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Motion tweening is the basic technique of creating animation with symbol instances. Account page, make sure to do so now. See 1 Double-click the 04End. The project is an animated splash page for an imaginary soon-to-be-released motion picture. This file is an ActionScript 3. Saving a working copy ensures that the original start file will be available if you want to start over. Animation can be as simple as moving a box across the Stage from one frame to the next. It can also be much more complex.
In Animate, the basic workflow for animation goes like this: Select an object on the Stage, right-click, and choose Create Motion Tween from the context menu. Move the red playhead to a different point in time and move the object to a new position or change one of its properties. Animate takes care of the rest.
Motion tweens create animation for changes in position on the Stage and for changes in size, color, or other attributes. Motion tweens require you to use a symbol instance. Animate also automatically separates motion tweens on their own layers, which are called tween layers. There can be only one motion tween per layer without any other ele- ment in the layer. Tween layers allow you to change various attributes of your instance at different key points over time.
For example, a spaceship could be on the left side of the Stage at the beginning keyframe and at the far-right side of the Stage at an ending keyframe, and the resulting tween would make the spaceship fly across the Stage. Senior animators would be responsible for drawing the beginning and ending poses for their charac- ters.
The beginning and ending poses were the keyframes of the animation. Understanding the Project File The 04Start. All the necessary graphic elements have been imported into the library.
The Stage is set at a generous pixels by pixels, and the Stage color is black. You might need to choose a different view option to see the entire Stage. It will begin slightly lower than the top edge of the Stage, and then rise slowly until its top is aligned with the top of the Stage.
Create a new layer above the footer layer and rename it city. This positions the cityscape image just slightly below the top edge of the Stage. Motion tweens require symbols. Animate asks if you want to convert the selection to a symbol so it can proceed with the motion tween. Click OK. Animate automatically converts your selection to a symbol with the default name Symbol 1, and stores it in your Library panel.
Animate also converts the current layer to a tween layer so you can begin to animate the instance. Tween layers are distinguished by a special icon in front of the layer name, and the frames are tinted blue. The range of frames covered by the tween is the tween span. The tween span is represented by all the colored frames from the first keyframe to the last keyframe. Tween layers are reserved for motion tweens, and hence, no drawing is allowed on a tween layer.
Holding down the Shift key constrains the movement to right angles. A small black diamond appears in frame at the end of the tween span. This indicates a keyframe at the end of the tween. Animate smoothly interpolates the change in position from frame 1 to frame and represents that motion with a motion path. Animating changes in position is simple, because Animate automatically creates keyframes at the points where you move your instance to new positions.
Integrated into the bottom of the Timeline is a set of playback controls. You can also use the playback commands on the Control menu. The playhead loops, allowing you to see the animation over and over for careful analysis. The playhead loops within the marked frames. Click Loop Option again to turn it off. Changing the Pacing and Timing You can change the duration of the entire tween span or change the timing of the animation by dragging keyframes on the Timeline.
Changing the animation duration If you want the animation to proceed at a slower pace and thus take up a much longer period of time , you need to lengthen the entire tween span between the beginning and end keyframes. If you want to shorten the animation, you need to decrease the tween span. Lengthen or shorten a motion tween by dragging its ends on the Timeline. Your motion tween shortens to 60 frames, reducing the time it takes the cityscape to move.
The timing of your entire animation remains the same; only the length changes. Add frames by Shift-dragging the end of a tween span. The last keyframe in the motion tween remains at frame 60, but Animate adds frames through frame The keyframe at frame 60 is selected. A tiny box appears next to your mouse pointer, indicating that you can move the keyframe. The last keyframe in the motion tween moves to frame 40, so the motion of the cityscape proceeds more quickly.
Span-based vs. However, if you prefer to click a motion tween and have the entire span the beginning and end keyframes, and all the frames in between be selected, you can enable Span Based Selection from the Options menu on the upper-right cor- ner of the Timeline or you can Shift-click to select the entire span. With Span Based Selection enabled, you can click anywhere within the motion tween to select it, and move the whole ani- mation backward or forward along the Timeline as a single unit.
You can change the color effect of an instance in one keyframe and change the value of the color effect in another keyframe, and Animate will automatically display a smooth change, just as it does with changes in position.
Animate will create a smooth fade-in effect. The cityscape instance on the Stage becomes totally transparent. The cityscape instance on the Stage becomes totally opaque.
Animate interpolates the changes in both position and transparency between the two keyframes. Animating filters is no different from animating changes in position or changes in color effect. You simply set the values for a filter at one keyframe and set different values for the filter at another keyframe, and Animate creates a smooth transition. Click the upper-right side of the Stage to select the transparent instance. Or, click the woman layer in the Timeline to highlight it; then click within the outline that appears on the Stage.
Set the Blur X and Blur Y values to 20 pixels. The woman instance is blurred throughout the motion tween. Animate establishes a keyframe for filters at frame The Blur filter changes from the keyframe at frame to the keyframe at Animate creates a smooth transition from a blurry instance to an in-focus instance.
Understanding property keyframes Changes in properties are independent of one another and do not need to be tied to the same keyframes. That is, you can have a keyframe for position, a different keyframe for the color effect, and yet another keyframe for a filter. Managing many different kinds of keyframes can become overwhelming, especially if you want dif- ferent properties to change at different times during the motion tween.
Fortunately, Animate CC provides a few helpful tools for keyframe management. When viewing the tween span, you can choose to view the keyframes of only cer- tain properties. For example, you can choose to view only the Position keyframes to see when your object moves. Or, you can choose to view only the Filter keyframes to see when a filter changes.
Right-click a motion tween in the Timeline, choose View Keyframes, and then select the desired property among the list. You can also choose All or None to see all the properties or none of the properties. When inserting a keyframe, you can also insert a keyframe specific to the property you want to change. Right-click a motion tween in the Timeline, choose Insert Keyframes, and then select the desired property. You can also view an advanced panel, called the Motion Editor, to see and edit how the different properties of your object change over the course of the motion tween.
These kinds of changes are made with the Free Transform tool or with the Transform panel. The car will start small, and then become larger as it appears to move forward toward the viewer. The transformation handles appear around the instance on the Stage. The car becomes totally transparent. The current layer becomes a tween layer. A new keyframe is automatically inserted at frame to indicate the change in transparency.
You have used Animate to tween the change in position and the change in scale as well as the change in transparency from frame 75 to frame Motion presets If your project involves creating identical motion tweens repeatedly, Animate allows you to save and reuse motion tweens as presets. For example, if you want to build a slideshow where each image fades out in the same manner, you can save that transition as a motion preset.
Alternatively, right-click the motion tween and choose Save As Motion Preset. Animate provides a number of motion presets that you can use to quickly build sophisticated animations without much effort. Changing the Path of the Motion The motion tween of the left car that you just animated shows a colored line with dots indicating the path of the motion.
You can edit the path of the motion easily to make the car travel in a curve, or you can move, scale, or rotate the path just like any other object on the Stage. To better demonstrate how you can edit the path of the motion, open the sample file 04MotionPath.
Moving the path of the motion You will move the path of the motion so the relative movement of the rocket ship remains the same but its starting and ending positions change.
The path of the motion becomes highlighted. The relative motion and timing of the animation remain the same, but the starting and ending positions are relocated. Transformation handles appear around the path of the motion. You can make the path smaller or larger, or rotate the path so the rocket ship starts from the bottom left of the Stage and ends at the top right. Editing the path of the motion Making your objects travel on a curved path is a simple matter. You can either edit the path with Bezier precision using anchor point handles, or you can edit the path in a more intuitive manner with the Selection tool.
The handle on the anchor point controls the curvature of the path. Make the rocket ship travel in a wide curve. Select the Selection tool and make sure the path is deselected. Move your pointer close to the path of the motion.
A curved icon appears next to your pointer, indicating that you can edit the path. Drag the path of the motion to change its curvature.
Choose the spots where you drag carefully! Each drag breaks the path into smaller segments, making it harder to achieve a smooth curve. Mastery will come with practice. In the motion picture splash page project, the orientation of the car is constant as it moves forward. However, in the rocket ship example, the rocket ship should follow the path with its nose pointed in the direction in which it is heading.
Orient To Path in the Properties panel gives you this option. Animate inserts keyframes for rotation along the motion tween to orient the nose of the rocket ship to the path of the motion. Use the Free Transform tool to rotate its initial position so that it is oriented correctly. This means that an object and its motion are independent of each other, and you can easily swap out the target of a motion tween. Select the object that you want to swap on the Stage.
In the Properties panel, click the Swap button. In the dialog box that appears, choose a new symbol 2 Click OK. Animate will swap the target of Animate replaces the rocket ship with the alien. The motion remains the same, the motion tween. Creating Nested Animations Often, an object that is animated on the Stage will have its own animation.
For example, the wings of a butterfly moving across the Stage may flap as it moves. Or the alien that you swapped with the rocket ship could be waving his arms.
These kinds of animations are called nested animations, because they are contained inside the movie clip symbols. Movie clip symbols have their own Timeline that is inde- pendent of the main Timeline. The alien appears in the middle of the Stage. In the Timeline, the parts of the alien are separated in layers. A keyframe is inserted at the end of the motion tween.
The left arm rotates smoothly from the resting position to the outstretched position. Right-click his right arm and choose Create Motion Tween. Animate inserts a keyframe at the end of the motion tween. The arm rotates smoothly from the resting position to the outstretched position.
To prevent the looping, 11 Click the Scene 1 button in the Edit bar at the top of the Stage to exit symbol- you need to add code to tell the movie clip editing mode. Timeline to stop on its Your animation of the alien raising his arms is complete. Wherever you use the last frame. JavaScript in later lessons. But you can also have nested animations and graphics inside of graphic symbols, although they work a little differently.
It will only play if there are sufficient frames on the main Timeline where the instance is placed. Because of the ease with which you can pick and choose what frame inside a graphic symbol shows, graphic symbols are ideal for lip syncing or other character variations. Using the Frame Picker for phonemes If animated characters talk, their mouth will be synchronized with their words.
Each sound, or phoneme, is produced by a different mouth shape. Animators draw a collection of these mouth positions to be used to synchronize to the soundtrack.
You can store each mouth position as a keyframe in a graphic symbol. The file contains your familiar alien character on the Stage. The alien is not animated on a path, but his head is a graphic symbol with multiple keyframes inside of its Timeline.
Notice that the Timeline contains five keyframes in the mouth layer. Each keyframe shows the mouth in a different position. Frame 1 has a small closed mouth, frame 2 a rounded mouth, frame 3 a wide open mouth, and so on. Animate creates a SWF to play the animation. Nothing happens because there is only a single frame on the main Timeline, and a graphic symbol needs frames on the main Timeline to play its own Timeline. Frames are added to both layers up to frame Animate plays the animation.
The graphic symbol plays all of its five keyframes repeatedly during the 45 frames of the main Timeline. Leave the value of the First field at 1. The Frame Picker panel opens. The Frame Picker shows thumbnail images of all the frames inside the graphic symbol. When the animation plays frame 12, the alien head graphic symbol will change to frame 4. When the animation reaches frame 14, the head symbol will switch to displaying frame 2.
Easing Easing refers to the way in which a motion tween proceeds. You can think of easing as acceleration or deceleration. An object that moves from one side of the Stage to the other side can start off slowly, then build up speed, and then stop suddenly. Or, the object can start off quickly and then gradually slow to a halt. Your keyframes indicate the beginning and end points of the motion, but the easing determines how your object gets from one keyframe to the next.
A simple way to apply easing to a motion tween is to use the Properties panel. A negative value creates a more gradual change from the starting position known as an ease-in. A positive value creates a gradual slowdown known as an ease-out. Splitting a motion tween Easing affects the entire span of a motion tween.
If you want the easing to affect only frames between keyframes of a longer motion tween, you should split the motion tween. However, the actual movement of the car starts at frame 75 and ends at frame The motion tween is cut into two separate tween spans. A group is a collection of panels that can be placed within a dock or that can float freely.
A stack is similar to a dock but can be placed anywhere in the interface. In the default Essentials workspace, most of the panels are organized in three docks on the right side of the screen. The Timeline and Output panels are grouped at the bottom, and the Stage is on the top. However, you can move a panel to any position that is convenient for you.
To move a panel, drag it by its tab to a new location. To move a panel group or stack, drag it by the area next to the tabs. As the panel, group, or stack passes over other panels, groups, docks, or stacks, a blue highlighted drop zone will appear. If you release the mouse button while a drop zone is visible, the panel will be added to the group, dock, or stack. To dock a panel, drag it by its tab into a new position at the left or right edge of the screen.
If a vertical drop zone appears, dropping the panel will create a new dock. To group a panel, drag its tab onto the tab of another panel or the drop zone at the top of an existing group. To create a stack, drag a group out of a dock or an existing stack so it floats freely. Alternatively, drag one free-floating panel onto the tab of another floating panel.
You also have the option of displaying most of the panels as icons to save space but still maintain quick access. Click the double arrowheads in the upper-right corner of a dock or stack to collapse the panels to icons. Click the double arrowheads again to expand the icons into panels. Using the Tools panel The Tools panel—the long, narrow panel on the far right side of the work area—contains selection tools, drawing and type tools, painting and editing tools, navigation tools, and tool options.
When you select a tool, check the options area at the bottom of the panel for more options and other settings appropriate for your task. Selecting and using a tool When you select a tool, the options available at the bottom of the Tools panel and the Properties panel change. When you select the Zoom tool, the Enlarge and Reduce options appear. The Tools panel contains too many tools to display all at once.
Some tools are arranged in hidden groups in the Tools panel; only the tool you last selected from a group is displayed. Select the folder in the timeline, and then click the New Layer button. Name the new layer stars. That makes some of the tools and buttons invisible. In the timeline, move the playhead to frame 36 and select frame 36 in the stars layer. You will create star shapes to appear at frame 36 in this layer.
In the Tools panel, select the PolyStar tool, which is indicated by the hexagon shape. The red diagonal line represents a color of None for the stroke. Click the colored square next to the paint bucket icon, which indicates the color of the fill, and select a bright, cheery color such as yellow. You can click the color wheel at the upper right to access the Adobe Color Picker, or you can change the Alpha percentage, which determines the level of opacity, also at the upper right.
Choose Star from the Style menu. These options define the shape of your star. Make sure the empty keyframe in frame 36 of the stars layer is selected. Start dragging on the Stage where you want to add a star, and continue dragging to change the width of your star. Without releasing the drag, move your cursor around the center of the star to rotate it. Make multiple stars of different sizes and with different angles of rotation. Exit the PolyStar tool by selecting the Selection tool.
Use the Properties panel or the Transform panel to reposition or rotate selected stars on the Stage, if desired. Or select the Selection tool and simply click to select a star and drag it to a new position on the Stage. The X and Y values in the Properties panel update as you drag the star around the Stage. Adding layer effects You can add interesting visual effects that change the appearance of objects in a particular layer.
These layer effects include color effects and filters, both available in the Properties panel when a keyframe is selected. Brightness controls the relative darkness or lightness of the layer.
Tint controls how much color is added to the layer. Alpha controls the transparency of the layer. A fourth option, Advanced, allows you to vary brightness, tint, and alpha together all at once. Filters are special effects that change or distort the appearance in more dramatic ways, such as adding a drop shadow or adding a blur. Adding layer effects to a keyframe Layer effects are keyframe based. That is, a single layer can have different layer effects in different keyframes.
Move the playhead to frame 12 on the timeline and select frames 12 in both the photo1 layer and the background layer by pressing Shift as you click each frame. Frame 12 is the point at which photo2 appears in the slideshow.
A keyframe appears in frame 12 in both layers. While the two keyframes are still selected, click the Add Filter button in the Properties panel and choose Blur to add a blur filter to the two selected keyframes.
Increase the BlurX and BlurY values to 8 px. The background photo and the first photo become blurry, which accentuates the new photo that appears in the photo2 layer.
Select frame 24 in the photo2 layer; this is the moment when photo3 appears. This keyframe allows you to add a filter to the layer to change its appearance at that point in time. Click Add Filter in the Properties panel and choose Blur. Increase the Blur X and Blur Y to 8 px. The photo in the photo2 layer becomes blurry, helping your audience focus on the new photo that appears in the photo3 layer.
Select frame 36 in the photo1, photo2, photo3, and background layers and insert a keyframe F6. The selected layers become slightly darker, which adds drama to the bright yellow stars that appear at that moment in the stars layer.
Undoing steps in Animate In a perfect world, everything would go according to plan. But sometimes you need to move back a step or two and start over. You can undo steps in Animate using the Undo command or the History panel.
Closing a document clears its history. Note If you remove steps from the History panel and then perform additional steps, the removed steps will no longer be available.
You can choose the Undo command multiple times to move backward as many steps as are listed in the History panel. Drag the History panel slider up to the step just before your mistake. Steps below that point are dimmed in the History panel and are removed from the project. To add a step back, move the slider back down. Finish by returning the History panel slider to its original position next to the bottom step in the panel.
Animate automatically loops your movie in this preview mode. Close the browser window and return to Animate. Modifying the content and Stage When you first started this lesson, you created a new file with the Stage set at pixels by pixels.
However, your client may later tell you that they want the animation in several different sizes to accommodate different layouts. Or they may want to create a version that will run on AIR for Android devices, which require specific dimensions. Fortunately, you can modify the Stage even after all your content is put in place. When you change the Stage dimensions, Animate provides the option of scaling the content with the Stage, automatically shrinking or enlarging all your content proportionally.
In the Properties section of the Properties panel, note that the dimensions of the current Stage are set at x pixels. Click the Advanced Settings button to open the Document Settings dialog box. In the Width and Height boxes, enter new pixel dimensions. You can click the link icon between the Width and Height fields to constrain the proportions of the Stage. With the link icon selected, changing one dimension will automatically change the other proportionately. Select the Scale Content option.
Leave the Anchor option as is. The Anchor option lets you choose the origin from which your content is resized, if the proportions of the new Stage are different. Animate modifies the dimensions of the Stage and automatically resizes all the content. If your new dimensions are not proportional to the original size, Animate will resize everything to maximize the content to fit. Save the file.
You now have two Animate files, identical in content but with different Stage dimensions. Animate can help alleviate much of the worry over lost work. The Auto-Recovery feature creates a backup file in case of a crash.
Note If you have unsaved changes in your open document, Animate adds an asterisk to the end of its filename at the top of the document window as a friendly reminder. Using Auto-Recovery to create a backup The Auto-Recovery feature is a preference setting that applies to all Animate documents.
It saves a backup file, so in case of a crash, you have an alternate file to return to. The Preferences dialog box appears. Select the General category from the left column. The file remains as long as the document is open.
When you close the document or when you quit Animate safely, the file is deleted. Review questions 1 What is the Stage? Review answers 1 The Stage is the rectangular area viewers see when a movie is playing. Objects that you store on the pasteboard outside of the Stage do not appear in the movie. A keyframe is represented on the timeline with a circle and indicates a change in content on the Stage.
The tool you most recently used is the one shown. Small triangles appear on tool icons to indicate that hidden tools are available. To select a hidden tool, press and hold the tool icon for the tool that is shown, and then select the hidden tool from the menu. To undo multiple steps at once, drag the slider up in the History panel. Layer effects are added by selecting a keyframe and choosing a style or a filter from the Color Effect or Filter section of the Properties panel.
Draw rectangles, ovals, and other shapes. Modify the shape, color, and size of drawn objects. Understand fill and stroke settings.
Create and edit curves and variable-width strokes. Apply gradients and transparencies. Use Art and Pattern brushes for expressive drawing. Create, edit text, and use web fonts. Distribute objects on the Stage. Create and edit symbols. Understand symbols and instances. Apply filters to symbol instances. This lesson will take about 3 hours to complete. You can use rectangles, ovals, lines, and custom art or pattern brushes to create interesting, complex graphics and save them as symbols, which will be displayed in your Library panel.
Combine gradients, transparencies, text, and filters for even greater expressive possibilities. Getting started Note If you have not already downloaded the project files for this lesson to your computer from your Account page, make sure to do so now. Double-click the 02End. The project is a simple static illustration for a banner ad. After all, you must learn to walk before you can run! And learning to create and modify graphics is an important step before doing any animation with Adobe Animate CC.
In the Animate Start screen, select Web as the intended document presets category. Make the Stage size pixels by pixels, and click Create.
A shape consists of two components: the fill, or the insides of the shape, and the stroke, or the outlines of the shape. The fill and the stroke function independently of each other, so you can modify or delete either without affecting the other. For example, you can create a rectangle with a blue fill and a red stroke, and then later change the fill to purple and delete the red stroke entirely.
You can also move the fill or stroke independently, so if you want to move the entire shape, make sure that you select both its fill and its stroke. Creating shapes Animate includes several drawing tools, which work in different drawing modes.
The six digits after the sign represent the red, green, and blue contributions to the color. Using the Rectangle tool The coffee cup is essentially a cylinder, which is a rectangle with an oval at the top and an oval at the bottom. In the Tools panel, select the Rectangle tool. Make sure the Object Drawing mode button at the bottom of the Tools panel is not selected. Choose a stroke color and a fill color from the bottom of the Tools panel.
Choose dark brown for the stroke and CC light brown for the fill. On the Stage, draw a rectangle that is a little taller than it is wide. Select the Selection tool. Drag the Selection tool around the entire rectangle to select its stroke and its fill. When a shape is selected, Animate displays it with white dots.
You can also double-click a shape, and Animate will select both the stroke and fill of the shape. In the Properties panel, Position And Size section, enter for the width and for the height. In the Tools panel, select the Oval tool. Make sure the Snap To Objects button is selected. This option forces shapes that you draw on the Stage to snap to each other to ensure that lines and corners connect to one another.
Drag from one side of the rectangle to the other to make an oval that touches both sides. Snap To Objects makes the sides of the oval connect to the sides of the rectangle. Note The last fill and stroke you used are applied to the next objects you create, unless you change the settings before you draw.
Draw another oval near the bottom of the rectangle. Animate drawing modes Animate provides three drawing modes that determine how objects interact with one another on the Stage and how you can edit them. If you move or delete a shape that has been merged with another, the overlapping portion is permanently removed. Object Drawing mode In this mode, Animate does not merge drawn objects; they remain distinct and separate, even when they overlap.
To enable Object Drawing mode, select the drawing tool you want to use, and then click the Object Drawing button at the bottom of the Tools panel. Primitive Drawing mode When you use the Rectangle Primitive tool or the Oval Primitive tool, Animate draws your rectangles or ovals as independent objects that maintain some editable features.
Unlike with regular objects, you can modify the corner radius and start and end angle of rectangle primitives, and adjust the inner radius of oval primitives using the Properties panel. Making selections To modify an object, you must first be able to select different parts of it. Typically, you use the Selection tool to select an entire object or a section of an object. The Subselection tool lets you select a specific point or line in an object. With the Lasso tool, you can make a free-form selection.
In the Tools panel, select the Selection tool. Click the fill above the top oval to select it. The shape above the top oval is highlighted.
The fill is cleared from the selected area. Animate deletes the individual strokes, leaving only the top oval connected to the rectangle. The remaining shape appears as a cylinder. The Free Transform tool, the Copy and Paste commands, and the Selection tool can help transform the plain cylinder into a coffee cup. Using the Free Transform tool The coffee cup will look more realistic if you taper the bottom rim. In the Tools panel, select the Free Transform tool.
Drag the Free Transform tool around the cylinder on the Stage to select it. Transformation handles appear on the cylinder.
Holding these keys while dragging lets you move both corners the same distance simultaneously. Click outside the shape to deselect it. The bottom of the cylinder is narrow, and the top is wide. It now looks more like a coffee cup. Tip If you press the Option or Alt key while moving one of the control points, Animate scales the selected object relative to its transformation point, represented by the circle icon. You can move the transformation point anywhere, even outside the object.
Press Shift to constrain the object proportions. Hold down the Shift key and select the top arc and bottom arc of the coffee cup opening.
The top strokes of the oval are copied. A duplicate oval appears on the Stage, exactly overlying the original that you copied. The duplicate remains selected. Transformation handles appear on the oval. Press the Shift key as you drag a corner inward. Make the oval about 10 percent smaller. Pressing the Shift key lets you change the shape uniformly so that the oval maintains its aspect ratio.
The top edge of the coffee cup is in place. Select the Free Transform tool. Drag the oval over the rim of the coffee cup so that it overlaps the front lip. You can also press the Down Arrow key to nudge the selected oval down the Stage. Click outside the selection to deselect the oval.
Select the lower portions of the smaller oval and the upper portions of the bottom oval and delete them. Your coffee cup now is now complete! Changing shape contours With the Selection tool, you can push and pull lines and corners to change the overall contours of any shape. Move your mouse cursor close to one of the sides of the coffee cup.
A curved line appears near your cursor, indicating that you can change the curvature of the stroke. Drag the stroke outward. The side of the coffee cup bends, giving the cup a slight bulge.
Drag the other side of the coffee cup outward slightly. The coffee cup now has a more rounded body. Changing strokes and fills If you want to change the properties of any stroke or fill, you can use the Ink Bottle tool or the Paint Bucket tool. The Ink Bottle tool changes stroke colors; the Paint Bucket tool changes fill colors. In the Tools panel, select the Paint Bucket tool.
In the Properties panel, choose a darker brown Fill color Click the top surface of the coffee that is inside the cup. The fill of the top oval changes to the darker brown color. Tip If your Paint Bucket tool changes the fill in surrounding areas, there may be a small gap in the shape outline that allows the fill to spill over. Close the gap manually, or use the Gap Size menu at the bottom of the Tools panel to choose the gap size that Animate will close automatically.
In the Tools panel, select the Ink Bottle tool. In the Properties panel, choose a darker brown stroke color Click the top stroke above the surface of the coffee. Tip You can also select a stroke or a fill and change its color by using the Properties panel without selecting the Paint Bucket or Ink Bottle tool.
The stroke around the surface of the coffee changes to a darker brown color. Using gradient fills The fill is the interior of the drawn object. Currently, you have selected a solid brown fill color, but you can also use a gradient as a fill, or you can specify that the object have no fill at all.
In a gradient, one color gradually changes into another. Animate can create linear gradients, which change color horizontally, vertically, or diagonally, or radial gradients, which change color moving outward from a central focal point. By default, a linear gradient moves from one color to a second color, but you can use up to 15 color transitions in a gradient in Animate.
A color pointer determines where each color is defined, and smooth color changes happen between each of the pointers. Add color pointers beneath the gradient definition bar in the Color panel to add more colors and, hence, more gradients. Select the Selection tool and then select the fill that represents the front surface of the coffee cup. The front surface of the coffee cup is filled with a color gradient that changes from left to right.
In the Color panel, select the color pointer at the left end of the color gradient definition bar the triangle above it turns black when selected , and then type FFCCCC in the Hex value field to specify a light tan color. Select the far-right color pointer, and then enter B for a dark tan color. The gradient fill for the coffee cup changes from light tan to dark tan across its surface. Click beneath the gradient definition bar to create a new color pointer. Drag the new color pointer to the middle of the gradient.
The gradient fill for the coffee cup now changes gradually from light tan through white to dark tan. Deselect the fill on the Stage by clicking elsewhere on the Stage. Select the Paint Bucket tool and make sure the Lock Fill button at the bottom of the Tools panel is deselected.
The Lock Fill option locks the current gradient to the first shape to which it was applied so that subsequent shapes extend the gradient. This allows multiple columns of tools to be shown.
With the Paint Bucket tool, select the back surface of the coffee cup. Animate applies the gradient to the back surface. Tip To delete a color pointer from the gradient definition bar, simply drag it off the bar. Using the Gradient Transform tool In addition to choosing colors and positioning the color pointers for a gradient, you can adjust the size, direction, or center of a gradient fill.
Select the Gradient Transform tool. The Gradient Transform tool is grouped with the Free Transform tool. Click the front surface of the coffee cup.
Transformation handles appear. Drag the square handle on the right side of the bounding box inward to squeeze the gradient tighter. Drag the center circle to move the gradient to the left so the white highlight is positioned slightly left of center. You can even rotate the gradient counterclockwise by dragging the round handle in the upper-right corner of the bounding box. Drag slightly to the left so that the gradient tilts along the curve of the cup.
Drag the round handle on the corner of the bounding box to rotate the gradient degrees so that the gradient fades from dark tan on the left to white to light tan on the right. Narrow the gradient and move it to the right slightly so that the highlight falls on the right side of the inner surface. The coffee cup now looks more realistic because the shadows and highlights make it appear that the front surface is convex and the back surface is concave.
Tip Move the center circle to change the center of the gradient, drag the round handle to rotate the gradient, or drag the square handle to stretch or compress the gradient.
Select the top surface of the coffee with the Selection tool. Open the Colors panel and choose Radial Gradient. For the left color pointer, choose a light brown color, and for the right color pointer, choose a deep, chocolate brown color. The top surface of the coffee is filled with a radial gradient that is lighter in the center and darker at the edges.
Drag the center point handle of the gradient near the right edge of the cup. Drag the width handle to the right to flatten the elliptical gradient so that it is about twice as wide as high. Drag the size handle to the left to shrink the ellipse so that the gradient just covers the surface of the coffee. The top surface of the coffee is complete! With subtle variations to linear and radial gradients, you can achieve nice effects that give dimensionality and form to your objects.
Rename the layer containing your completed drawing coffee cup. Tip You can also use the Gradient Transform tool to change the width, orientation, size, or rotation of a bitmap fill. A group holds together a collection of shapes and other graphics to preserve their integrity. When the elements that compose the coffee cup are grouped, you can move them as a unit without worrying that the cup might merge with underlying shapes. Use groups to organize your drawing.
Select all the shapes that make up the cup of coffee. The cup of coffee is now a single group. When you select it, a blue-green outline indicates its bounding box.
If you want to change any part of the cup of coffee, double-click the group to edit it. Notice that all the other elements on the Stage dim, and the Edit bar above the Stage displays Scene 1 Group. This indicates that you are now in a particular group and can edit its contents.
Click the Scene 1 icon in the Edit bar at the top of the Stage, or double-click an empty part of the Stage, and return to the main scene.
Using variable-width strokes You can make many different styles of lines for your strokes. In addition to a solid line, you can choose dotted, dashed, or ragged, or even customize your own. In addition, you can create lines with variable widths and edit the variations with the Width tool. Transparency is measured as a percentage and is referred to as alpha.
In the Tools panel, select the Pencil tool. Choose Smooth from the Pencil Mode menu at the bottom of the Tools panel. In the Properties panel, select a dark brown stroke color. In the Fill And Stroke section of the Properties panel, enter 15 for the stroke size. From the Style menu, choose Solid, and from the Width menu, choose the thick and thin profile, Width Profile 2. Tip Edit variable-width lines as you would any other stroke. Use the Selection or Subselection tool to bend the curves or move the anchor points.
Draw a few wavy lines above the coffee. Animate renders each line with a thick-and-thin width. Although it appears as a complicated shape, the entire object is a single selectable stroke. Editing the width of lines You can finesse where the bulges appear in your lines, and how much of a bulge there is.
Use the Width tool to make those edits. In the Tools panel, select the Width tool. Move your mouse pointer over one of your variable-width strokes. Anchor points appear along the line to show you where the thick and thin portions of the line are located.
Drag the handles at any anchor point to change the width of the line. Exaggerate some of the restrictions and bulges. Drag an anchor point along the stroke to move its location. Drag anywhere along the stroke to add a new anchor point and define the width at that location.
Animate displays a small plus sign next to your pointer to indicate that you can add an anchor point. Using swatches and tagged swatches Swatches are predefined samples of color. Tagged swatches are specially marked swatches that are linked to the graphics on your Stage that are using them. If you change a tagged swatch in your Swatch panel, all your graphics that use the tagged swatch will be updated. Select the Selection tool and click one of the variable-width strokes above your coffee mug.
The Swatches panel opens, showing the default colors with gradients in the bottom row. A new swatch appears with the exact color of the coffee wisp that you selected.
The Tagged Color Definition dialog box appears. Enter coffee steam in the Name field and click OK. The dialog box closes and a new tagged swatch appears in the Tagged Swatches section of the Swatches panel. Select the Selection tool and, holding down the Shift key, click every coffee wisp above the mug. Open the Swatches panel. Select the coffee steam tagged swatch. The selected graphics use the tagged swatch as their color.
In the Properties panel, a tagged swatch is indicated by the white triangle in the lower-right corner of the color. Updating tagged swatches The real power of tagged swatches is apparent when you have to make updates to your project. Since each wisp uses a tagged swatch, you can simply update the color of the tagged swatch and all graphics using that tagged swatch will update.
In the Tagged Swatches section of the Swatches panel, double-click the coffee steam tagged swatch. The Tagged Color Definition dialog box opens with the name and color information. Change the color to a different shade of brown and a different Alpha, or transparency, value.
The new color appears in the top half of the color preview window. The new color information is saved and all the graphics using the tagged swatch update to the new color. For more precise control, you can use the Pen tool. First, change the Stage background to a light brown color CC Drag the layer to the bottom of the layer stack and then lock all the other layers.
In the Tools panel, select the Pen tool. Choose Hairline from the Style menu and Uniform from the Width menu. Begin your shape by clicking off the left edge of the Stage to establish the first anchor point.
Keep holding the mouse button and drag in the direction you want the line to continue. You will drag out a direction line from the new anchor point, and when you release the mouse button you will have created a smooth curve between the two anchor points. Continue to move the mouse to the right across the Stage, pressing and dragging out direction lines to build the outline of the wave.
Keep going past the right edge of the Stage and click once to set a corner point. You have drawn the top edge of your wave; now you need to complete the shape by drawing the bottom. Click once below the previous corner point, and then draw a wavy line back to the left across the Stage, similar but not exactly parallel to the first curved line. Take care not to place your anchor points directly under the anchor points in the upper line so that the wave has a free-form outline. Continue the lower wavy line past the left edge of the Stage and click below the initial anchor point to place another corner point.
Close your shape by clicking the first anchor point. Select the Paint Bucket tool. Set the Fill color to a dark brown.
Click inside the outline you just created to fill it with color. Select the Selection tool, and double-click the outline to select all of it.
Press the Delete key to remove the stroke. It takes practice to get used to the Pen tool. Use the Selection tool or the Subselection tool to refine your curves. Hover over a line segment and look at the arced line segment that appears near your pointer. This indicates that you can edit the curve. If a right-angle segment appears near your cursor, this indicates that you can edit the corner point. Drag the curve to edit its shape. In the Tools panel, select the Subselection tool.
Click the outline of the shape. Drag the anchor points to new locations or move the handles to refine the overall shape. Lengthening the handles makes the curve flatter.
Tilting the handles changes the direction of the curve. Deleting or adding anchor points Use the hidden tools under the Pen tool to delete or add anchor points as needed. Select the Delete Anchor Point tool. Click an anchor point on the outline of the shape to delete it. Select the Add Anchor Point tool. Click the curve to add an anchor point. Creating paths with the Pen tool You can use the Pen tool to create paths that are straight or curved, open or closed.
Understanding the elements of a path and how to create those elements with the Pen tool makes paths much easier to draw. Creating a straight line. To create a straight path, click the mouse button.
The first time you click, you set the starting point. Each time that you click thereafter, a straight line is drawn between the previous point and the current point. To draw complex straight-segment paths with the Pen tool, simply continue to add points. Creating a curved line. Curved line segment B. Direction point C.
Direction line D. Selected anchor point E. Unselected anchor point. Creating a closed path. To create a curved path, start by pressing the mouse button to place an anchor point, then drag to create a direction line for that point and release the mouse button. Then move the mouse to place the next anchor point and drag out another set of direction lines.
At the end of each direction line is a direction point; the positions of direction lines and points determine the size and shape of the curved segment.
Moving the direction lines and points reshapes the curves in a path. Smooth curves are connected by anchor points called smooth points. Sharply curved paths are connected by corner points.
When a path contains more than one segment, you can drag individual anchor points to adjust individual segments of the path, or select all of the anchor points in a path to edit the entire path. Use the Subselection tool to select and adjust an anchor point, a path segment, or an entire path.
Closed paths differ from open paths in the way that you end each one. To end an open path, select the Selection tool or press Escape.
Closing a path automatically ends the path. You can apply transparency to either the stroke or the fill. Modifying the Alpha value of a fill 1. Select the Selection tool and select the shape in the dark brown wave layer.
The Paste In Place command puts the copied item in the exact same position from where it was copied. Move the pasted shape slightly to the left or to the right so the crests of the waves are somewhat offset. Select the fill of the shape in the light brown wave layer. The color swatch in the Color panel previews your newly selected color. Transparency is indicated by the gray grid that you can see through the transparent color swatch.
Tip You can also change the transparency of a shape from the Properties panel by clicking the Fill Color icon and changing the Alpha value in the pop-up color picker. For a more painterly approach, use the Paint Brush tool. The Paint Brush tool allows you to make shapes that are more organic and free-form as well as shapes with regularly repeating patterns for borders and decorations.
And, as with other graphics created with Animate, the shapes you create with the Paint Brush tool remain fully vector based. In the timeline, add a new layer on top of your other layers and rename it chalk.
Select the Paint Brush tool. In this example, we chose a vibrant yellow. In the Fill And Stroke section, enter 15 for the stroke size. Now, to choose your brush style, click the Brush Library button to the right of the Style menu.
The Brush Library panel opens. Select a category to see the subcategories, and select a subcategory to view the individual brushes. The Charcoal — Thick brush is added to the Style menu in the Properties panel, and it becomes the currently active brush style. Select the Selection tool and move your coffee mug and its aroma to the side to make some room.
Select the chalk layer, and then select the Paint Brush tool. Now for the fun. If you double-click a letter with the Selection tool, you can edit the path of the letters.
You can also use the Subselection tool to edit the vector path of the paintbrush mark. Push and pull on the stroke, move, or edit it with the Transform tool just like you would any other vector shape. Create a new layer above all your other layers and rename it border.
Select the Line tool. Click the Stroke color swatch in the Properties panel and select a muted brown or orange color that would harmonize well with the rest of the background graphics. In the Properties panel, click the Brush Library button next to Style. The Brush Library panel opens, unless it is already open. If you find something more appealing, feel free to select it instead.
Double-click your choice. The Dashed Square 1. Create a long horizontal line at the top edge of the Stage and another one at the bottom of the Stage. Tip Hold Shift while drawing with the Line tool to constrain the tool to horizontal or vertical lines. The dashed regular pattern at the top and bottom of the Stage provides a nice contrast to the curves and chalk-style lettering. Editing and creating your own Art or Pattern brush You might not find a brush to your liking in the Brush Library, or you may need something very specific for your project.
In either case, you can edit an existing brush or you can create an entirely new one. Pattern brushes repeat a shape over the length of a stroke whereas Art brushes stretch the base art over the length of the stroke.
The Paint Brush Options dialog box appears, with multiple controls for refining how the brush applies the base shapes. Art brushes and Pattern brushes have different options. Experiment with different spacing, how the shapes repeat or stretch to fit, or how corners and overlaps are handled. To create an entirely new brush, first create some shapes on the Stage that you want to base your brush on. For example, if you want to create a train track, create the base art that repeats for a Pattern brush.
The Paint Brush Options dialog box appears. From the Type menu, you can choose either Art Brush or Pattern Brush, and then refine the brush options. The preview window shows you the results of your chosen options. Enter a name for your new brush and click Add. Your new brush will be added to your Style menu and available for you to use. Click the Manage Paint Brushes button in the Properties panel. Select the brushes you want to delete or save to your Brush Library.
You cannot delete a brush that is currently in use. Pressure-sensitive graphics tablets Animate supports input from pressure-sensitive tablets, such as the Wacom graphics tablets, to control variable-width strokes or the Art or Pattern brushes. Pressing harder with the stylus creates fatter strokes, whereas pressing lightly results in thinner strokes.
You can adjust the tilt or sensitivity percentages in the Paint Brush Options dialog box to modify the range of thicknesses in the shapes you create. Try drawing with a stylus on a tablet with variable-width strokes enabled for a natural, intuitive way of creating vector images. In Animate, you can do the same thing with the Stage using the Rotation tool.
The Rotation tool is grouped under the Hand tool in the Tools panel. Select the Rotation tool and click the Stage to specify the pivot point, indicated by a crosshair. Once the pivot point has been established, drag the Stage to rotate it to your desired angle.
When you create static text on the Stage and publish to an HTML5 project, Animate automatically converts fonts into outlines. The downside is that too much text can bloat your file size. Use dynamic text to leverage web fonts available either through Adobe Fonts formerly Typekit or Google Fonts. Thousands of high-quality fonts are available to you through your Creative Cloud subscription, and the fonts are hosted by Adobe and accessible directly through the Properties panel within Animate.
High-quality open source fonts are available through Google Fonts, which are hosted on Google servers. Select the top layer. Select the Text tool. Begin typing. Enter Taste the difference. The text may not fit, or it might not be the size or font that you want. Exit the Text tool by selecting the Selection tool. Add three more pieces of smaller text on the Stage in the same layer just below your tag line: Coffee, Pastries, and Free Wi-Fi.
Make sure you have an Internet connection because Animate retrieves the list of available fonts from the web. The processes for adding an Adobe font and a Google Font are very similar. Choose Google Fonts from the menu that appears. Animate displays the Google Fonts dialog box. The list of fonts can be very slow to load. Be patient! Choose Alphabet from the Sort By menu. The list of Google fonts on the right is displayed alphabetically.
You can choose to sort by date, by popularity, or by other criteria. The Google Fonts are listed with a sample sentence fragment. You can scroll through the font families with the scroll bar on the right. You can also search for specific fonts or use the Category menu to narrow your search. For now, peruse the range of typefaces and pick one that you think would suit this banner ad. Click the name of your preferred font under the sample text, then click Done.
The dialog box closes and the selected Google font will be added to your Animate project. In the Properties panel, Character section, choose the newly added web font from the Family menu. Web fonts are listed at the very top of the menu. Your selected Google font is applied to the text box on the Stage.
Choose a color that works nicely with the composition. Select the other three pieces of text and use the Family menu to apply the same web font. Removing a web font If you change your mind, you can easily remove a Google web font and choose a different one. Select all the text that uses the web font you want to remove. Deselect the font by choosing a different one. Click the Selected Fonts tab. Animate displays all the fonts, indicated by a blue checkmark, that have been selected for your project.
In this example, the Google font Architects Daughter is selected because it was previously added to our project.
You must deselect a font from every bit of text before removing it from your project. Deselect the font by clicking it. Now, no fonts are displayed in the Selected Fonts area. Click Done. The Add Web Fonts dialog box closes.
The web font is removed from the Family menu in the Properties panel. Matching the color of an existing object If you want to match a color exactly, you can use the Eyedropper tool to sample a fill or a stroke. After you click an object with the Eyedropper tool , Animate automatically switches to the Paint Bucket tool or the Ink Bottle tool loaded with the selected color and associated properties that you can apply to another object.
Select the Eyedropper tool. Click the fill of the shape in the dark brown wave layer. The three selected pieces of text change color to match the fill of the dark brown wave layer. Using the same colors helps to unify the composition. Aligning objects The Align panel, as you might guess, aligns any number of selected objects horizontally or vertically. It can also distribute objects evenly.
Select the first small piece of text, Coffee. Move the text box left or right until smart guides appear. Align the left edge of the selected text with the left edge of the larger text above it. Select the third small piece of text, Free Wi-Fi.
Move the text left or right until smart guides appear. Align the right edge of the selected text with the right edge of the larger text above it.
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