How To Animate Hair In Photoshop

this video is based on the 12 principles of animation, as described by frank thomas and ollie johnston alright, so the fourth animationprinciple is called straight ahead and pose to pose this term describes two methods used toanimate drawings. the first method, straight ahead, is where you draw the first drawing, and then you draw the second drawing, and then the third drawing, and so on.

How To Animate Hair In Photoshop, it's basically animating asyou go. the second method, pose to pose, is where you draw the beginning and end of each main pose and go back later to fill in the drawings in between. so there are benefits to both methods.

pose to pose is generally better for most actions because it gives you the most control. you have a good idea of what the action is gonna look like very early in the process so instead of worrying if the characteris going to end up in the right place, you decide where they end up from thebeginning and work backwards. also, using straight ahead animation canlead to the character changing size or being on a different level frombeginning to end. pose to pose can save you a lot of work. if you were to animate a whole sequence straight ahead and then realize that one pose is off, you would have to change several drawings to fix that one pose.

but with pose to pose, you do the main poses to see if it feels right and you can catch problems early on. straight ahead animation, on the other hand, is good for animation that is unpredictable. some examples of this include fire, water particles, clouds of dust, explosions. the reason why straight ahead works well is because there are laws of physics that work at aconstant rate

and it's hard to predict how it willwork pose to pose. so when animating fire, for example, you just go with the flow based on what you know about fire and let the fire kind of create itself. if we were to look at the beginning and end, we wouldn't even know how to in betweenit. however, you can still use pose to pose to make the general shapes and fill it in between to make itsmoother. another example of unpredictable animation is overlapping action, which will be covered in depth in thenext video.

let's say that a character has floppy ears you could draw a figure with his earsfor each pose and just draw the in betweens accordingly but another method is to animate the figure using pose to pose without the ears and then going through an adding in theyears using straight ahead. this is good because you can focus on the figures movements without the distraction of having to do his ears and you can also focus on thephysics of his ears without the distraction of his body's movement. this also applies to hair, tails and other appendages. when you work pose to pose there's some vocabulary that goes into it there are main poses called keys,

secondary poses called extremes and further broken down poses calledbreakdowns. make the keys first, perfect them, then decide the farthest tocharacter will go in each direction using extremes and then decide how you want theextremes to connect, using breakdown poses. at this point you can start in-betweening. working with the sort of hierarchy will give the most control as opposed to doing your pose to posestraight ahead, so to speak. this is like pose to pose within poseto pose, because you're perfecting the poses at each level

before moving down to the next level. so that's all i've got for straight ahead and pose to pose, the next principle is called followthrough and overlapping action. thanks for watching and i'll see youguys in the next video!