only going to make the frames we actually demand right now. And then correct at present this is our forepart facing pose. I'm going to press F sexual practice, uh, or I'll really, I'll drag downwards the line here and then press F six and then press F five to extend those for each of these symbols, we're going to give them, um, two frames and I'll show you lot why that is later. Okay. So this is our front facing pose. This is going to be our right facing posts. So we're going to just showtime shifting things over. I don't need this right ear left, left. At that place you go. Move his face. Okay. So we can do better than that. I'chiliad going to, I'll just speedily using onion, skin, describe a new head shape. Dainty, squeamish and quick. I actually have a style frame behind, but I don't, I tin can't see it right now. And then I'll just wing it. Um,

Taylor Jon Peters (17:50): Exercise lost. Okay. Beautiful. Best, best drawing I've e'er done. Said that to black. Side by side matter nosotros're going to do shift these eyes over. I really have this no set to single frame. And so what I'm going to exercise is within that, I'm going to go over to a new symbol or a new frame within the no symbol. And I'm just going to draw out what the nose should look similar too. Um, and what'southward nice almost symbols is you can go in and you can practice all this crude drawing. And then it'due south very like shooting fish in a barrel later on, after the fact to go back in and just make clean up the one olfactory organ, considering now I have this nose for the forepart and the, this detect for the right angle. And I'm going to go to my, um, frame picker here and I'll just set it to my right bending nose. And, you know, someday I use this right bending or the symbol, I but have to clean up this right angle nose one time, which is, which is great. Information technology'll relieve so much fourth dimension. Okay. So now we take our right angle. Um, I'm actually going to do the same for the ear. Merely go F vi, delete it. Um, and I'm just going to make, arrive open up.

Taylor Jon Peters (nineteen:19): Cool. So now that's requite or take what that year would wait like. Rotated. Once again, this is more of a software tutorial than it is a animation tutorial. Then you tin, y'all're going to go learn how to draw somewhere else. Cause I'k not gonna do a practiced job of education you frame picker, cull a right bending ear. Oh goodness. I can do a better job than that. Cool. Um, turn off onion skin. Swell. Okay. Very unproblematic. Turns his caput left and then, you know, what, if we want to plough his head right. Just in case we can duplicate these select them. All right. Click transform, flip horizontal, which is, oh, sorry. Out of my, out of my recording screen.

Taylor Jon Peters (20:15): Transform, flip, horizontal. Swell. Okay. Try and keep everything centered when you're doing that, which mine is give or take. Um, at present you will meet in a 2d here that my, my symbol is set to loop. So when I play this, he's but going to be going all over the place. But, um, here's a, here'south a quick way to prepare that. There'due south an selection here at the very bottom chosen, um, see if the tool tip will open up up. I recollect it's just edit multiple frames. If y'all select that y'all get the same brackets that you become from onion skinning, and you can only drag that over, become command a and then under your looping ready it to a unmarried frame. So, um, I would just go under first, merely put one. And so now they're all set to the first frame. Okay, bully. That was pretty easy.

Taylor Jon Peters (21:08): So now we still have that aforementioned ugly animation of him, his face up not irresolute at all and he just moves to the left. So now nosotros're going to go in, I think it would be nice to have him antique the left then go down. I'k going to make a glimmer frame and then he's going to settle to the right. And so yous're going to see why I left those 2 frames correct now. So hither'south our initial frame. I'm going to go over to the right. Um, I'm going to de-select create cardinal frame cause I don't want to keep, make any key frames outside of these, this nice timing that I have fix. I am going to click v where he looks to the left then I'thousand going to get frontward forwards. And so for these last two, let'southward select three and that's like four.

Taylor Jon Peters (21:57): So at present great super snappy. A little bit too snappy. I think, I recollect information technology's pushed also much. So the reason why I left these extra frames is for easing you. Then there's a, every bit I said earlier, in that location are, there are a couple of ways that you can exercise this and I'chiliad going to go into using synchronized symbols in the next video. Synchronized symbols is going to be where you lot actually breathing your full action within a symbol so move that symbol. This, the style that nosotros're doing, this is more similar a rig where, uh, within of the symbol, you don't actually have whatever finished animation. Yous merely have a bunch of keys that you can kind of pick and choose from. Like a, I dunno, I don't know what a good example of is. This way is more than similar yous go to choose from a toolbox of angles and, and, and keys and everything.

Taylor Jon Peters (22:47): And so the other way is where you lot actually take to do a full set of animation. And so, you know, at that place's benefits to both and we'll, we'll, we'll run across that in the next video, but for at present, what I'm going to do is I'k going to take this, this correct turned confront, and I'm going to fix another key frame hither going, gonna press F six. And and then I'thou going to go back to the one fundamental frame and I'1000 going to move everything over a couple of pixels. And so what this is going to do is create our easing. And what you'll see is if I switch to the next frame, y'all can encounter that everything kind of settles in. We could practice the same. Nosotros tin can practice the aforementioned with the base of the head. I'll actually, I'll but, I'll squish the face over using Q for costless transform. And now there, he kind of settles his face in, oh, actually here, I pushed it too far. I'll bring it back. So there you go. If that makes sense, nosotros can move back over. What I'chiliad going to practice beginning though, is I'm going to really just catch this and do the aforementioned for the left facing postal service, a couple of pixels over a couple of pixels, over a couple of pixels over cetera, take hold of base of operations like that.

Taylor Jon Peters (24:06): I mean, if you play that, information technology'south kind of fun. What was this head back and forth, but it's not existent animation. You're just using those frames as a part of it. Then at present what nosotros can exercise is we accept him go to the left instead of grabbing that full left frame. I'm going to go back, find my friend picker, which wants to go on hiding on me. I'm going to get pick, whoops, say I'll pick five, which is less far over. And then, um, go down instead of picking six, we're going to option, oh, sorry, nosotros're going to selection three. And then the adjacent one is going to exist four and it's really subtle. And now I'one thousand wondering if I should push it.

Taylor Jon Peters (24:53): Aye. So from three to four, it'southward pretty subtle, particularly with such a wide move. So what I'm going to do is I'g just going to, I'thousand only going to button it even further so that we tin actually really see that happening. Okay. Then now there y'all become. Now yous can meet that a lot meliorate and it'south actually easing into that final position. And and then, and then the adjacent matter I'm going to do well, actually, so I guess, I guess the lesson from here is now when you get-go edifice a rig like this, I know that this antique is also, as well ambitious. I want, I want a more subtle ones. And then now I can go back into this comp where I have all these poses grab a skillful base of operations pose like this first one, duplicated all the way to the far, right. Um, you tin can kind of motility it around. I think it is. It'southward a expert practice to, to go on things organized. And then having blank frames like this can merely like create separation because once again, like you're never going to do the playback within this, similar this isn't going to matter. You're only taking the frames from this symbol. And then at present I'm going to, from here, I'thousand just gonna make a really subtle antic phrase where I'g just very framed, deplorable, where I merely shove his eyes up. And and then you just start making these frames with the animation in mind. So this is kind of funny.

Taylor Jon Peters (26:x): He's gonna shift his head over in his oral cavity and at present nosotros can get back out on this antique frame instead of choosing that full left, y'all kinda, y'all can see here in the frame picker, you have this actually big list of choices you can choose. And so now he's actually but doing a prissy, subtle look up and now we're going to make a new frame for his look downwardly. Um, again, actually, you lot know, uh, considering I gave myself extra frames here. I'yard just going to go F six here. I'k going to squish his nose down, squishes mouth downwardly, squishes the ears downwardly a bit. And and so actually the, this, this eye symbol I have is, um, merely the centre graphic. I'm going to go in, brand sure that this, so this, these eyes are actually set to loop right now. I'one thousand going to do that same edit multiple frames, brand sure everything'south set up to a single frame. And then I don't have whatsoever funny glitches. Now I'grand going to go into this eye and I tin can actually, well, nosotros already animated that middle, uh, loop earlier. And so I'm just going to employ the loop from earlier and nosotros'll, simply we'll just do unmarried frame and go frame pick out of it. And I'm merely going to become and select the airtight eye. This is a classic Enrique Barone glimmer in turn, except he doesn't meliorate.

Taylor Jon Peters (27:34): But with, oh, that you tin can now see, we accept a style to ambitious head, plow Antech squish. We'll just go on this all a lilliputian bit more real than, oh, you know what? And then we can also brand sure that this is on the blink besides. Okay. Now information technology'due south an blitheness tutorial. Brand sure your spacing'south good folks because it makes you a better animator. Hey, this should animate meliorate. And and then nosotros'll just requite information technology a trivial bit more time to this. And what's dainty well-nigh this every bit each one of these cells are frames here is going to keep the information nearly which frame yous've stored or chosen under your single frame. So yous can, you can select these, whoops. Y'all can select all of these and shift them around and your animation won't read time itself. So now y'all've got that. And now, considering that framing is so tight, this actually needs to exist a little bit more subtle, which is fine, but y'all tin just go in and make these adjustments. And then at the end of the day, the best part is even if we wanted to. And then he turns that manner, say, let's just proceed animating. If he at present, um, blinks once more and at present looks, looks the other direction.

Taylor Jon Peters (29:13): We are still only using the frames from the original symbol. And then y'all're not actually going to take to clean upward any more frames. So if we go in, I'll see that if we go in, it'south hard to say I'1000 not doing an animation tutorial, but I care so much virtually making stuff look similar it'south blithe nicely. So now I'thou spending way too much fourth dimension. Um, simply okay, and then at present we have forty frames of animation, 45 frames of animation, only in reality, nosotros only have to go in and clean up 10, patently so much information. Um, and it'southward, uh, lots of quips and quirks. Uh, please go download the project files. I will, I will leave all this in your I'll really probably go clean this upwards and get out the, uh, the crude in the bottom. And you tin can kind of see what I was doing. And and so likewise include the examples from earlier in the video.

Joey Korenman (thirty:x): If you want to learn more about using symbols in Adobe breathing, you lot can practise so by visiting the link in the clarification of this video. And of course, if you really want to take your animation skills to the next level, go check out our courses page at schoolofmotion.com. We've partnered upwardly with some incredible artists to teach yous the skills that pay the bills as a motion designer. And that's it. We'll see you next time.

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Source: https://www.schoolofmotion.com/blog/symbols-adobe-animate

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