How To Stop Adobe Animate Selecting Everything

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

The principles of animation are way more than important than the software. However, sometimes yous may find yourself wasting too much time in your workflow if you'd non aware of the tools at your disposal. Adobe Animate is one of those tools. Adobe Animate is an incredible tool for doing mitt-fatigued fashion blitheness and it's used in some of the biggest Movement Blueprint studios in the world.

Now if only there was a world-class animator to evidence usa this tool...

In an incredible stroke of adept luck, Taylor Jon Peters is here to bring us an in-depth tutorial showing how to work smarter in Adobe Animate. In the vid, Taylor breaks downwardly the various types of symbol options available in Adobe Breathing and when to utilize each specific one.

Got you thinking cap on? This is going to be 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 not going to want it to ripple once so stop. No, you're going to want it to loop until it's out of frame, or until you've decided at that place is no more wind.

In Adobe Animate you lot tin can fix your symbols to loop! This is amazingly useful if you're needing a lot of little things, similar swaying grass, to go on repeating over and over again. This tin also be useful if y'all don't want to animate the cease and beginning of each cycle.

ii. SINGLE FRAME PLAYBACK

What do you employ if yous don't want a loop? Well, if you need an animation to play and and then end when all the frames accept been shown, use the Single Frame playback selection. For example, if you have an explosion or dust flying abroad you lot'll only demand it to play through once.

Unmarried Frame Playback in Adobe Animate

iii. Single FRAME

Need to set specific mouth movements for vowels or a airtight oral cavity smirk? Employ the Frame Picker panel equally y'all're scrubbing through your timeline. Merely cull which frame you want by clicking the representative graphic. Once clicked it will automatically create a keyframe on your layer so that you oral cavity land changes.

How to make symbols in Adobe Animate

To convert an animation to symbol in Adobe Animate simply click Alter > Convert to Symbol. Once clicked y'all'll take an opportunity to proper noun your symbol and choose from various setting. For this tutorial go alee and set up it to graphic and not flick.

When you lot're creating your symbols endeavor to add them to folder of groups that pair well together. Endeavour to use expert logic when creating symbols, for example create a 'head' folder for symbols related to the head, and if y'all're creating elements for the arms, well... make an arms folder. This will relieve you a lot of trouble once you've built up several different animated symbols for your library.

ADVANTAGES OF USING SYMBOLS

Symbols are similar compositions in After Effects. Symbols are super dynamic and can save a lot of time with nuanced animations. Not only that, just you lot don't want to have to redraw certain assets if you can just duplicate them using Symbols. They're especially helpful if you're looking to get amend at character animation.

Why would you lot want to practise this instead of straight ahead drawing every frame? Well, hither are some benefits of using symbols in Adobe Animate:

Hands duplicate pre-built animations
Symbols accept transform properties on pre-built animations
Symbols can loop animations
Symbols can create a library of poses
Symbols can replace poses for a frame using frame picker
Symbols tin reduce the demand to redraw mutual elements
Symbols modify the starting frame

LOOKING TO Acquire MORE?

That's all for this lesson. Taylor will be dorsum with a follow-upwards tutorial very soon!

In the meantime, cheque out our courses to find your next learning adventure. The world of animation is exciting, merely learning it doesn't have to exist frustrating. If you lot're set to really upward your animation skills check out Blitheness Bootcamp or Avant-garde Move Methods. See ya adjacent fourth dimension!

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Tutorial Full 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 motion. Taylor, John Peters is a motion designer who has worked for some of the biggest studios in the globe, including giant emmet. Y'all may take heard that in this tutorial, Taylor is going to testify you lot how he works in Adobe animate. And he'll start by introducing y'all to symbols, a powerful tool for creating traditional animation. Taylor is awesome, and you're going to learn a ton. And so if you're ready to swoop into a program that you may not be very familiar with, go download the project file at the link below and let's get started.

Music (00:36): [intro music]

Taylor Jon Peters (00:45): What's upwardly, everybody let's get into this. Showtime of all, I'm just going to show you a couple of demos, what symbols tin can exist used for in flash. And then we can go into making symbols, and and then I'k going to open up a project file that I have with a grapheme. And nosotros're going to commencement moving towards making a niggling bit of a rig for a person's caput using frame selector pick or frame picker rather. But first of all, let's just accept a wait. What these things do. I call up a really good way to look at symbols in flash are merely, just consider them like compositions in after effects. You tin can away from your master timeline and flash make sub comps that contain blitheness in them. And then from at that place, motility around these parent comps and y'all can just layer a bunch of animation. You can loop things.

Taylor Jon Peters (01:xl): You tin can, um, hide a agglomeration of different angles of objects and stuff and utilise frame picker and select those objects and non have to describe every bit much. And as much as I'm an advocate for forget about the software, larn the fundamentals, apathetic, blah, blah, blah, blah. This, you know, sometimes you just don't want to have to like exist similar a pure traditionalist and like draw everything. This saves you time. And there'due south been times where I'll exist like cleaning up someone's work. And they did these refs and they copy and pasted a bunch of things similar say, yous describe a ball or something. That's like really good on model. And like, you just, you lot killed it. And and then you lot needed to movement it across 80 frames, merely like a linear movement across the screen. And y'all copy and pasted every single thing. At present, when you need to go clean that up, yous're going to have to become clean that matter up fourscore times.

Taylor Jon Peters (02:32): Whereas if y'all use a symbol, yous can, every bit long equally you're proactive with what you lot're doing, you tin make certain that, you know, you're going to be using a duplicate object, start with a symbol, and so merely accept to clean up that thing once. And that's a super useful matter, just we're going to get into that more subsequently. Outset of all, I'm just going to show you, um, some of, some of its features. And so the first option under graphic, you accept options to different looping options. You have loop play once in single frame. Then I'll show y'all what the benefits of loop are. I'll only play these two lovely gifts. I mean, they're not gifts, merely looping animations. I have a flag that loops then I accept a Bush that gets diddled over and and then comes back and loops. So, I mean, right off the bat, you lot can see that this would be useful if you were trying to populate an surround with a bunch of bushes.

Taylor Jon Peters (03:26): Wow. Um, so basically the fashion this is working is yous have a symbol and that symbol is filled with an animation. Um, you can accept as many layers, you can do everything that you can do in the normal timeline, just in, um, just in, in the symbol. And then when you move that symbol, now, all all of a sudden you have, you take this, this composition. If you call back most it, that manner that, uh, you tin motion around scale and kind of practice annihilation y'all want with, you can actually animate information technology outside of that comp if y'all wanted, um, it's incredibly useful. And with these loops, you tin, um, of course change the get-go frame. So if we accept that one started to, then like, we'll move on to start a iv. And now nosotros have a nice fleck of offset animation in there.

Taylor Jon Peters (04:17): And similar, you tin can really, you can really build up off of this really easily. So yes, the, the loop has just, uh, of the flag is just a 10 frame loop. It loops perfectly. Yep. And you lot tin can animate it. You can animate the symbol, y'all can scale the symbol, you lot tin do everything, skew it, any, whatever you desire to do with it. That's smashing. And we'll, and I'll get into more depth on like what the benefits of all these things are in a second, besides looping, there's a single frame playback where, um, this is, this is actually good for things that are like responsive. If you, and then what I'll show yous are two explosions and a dust cloud. If you lot, if you lot have something that needs to react, um, and you just want it to play once and and so be done, that'due south what this does.

Taylor Jon Peters (05:09): It'll play your frame and it stops. It just won't loop over again. And so that's expert if you lot have, I don't know, something fall. Oh, oops. If you had something fall and you just wanted a grit deject at the bottom of it, you can just boom, and you tin move them effectually again, duplicate them. Yous can transform them, flip them just super useful because here, if we have this explosion, look at that. Cool. So play in one case we'll go through your animation and your frame. So this is a 10 frame animation. It'll play the 10 frames and then information technology'll, it'll stick on the last one. Then if, if I went into this and on my last frame, y'all can encounter it'due south blank. If I drew a squiggly, information technology'south going to stick on that squiggly line. And then just be aware of that. Cool. And then the final one is called single frame. Then it was kind of hard for me to effigy out how I wanted to exercise a demo with this. Um, single frame is exactly what it sounds like. And then inside of this, I have four mouth shapes.

Taylor Jon Peters (06:16): And, um, if this was gear up to loop or set to anything else, it would kind of just spam through these, but right now it's stuck to nothing. And and then the benefit of this is, I mean, the all-time employ case I could think of is a mouth. And we're going to go in with the face up rig. I remember I'm going to primarily focus using the single frame, uh, option, considering information technology's but, information technology's only what nosotros're going to practise. And and so with the single frame option, y'all really take this lovely window under windows. It's called frame picker right here. And, and yous can, y'all tin see all your frames that are within the symbol and y'all can option the frame. And it's, it'southward really keen because if at 10 frames, I want him to open his mouth. You can practise that. And there'south this piddling checkbox here that says create frame.

Taylor Jon Peters (07:00):And, uh, that'll, that'll make sure that whenever you click on a new frame, it'due south, it's gonna, it'll make a new frame for you automatically, which is overnice. So this is really skilful for lip sinking or whatever. There you lot go. Beautiful. You could have an endless amount of frames in here and y'all could select through if you had, if yous had easily that had dissimilar poses, if you had optics that had dissimilar poses, all great things for that case. So that's a really quick brief intro. And now permit's encounter if we can go a piddling flake more complicated. Alrighty. Then to start that off, permit's beginning making some symbols and start taking reward of what they do. So I'm going to brand an eyeball blink loop. I recommend using symbols, anytime, you know, you have something that you're going to have to animate, but you don't want to have to animate a bajillion times.

Taylor Jon Peters (07:57): And I mean, I remember an center is a really good instance considering if he's only blinking, you don't want to accept to make certain that his blinking optics in the right position, every time that'due south blinking at the right time, you but similar to have an center that'southward blinking, y'all know, and just leave it and not have to recall nigh it. Then what I'g doing right at present, just drawing my avails out. I'm using the pen tool or pencil tool, I suppose, in his eyes. And now what nosotros're going to do, select that asset. And so we're going to get to modify, convert to gather or FH. Okay, now we are contiguous with, uh, this beautiful menu. This is the convert to symbol menu. This is where yous can start beingness equally organized equally y'all want, or, um, just leave things unnamed and brand other animators angry at you.

Taylor Jon Peters (08:46): Um, so I'm only going to proper name this I, and and so I'll only proper name it blink. Uh, I often find myself making multiple symbols of the same asset because they accomplish different things. And so if I needed to brand the eye look left or correct, I would make a new symbol with the same nugget that looks left or right. And then I would switch symbols dorsum and along and I'll show you lot how to do that in a second. Then you can also choose the root folder. It'south probably a good practice to simply take this in hither nether head assets, make a new folder nether your, uh, library. This is going to be your favorite place. One time you kickoff working with a lot of symbols as your library, all the symbols that you brand volition alive in here and this identify will get the, or the library will get super messy if you don't pay attention to it.

Taylor Jon Peters (09:30): So brand sure you're keeping track of that. I'll merely go along it over in the corner over here. Okay. And so now we've made our outset symbol. This is an eyeball, what I'm going to practice because of the advantages of symbols. Usually when you glimmer, you glimmer with both eyes at the same fourth dimension. So what I'm going to do is click and drag while holding alt and duplicate this eyeball, then I'm going to right click and go downwards to transform and flip horizontal. And I'll but reposition that. And at that place we have the verbal aforementioned eyeball, uh, same, same, uh, symbol, one eyeball. And at present we only have to animate 1 eyeball blinking, which is great. Allow'south zoom in on hither. I'm going to go to, uh, make 24 frames.

Taylor Jon Peters (10:19): If you're non familiar with flash, I but pressed F five there to extend my frames all the fashion out. So 24 that'due south one second. At x seconds, I'm going to press F half-dozen, make a new frame. I'm going to have him blink. I don't want to continue his stroke with that big, just considering it looks chunky. It doesn't look like a blink that much. I mean, it kind of does, just why would his close center look like the same size every bit his open dye? Okay. So I'll just half stroke that there you lot go. Lovely blink. And then I'm going to elevate this frame over here, and so I'thousand going to printing F 6 over again, to gear up my easing blink. I have this almost fully open.

Taylor Jon Peters (eleven:10): So there you become. Then when we printing play hither, it should just exist a super simple blink. Nice. I'm but going to become and make sure. Well hither, this is good practise to, um, brand a new layer. I'chiliad going to cut that eyebrow and put it onto this new layer because in your symbols, you tin can have new layers. You lot can, you tin have as many layers as you want. It'southward it's just a whole other scene within a symbol. I'll merely go delete all those other eyebrows on those frames. Now here's your eyebrow six over again? Oops, drib that.

Taylor Jon Peters (12:00): I'k really just going to movement this up so that there was a chip more of that. And and so f6 the eyebrow starts to come upwardly and and so I'm just going to drag again, to become that final position. Actually, I'll only move this over and nosotros'll ease back into that final position, the finest animation you've always seen. Okay. So with looping, if y'all want, I mean, y'all don't want your person to be blinking similar crazy. So what y'all'll see I've done here is I've left a little bit of a, a pre-curlicue and a postal service office. And then it'south not going to loop. It's not going to loop until you get through all these frames. So if you want them to glimmer less frequently than just extend a i or both of these, and now he's going to only blink every like 15 frames. And and so when we become out, since these are fix to loop, you lot will see blink and he's not going to glimmer once more because we don't have enough fourth dimension.

Taylor Jon Peters (13:11): Um, so I'll actually merely become in just for sake of showing you nosotros'll make them blink every, I don't know, five seconds requite or take lovely. So now he'southward a blink and monster just blink then much. It's crazy. Um, and you lot'll run into hither, uh, the interval of the, the, uh, the loop is off from the, um, the amount of frames we take within that symbol. So it's just going to finish on a half frame. Um, and so y'all can, yous can either, you lot kind of have to practice a trivial bit of math to make sure that you lot're setting plenty intervals. If you lot want to make a perfect loop just for quick math sake. You lot know, if you have a 12 frame bike and you want to do a 24 frame looping GIF, you're going to make sure all of your loops like your eyeball blinks and stuff are going to be either 12 or six or three, right.

Taylor Jon Peters (14:07): Uh, and that that'll make sure that it will it'll it'll loop perfectly. So that'south only a nice tip if you lot're planning on making internet gifts. So, and I mean, in our scenario here, allow'south make this, uh, let's stop at xv, and then we tin can only make this, uh, stop at 30 and now information technology should loop perfectly. Um, another tip, if you lot want, uh, you tin go under command and you tin go loop playback, and that'll actually just loop your, your scenes playback, not your it's not going to affect your, um, symbol or anything. And then there you get so far, this is our beautiful gift.

Taylor Jon Peters (14:48): I'll but proper name that layer just for the sake of it. At present we are going to use the single frame setting to start making some angles of this head. There are two ways you lot could go about doing this. I'thou going to exercise this, not really considering super smooth motion yet. I'm going to, I'm going to go over that a petty bit more in the side by side video. When we start talking about tweens, which is a actually absurd affair, and that'southward really going to blow upward, accident your listen up, so accident your mind up. So permit's start by making, uh, some assets for this head here. Actually, I'm just going to get through and I'm going to make a bunch of these assets, and then I'll come up back. So you don't accept to lookout man me practice this. All correct. Alrighty. And so I have gone in, and I've made a bunch of assets for this caput.

Taylor Jon Peters (15:36): Um, everything is a symbol. Uh, and then the, I made, I fabricated a head symbol and and then within that head symbol, I have all the other assets. So you lot tin, you tin can kind of stack all your, your symbols. So I have the ears, or those are eyes. I accept the eyes. Um, I have the ears of two years, whereas the other twelvemonth, what layer is that on? Oh, there's the two years. Oh, that's why I'm crazy. Um, everything's on their own layers except for the eyes patently, which are now on their ain layers. And let me encounter if I tin can find this guy. Then everything's its own symbol. And now what we're going to practise, I've washed a really beautiful blitheness. I'chiliad actually going to add together i more ease frame here so that it'south not and so quick or peradventure I'll do an Antech. Okay. So now we have the super quick head turn.

Taylor Jon Peters (16:26): Um, but unfortunately his head doesn't turn. And so what nosotros're going to do is we're going to go in and make all of the frames we need for his head to plow. Then I'm going to exercise a, just a left facing pose here, a left facing head. And, um, we're going to practice that all within the symbol and nosotros're simply gonna need, uh, we're merely going to make the frames nosotros actually need right now. And then right now this is our front facing pose. I'one thousand going to press F sexual practice, uh, or I'll actually, I'll drag downwards the line here and then press F six and 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 why that is subsequently. Okay. Then this is our front facing pose. This is going to be our right facing posts. And so nosotros're going to just start shifting things over. I don't demand this right ear left, left. At that place you go. Move his face. Okay. So we can practise meliorate than that. I'm going to, I'll just quickly using onion, skin, draw a new head shape. Squeamish, nice and quick. I actually have a style frame behind, merely I don't, I tin't see information technology right now. So I'll merely wing it. Um,

Taylor Jon Peters (17:50): Do lost. Okay. Cute. Best, best drawing I've ever done. Said that to black. Next affair we're going to practice shift these optics over. I actually take this no set to unmarried frame. So what I'k going to do is within that, I'k going to go over to a new symbol or a new frame within the no symbol. And I'm but going to draw out what the olfactory organ should look like too. Um, and what's nice near symbols is yous can get in and y'all can practise all this crude drawing. And and so it's very easy after, afterward the fact to go back in and merely clean upward the ane olfactory organ, because now I accept this nose for the front and the, this find for the right bending. And I'g going to go to my, um, frame picker here and I'll merely set it to my right angle olfactory organ. And, you know, anytime I utilise this right bending or the symbol, I only have to clean up this correct angle nose once, which is, which is great. It'll save then much time. Okay. So now we have our right angle. Um, I'm really going to do the same for the ear. Just go F six, delete it. Um, and I'm but going to make, make it open up.

Taylor Jon Peters (xix:19): Cool. So now that'southward give or take what that year would look like. Rotated. Again, this is more of a software tutorial than it is a animation tutorial. Then you can, yous're going to go larn how to depict somewhere else. Cause I'm not gonna exercise a skilful job of teaching you frame picker, choose a correct angle ear. Oh goodness. I can do a better job than that. Cool. Um, turn off onion skin. Cracking. Okay. Very unproblematic. Turns his caput left and then, you know, what, if we want to turn his head right. But in case we tin indistinguishable these select them. All correct. Click transform, flip horizontal, which is, oh, distressing. Out of my, out of my recording screen.

Taylor Jon Peters (20:15): Transform, flip, horizontal. Great. Okay. Try and keep everything centered when you're doing that, which mine is requite or take. Um, at present you will come across in a second here that my, my symbol is set to loop. So when I play this, he's only going to be going all over the place. Just, um, hither's a, hither's a quick manner to gear up that. There's an choice here at the very bottom called, um, run into if the tool tip will open up up. I remember information technology'southward just edit multiple frames. If you select that you get the same brackets that yous get from onion skinning, and you can just drag that over, become control a and then under your looping set it to a single frame. Then, um, I would just become under first, just put one. So at present they're all set to the beginning frame. Okay, great. That was pretty piece of cake.

Taylor Jon Peters (21:08): And so now nosotros even so accept that same ugly blitheness of him, his face non changing at all and he but moves to the left. So at present we're going to go in, I remember it would be nice to have him antique the left and and then go down. I'm going to brand a blink frame and then he's going to settle to the right. And and so you're going to see why I left those two frames right now. And then here's our initial frame. I'm going to get over to the right. Um, I'm going to de-select create key frame crusade I don't want to keep, brand any key frames outside of these, this dainty timing that I have set. I am going to click five where he looks to the left and so I'g going to go forward forward. And so for these last ii, let'due south select three and that's like 4.

Taylor Jon Peters (21:57): Then now great super snappy. A trivial bit too snappy. I think, I retrieve information technology'south pushed too much. So the reason why I left these extra frames is for easing you. And then there's a, as I said before, at that place are, there are a couple of ways that you can do this and I'g going to become into using synchronized symbols in the side by side video. Synchronized symbols is going to be where you really animate your full activity within a symbol and then move that symbol. This, the way that nosotros're doing, this is more like a rig where, uh, inside of the symbol, y'all don't actually have whatever finished animation. You simply accept a bunch of keys that you can kind of choice and choose from. Similar a, I dunno, I don't know what a good example of is. This way is more than similar you get to choose from a toolbox of angles and, and, and keys and everything.

Taylor Jon Peters (22:47): And and then the other way is where y'all actually have to exercise a full set of animation. And so, you know, in that location's benefits to both and we'll, we'll, nosotros'll run into that in the next video, just for at present, what I'm going to do is I'm going to take this, this right turned face, and I'm going to set another key frame here going, gonna press F half-dozen. Then I'thousand going to go back to the one fundamental frame and I'thou 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 meet is if I switch to the next frame, you tin can encounter that everything kind of settles in. We could do the aforementioned. We can do the same with the base of the head. I'll actually, I'll just, I'll squish the face over using Q for free transform. And at present there, he kind of settles his face up in, oh, really hither, I pushed it besides far. I'll bring information technology back. And so there you go. If that makes sense, we tin can motility back over. What I'm going to do first though, is I'k going to actually only grab this and do the same for the left facing mail service, a couple of pixels over a couple of pixels, over a couple of pixels over cetera, grab base like that.

Taylor Jon Peters (24:06): I mean, if you play that, it's kind of fun. What was this caput back and forth, but it's not real animation. Y'all're just using those frames as a role of it. And so now what we tin can do is we take him get to the left instead of grabbing that full left frame. I'1000 going to go back, find my friend picker, which wants to keep hiding on me. I'g going to become pick, whoops, say I'll pick v, which is less far over. And and then, um, go down instead of picking six, we're going to pick, oh, lamentable, we're going to pick three. And and then the next one is going to be four and it's actually subtle. And now I'm wondering if I should push it.

Taylor Jon Peters (24:53): Yes. So from three to four, it's pretty subtle, especially with such a wide movement. So what I'm going to do is I'g just going to, I'grand only going to push button it even farther so that we can actually really see that happening. Okay. And then now there you get. Now you tin can see that a lot amend and information technology'due south actually easing into that final position. And and then, then the next thing I'm going to do well, really, so I guess, I guess the lesson from hither is now when you start building a rig similar this, I know that this antique is besides, too aggressive. I want, I want a more subtle ones. Then at present I can become back into this comp where I have all these poses grab a skilful base pose like this first one, duplicated all the way to the far, right. Um, you lot can kind of move it around. I remember information technology is. It'southward a good practice to, to proceed things organized. So having blank frames like this tin can but similar create separation considering again, like y'all're never going to practise the playback within this, like this isn't going to matter. You're simply taking the frames from this symbol. And then at present I'one thousand going to, from hither, I'm merely gonna make a really subtle antic phrase where I'yard but very framed, sorry, where I just shove his eyes upwards. And so you just start making these frames with the animation in listen. So this is kind of funny.

Taylor Jon Peters (26:10): He's gonna shift his head over in his mouth and now we can go dorsum out on this antique frame instead of choosing that full left, yous kinda, you can meet here in the frame picker, you have this really big list of choices you can choose. And and then now he's actually just doing a nice, subtle look up and now nosotros're going to make a new frame for his await downward. Um, again, actually, y'all know, uh, because I gave myself extra frames here. I'k just going to go F six here. I'm going to squish his nose down, squishes oral fissure down, squishes the ears down a flake. And then actually the, this, this eye symbol I have is, um, simply the eye graphic. I'one thousand going to go in, brand sure that this, so this, these eyes are really set to loop right now. I'm going to exercise that aforementioned edit multiple frames, make sure everything's set to a unmarried frame. So I don't have whatsoever funny glitches. Now I'k going to go into this eye and I can really, well, nosotros already animated that heart, uh, loop earlier. And then I'g just going to use the loop from before and we'll, but we'll just do single frame and become frame pick out of it. And I'one thousand simply going to get and select the airtight eye. This is a classic Enrique Barone blink in turn, except he doesn't ameliorate.

Taylor Jon Peters (27:34): But with, oh, that you tin can now see, we have a way to aggressive head, turn Antech squish. We'll just keep this all a piddling bit more existent than, oh, you know what? And then nosotros tin can likewise make certain that this is on the blink too. Okay. At present it's an animation tutorial. Make sure your spacing's good folks because information technology makes you a ameliorate animator. Hey, this should animate meliorate. And and so we'll but give it a little flake more than time to this. And what's nice near this as each i of these cells are frames hither is going to keep the data almost which frame you've stored or called under your single frame. Then you can, you tin select these, whoops. You tin can select all of these and shift them around and your animation won't read time itself. Then now you've got that. And at present, because that framing is so tight, this actually needs to be a trivial bit more than subtle, which is fine, but y'all can simply go in and brand these adjustments. And then at the stop of the 24-hour interval, the best part is even if we wanted to. And so he turns that way, say, permit's just go along animating. If he at present, um, blinks again and now looks, looks the other direction.

Taylor Jon Peters (29:13): We are still only using the frames from the original symbol. And then you're not actually going to have to make clean upward any more frames. So if nosotros go in, I'll see that if we go in, it's hard to say I'm not doing an animation tutorial, only I care then much about making stuff expect like it'due south animated nicely. So now I'm spending way as well much time. Um, but okay, then now nosotros have 40 frames of animation, 45 frames of animation, simply in reality, we just take to go in and clean upwardly 10, obviously so much information. Um, and it'southward, uh, lots of quips and quirks. Uh, delight go download the project files. I will, I volition go out all this in your I'll really probably get clean this up and leave the, uh, the rough in the lesser. And you can kind of see what I was doing. And then also include the examples from before in the video.

Joey Korenman (xxx:10): If yous desire to learn more nigh using symbols in Adobe animate, you can do 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 adjacent level, go check out our courses page at schoolofmotion.com. We've partnered up with some incredible artists to teach y'all the skills that pay the bills as a movement designer. And that'south information technology. Nosotros'll encounter you next time.

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

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