You can space out your poses to give the allusion of speed it’s moving at the shorter the length, the faster your object will move, and vice versa. Posing is simple merely place a pose somewhere on your timeline for the armature layer, and your arm will move accordingly to the new position you’ve place it. Don’t worry, poses aren’t anything new they’re essentially the armature layer’s version for a keyframe. Now you can tweak your arm’s movement by adding in poses into your armature layer. It’s best placed at the joining points of a body, like a thigh of a leg attaches to a torso, or in this case, a bicep connecting up to the shoulder. This can be referred to as the anchor point this is the base foundation that keeps your skeleton firm as you move it. This will produce a joint with a red-line dot in the middle. You’ll want to start your skeleton at the base of your object, where the arm won’t be moving, or at least not as fluently. Along with these ligaments come joints, which act as anchored points that you can interact with to manipulate the arm and actually make it move. These “bones” will pop up as purple lines which will act as the ligaments to your object it is the skeletal outline for your arm. To make a skeleton, you simply just select the arm and drag the bones across it. On the contrary, animating something like a dexterous hand is best reserved for tweening or frame-by-framework.Īn arm is relatively simple to construct for a skeleton, as it really requires just two to three bone joints. A body part with more direct, broader movements like an arm can be animated easily through both tweening or using the bone tool. We can spare the hand from the bone tool certain objects call for certain types of animation tools, and not all of them can be animated so interchangeably save for the most knowledgeable, highly skilled animators who have the experience to do so. Now you can finally use the beloved bone tool to add structure to this arm we’ve drawn. ![]() Now you’re ready to move on to the next step: placing the bone joints. One good way is to start drawing shapes to recreate the entire image as a whole, so it’s alright if you’ve conjured up some incoherent, bulbous set of blobs like these: When drawing a bit more realistically, you should always try to go off a reference, as it helps with placing the bone tool joints accordingly. Using a mouse can get strenuous, overwhelming, and at times, just downright messy. It’s recommended that when drawing digitally that you should have an electronic drawing device at your disposal, such as a drawing tablet. In truth, it comes down to the timing and positioning of an object that really gives the animation it’s magic, not the actual look of the design itself. Although it certainly helps in terms of creating appealing visuals, you don’t need to know how to draw well in order to animate well. If you aren’t confident in your drawing abilities, that’s okay. ![]() However, when just starting out with the bone tool, it’s advised to keep to a basic design, especially if you’re trying to make the object look more real. There is no right or wrong way to draw it, as everyone has their own unique style. So, we’ll start off with drawing the arm and hand. You can’t animate if you don’t have anything to work with! The object, also known as the symbol if grouped with other objects or animated through a tween (a basic translation animation) or bone tool manipulation, spells the fundamental component to the entire animation that you desire to make. Here is a breakdown on how to make a waving arm. So, now that you know a little more about the what to do and how to do it, let’s figure out how this friendly looking arm was created. This is especially crucial if you’re not a proficient in anatomically accurate drawing and are going for a more realistic approach in your projects. Remember that you are essentially building a skeleton, so it is best to follow off an anatomically correct skeletal outline for reference when animating something like an animal, a human, or a specific body part.
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