Animating! Alright, animating usually starts with some reference. That's the best way to start. It helps if you have like movies or other cartoons to go from, but if you can't find what you're looking for, helps if you just do it yourself. As you see, I'm trying a few different methods, and I do look ridiculous, but that's alright. That's all part of the job. Important part is that you don't, you know, record yourself, then put it online. I don't know. Anyways, right after that, you know, the reference takes seconds to do if you get it right or get a friend to do it, and then it's right back into building a roughs. So once again, you know, roughs are very important. They tell you where you're going. You just need the bare bones, literally, of where you're doing. If a pose is a little complicated, you can use different colors, but have your reference nearby. It really helps out a lot. Like as you see, I'm comparing the line of action, the spine, the torso. You don't have to keep the exact pose. You can play around with it a bit, but you know, it's just, it's great to have a starting point. So there's a little example of what you can do with that. Okay, once you have your roughs in, you can start adding more detail to each of the roughs to flesh out where the clothing and all this extra stuff is going. You get to plan ahead and so you can start to see where like secondary motion on the jackets and the hair and the hanker teeth all comes in. And once again, like it's good to spend time doing your roughs and getting it out properly, but you can always adjust every step of the way as you're getting it more flushed out. So you can see that I'm moving things around. It doesn't always follow the rough exactly. I have the hand coming a lot more. It's a lot more hunched over. And then you get to test it out again. Testing out is very important. Once again, like if you have somebody nearby to have a second view of it, it's great. So you get another opinion, can go in and flush it out more. So here, it's basically now just onto building and rebuilding for all the poses that you've said in. Now this for like more of a classical animation type thing. Normally I just do a bit more moving parts which just don't require so much redrawing, but for this one, I actually have the parts inside a hit set to play once rather than a single frame because, well, pretty much all the parts are going to be different, but I do like to keep them separate rather than all them longer layers so I can adjust everything. Oh boy, well, thanks for watching guys. Once again, please like and subscribe. It helps a lot.