Now that we've cleaned up our base animation,
we're ready to start adding secondary animation.
Now, this can sound intimidating,
but it's really just anything that isn't directly attached to
the base animation that's flowing off or effected by other physics.
Secondary is honestly one of my favorite parts of animation because it can
take something that has up till now been very technical,
very sad, just like a process,
and turn it into something that has a lot more extra flair,
and a little bit more of a personality.
Examples of secondary include anything
that's not directly attached completely to the body.
This could be like hair or a jacket that's hanging off or a skirt,
or anything loose and flowy.
That's going to have different physics from
our main body and it's going to be affected by other elements.
This is where you can add more of that stylization and push stuff.
It adds a really nice extra touch to it.
As you can see here, I've animated a little bit of
an example where it's like a string attached to
a fixed point that's being affected by the up and down motion
or by a wind invisibly flowing past it.
This is pretty straightforward in terms of what you would normally imagine,
say a flag or anything that's hanging off of anything else, really.
I like to think of it as a string.
I think that that tends to help when you
have to piece different secondary pieces together
of just thinking of each side or each part of them
as an individual string that's then attached to another point.
I'll go into that more if that seems weird or complicated.
Now, basically, what I'm going to do is start adding in the hair with
the same principle of string being attached to a static point.
Now, in this case,
the hair is basically a triangular string attached to the static point of her head.
Her head is going to be moving a little bit,
so I'm going to have it move with that as well.
But if you look at it altogether,
it's basically the same principle of a wave.
You can see here if we go through the onion skins.
One thing that you can tell in this wave as well as that,
it's really just in-between hanging and it's not too much of a gap between any of them,
it's a fairly even motion since this is one continuous walk cycle.
We don't really need much ease on this,
except for maybe on at these big arcs on either side.
That's because we want it to look continuous with
this motion that we have of the head just going up and down.
You can see that these two animations basically match.
What I've done is I've attached her hair to her head.
I've basically just moved this base of
her hair and rotated it to where her head needs to be.
This wave animation is basically what you're
going to keep in mind for the entire rest of the secondary animation.
You just take this very simple piece and use it to your will,
change the direction or change the angle.
Pretty much use that type of movement for the rest of all of this.
Once you have done this wave animation,
you can even make a practice one if you'd like on your own,
like this blue example,
just to get the hang of it before trying to attach it to your moving object.
When you're animating a wave or a more continuous motion like this,
it can be a little harder to finesse the loop point.
I'm going to be, again,
referencing my first frame at the very end over and over again.
That's something that can be of trial-and-error as you're going
through and making these increments fairly even,
following your general wave form movement. You can adjust.
If this is looking to close or too far, too big of a jump,
you can go back and add a little bit more of a gap
between these earlier frames or tighten them up a little bit,
just so that once you get to that final frame jump between these two,
it's looking a little more natural,
just like it's a natural continuation from the frame before.
If you just finesse and you keep referencing your first frame, you'll be able to get it.
Now, we're going to start animating our next secondary elements.
This same wave principle is going to be applied throughout all of these.
For this example, I'm adding,
as you see in the design,
this front part of her jacket.
I'm going to animate that part separately from the rest of it,
just so I can get that movement down and then add the rest in,
in a way that makes sense.
As you can see, I'm following the same waveform,
but this is going to be a slightly different variation because I don't want her jacket to
feel as loose and flowy as her hair.
I want it to have a weight to it so it's not going to move as
much with the wave and it's going to move a little more slowly.
While animating this particular type of wave,
I noticed that when her arm swings back,
it was at a point where naturally,
the jacket would've come inwards and hidden.
Knowing that the jacket should naturally be affected by the arm pushing it back,
I wanted to show that a little bit,
which makes my waveform less uniform.
But it also adds a nice extra flare.
I'm going through end, as you can see,
it poofs out from where her upper arm would have hit it.
That propels this bigger wave motion compared to the earlier ones.
Just to show that extra push,
and have that extra quickness and motion from the arm,
translating into the wave.
Now, I'm going to take that same wave principle and apply it to this piece right here,
attaching wherever this attaches behind the hip,
to this corner here that we already have.
I'm going to take that wave.
It's basically one of the straightest waves that we have,
just because it's so perfectly between those two points.
If you play it through, it's just the same exact thing that we've been doing,
but just making sure that this side stays attached to that corner.
Since this is the part after the arm has hit it and is poofing out,
you can see that since this waveform got bigger,
our lower one follows that with that big movement that started at the shoulder there.
That's something that'll happen naturally as you
attach these ends because this one had such a big movement.
This one also has too.
You'll see that even just watching this corner,
you see how the wave needs to go for that bottom piece,
because it's already going in a wave motion.
That's something that can be helpful as you're trying to
attach two different points in something like this.
Now, we're just going to continue using the same principle
across all of the secondary animation that we have.
The next step for this design in particular,
is to add this sleeve here,
which is main sleeve that we'll be seeing in the animation.
Going through and adding that, again,
following the same wave motion.
But I'm going to have it follow the up and down of the shoulder,
and this part where the jacket is affected
by the shoulder in this front piece that we were looking at.
We're also going to have it affect
the sleeve since that see this hanging off of the shoulder.
As we're going through in adding the wave,
it's going to be messy and we're going to have to go back and we work.
Just keeping it really loose at the beginning and then tightening it up as
we lock the motion down more is going to save you a lot of headache.
Now, we're adding the final touches.
There's one final secondary sleeve behind the main sleeve.
You can see that I've offset the waves a little bit just
because I know that it's not only attached to her back shoulder,
but I also just want to show an even more secondary animation.
It's the same principle of offset that we were using for the hips and the head, etc.
I'm just applying that to these two sleeves.
They're moving as one chunk because that wouldn't be as fun.
You can see that here, I'm hiding one of them behind the other
because that's what would naturally happen as I move separately.
I've even add dimension to the sleeve holes.
I want them to turn away from us slightly
as they're moving in one direction and then open up as they would come forward.
You can add extra three-dimensional attention to your pieces as they move,
and that'll add a really nice extra touch to it.
One thing that I'm doing as I'm going through and adding
all of these different elements of the animation,
is I'm keeping everything on separate layers,
that's partially because my brain is just why did you do that
from my professional animation background with working non-destructively.
But it's also because as I'm going through and adding all of these different elements,
they're going to be moving separately,
and I'm going to want to be able to edit them separately.
It's way easier to do that when they're on their own layers.
It'll also help layer with filling and cleaning up,
if I'm able to fill each of the layers
individually rather than having to go through and cut them out,
and then recolor them again.
Now, it's time for you to start adding all of your secondary animation.
This is a really fun stuff that you can pretty much just run with.
You can add even more than you designed.
I personally love adding like a bunch of extra details and extra stuff.
Once you get started, it can be really fun to keep going and see where you take it.
Next step, we're going to go into filling in
all of our completed line work and getting to color.