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3D graphics. Working with symbols in Animate. Draw lines & shapes with Adobe Animate. Work with the libraries in Animate. Exporting Sounds. Selecting objects in Animate CC. Working with Illustrator AI files in Animate. Apply patterns with the Spray Brushtool. Applying blend modes. Jan 24,  · Following are some best noticeable features of Adobe Animate CC Portable Free Download which you will experience while working with the software: . Powerful application for creating 2D and 3D animations. Created animations can be used in web projects. Can also be used with other Adobe products on replace.mes: 2. ADOBE ANIMATE CC CLASSROOM IN A BOOK ( RELEASE) xiii GETTING STARTED The release of Adobe Animate CC provides a comprehensive authoring environment for creating sophisticated animations and interactive, media-rich applications that you can publish to a variety of platforms. Animate CC is widely.
 
 

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For more information on variable width stroke, see Variable Width Strokes. Once you have a variable width stroke defined as a path, if you run the motion tween, you can see that the object not only follows the path, but also changes its size based on the relation to the variation in the thickness of the stroke.

A motion guide path can have multiple segment with each connected segment having a different variable width profile specified as shown below. With no additional keyframes for the object, each segment’s width profile is considered during the animation. Motion Guide also enables you to tween an object along the path, by changing the color of the object based on the color of the guide path itself.

To bring about this variation, you need at least two segments in the path, that is, three minimum nodes or points as part of the path. To achieve this, while creating a Classic Motion Tween and drawing a guide path as described in the previous section of this document, use the pen tool and draw a guide path as shown below.

Apart from the keyframes for the initial and final positions of the object, there is no need to create any more keyframes to denote the variation in stroke color. Run the animation now to see the color influence of the guide path on the object itself in the course of the tween.

Legal Notices Online Privacy Policy. User Guide Cancel. This process requires two layers to carry out an animation: A layer containing the object that you are about to animate A layer defining the path, which the object is supposed to follow during the animation Motion guide works only on Classic Tweens.

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Adobe Forums: forums. Adobe Create: create. Resources for educators: www. Find solutions for education at all levels, including free curricula that use an integrated approach to teaching Adobe software and can be used to prepare for the Adobe Certified Associate exams. Also check out these useful sites: Adobe Add-ons: creative.

Adobe Animate CC product home page: www. A directory of AATCs is available at training. Herbert School of Communication at Hofstra University where he teaches multimedia storytelling, data journalism, and information design. Download the project files for this lesson from the Registered Products tab on your Account page at www. 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.

 

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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. The end of the first tween is identical to the beginning of the second tween. The motion tweens of all three cars have now been split. This applies an ease-out to the motion tween. Animate plays the Timeline in a loop between frames 60 and so you can examine the ease-out motion of the three cars.

Frame-by-Frame Animation Frame-by-frame animation is a technique that creates the illusion of movement by making incremental changes between every keyframe. Frame-by-frame animations increase your file size rapidly because Animate has to store the contents for each keyframe. Use frame-by-frame animation sparingly. When the movie clip loops, the car will rumble slightly to simulate the idle of the motor.

Inserting a new keyframe The frame-by-frame animations inside the carMiddle and carRight movie clip sym- bols have already been done. Inside the carRight movie clip, three keyframes establish three different positions for the car and its headlights.

The keyframes are spaced unevenly to provide the unpredictable up and down motion. Animate inserts a keyframe in frame 2 of the lights layer and the smallRumble layer. The contents of the previous keyframes are copied into the new keyframes. Changing the graphics In the new keyframe, change the appearance of the contents to create the animation. You can use the Properties panel to decrease the Y-position value by 1 pixel or press the Down Arrow key to nudge the graphics by 1 pixel.

The car and its headlights move down slightly. For a random motion like an idling car, at least three keyframes are ideal. Keyframes are inserted into frame 4 of the lights and smallRumble layers.

You can use the Properties panel or automatically modify press the Up Arrow key twice to nudge the graphics by 2 pixels. Animating in 3D presents the added complication of a third z axis. When you choose the 3D Rotation or 3D Translation tool, you need to be aware of the Global Transform option at the bot- tom of the Tools panel.

Moving an object with the global option selected makes the transformation relative to the global coordinate system, whereas moving an object with the local option on makes the transformation relative to itself.

Insert a new layer at the top of the layer stack and rename it title. The movietitle instance appears in your new layer in the keyframe at frame Animate converts the current layer to a tween layer so you can begin to animate the instance. The 3D rotation control appears on the selected movie clip. That means controlling where to point the camera to frame the action, zooming in or out, panning, or even rotating the camera for special effect. All of these camera movements are available in Animate with the Camera tool.

The Timeline contains added frames and a motion tween in the title layer. On the Stage, the camera controls appear. Camera layer; it only hides it from view. To delete camera filters. Disable the Camera layer by choosing your Selection tool, or by clicking trash can icon. Your camera will initially hide a part of her face to create a little bit of mystery.

There are two modes on the controls, one for Rotate and another for Zoom. The Zoom mode should be highlighted. The Camera view zooms closer into the Stage.

The slider snaps back to the center, allowing you to continue dragging to the right to continue zooming. You can also enter a numerical value for the zoom in the Properties panel in the Camera Properties section.

Your Stage shows a close-up view of the cityscape between the two main characters. As with any bitmap, zooming in too dramatically will reveal the limitations of the original embedded image.

The contents of the Stage move to the right. So if you point your camera to the left, the objects in view will move to the right.

Animating a pan A pan is the motion of the camera left to right or up and down. In the context menu that appears, choose Create Motion Tween. A motion tween is added to the Camera layer, indicated by the blue-colored frames. Hold down the Shift key to constrain the motion to a straight vertical line.

A new keyframe is established at frame 25, and Animate creates a smooth motion of the camera between the two keyframes. Panning across the Stage Your viewers now see this mystery woman, who is looking to her left. But who or what is she looking at? A new keyframe is automatically created at frame 70 with the camera in its new position.

The camera pans across the Stage from left to right between frames 40 and The camera will hold its position from frame 70 to frame The Brightness, Contrast, Saturation, and Hue values appear, all of them with a value of 0.

The view through the camera becomes desaturated and all the graphics on the Stage appear black and white. Animate creates a motion tween of the camera becoming more desaturated from frame to frame You can also use the integrated Controller at the bottom of the Timeline.

However, to preview your animation as your audience will see it and to preview any nested animations within movie clip symbols, you should test your movie. To exit Test Movie mode, click the Close window button. For example, animations with HTML5 or on mobile devices often rely on sequential PNG files or a single file that packs all the images organized in rows and columns, known as a sprite sheet.

The sprite sheet is accompanied by a data file that describes the position of each image, or sprite, in the file. Generating either PNG sequences or a sprite sheet of your animation is easy. First, your animation must be within a movie clip symbol. In the next steps, you select the destination on your hard drive for your images and the dimensions of your images.

For a sprite sheet, right-click the symbol and choose Generate Sprite Sheet. The Generate Sprite Sheet dialog box that appears provides different options, such as sizing, background color, and the particular data format.

Click Export to output the sprite sheet and data file. Review Answers 1 A motion tween requires a symbol instance on the Stage and its own layer, which is called a tween layer. No other tween or drawing object can exist on the tween layer. Keyframes are specific to each property, so that a motion tween can have keyframes for position that are different from keyframes for transparency. You can also choose the Convert Anchor Point tool and Subselection tool to pull out handles at the anchor points.

The handles control the curvature of the path. Without easing, a motion tween proceeds linearly, where the same amount of change happens over time. An ease-in makes an object begin its animation slowly, and an ease-out makes an object end its animation slowly. Use the Camera tool to zoom in to a different part of the Stage, zoom out to show more, rotate, or pan. You can also use the Camera tool to adjust the tint or color effect of the view.

See Creative Cloud Libraries Control menu, defining generally, — character animation. See animating natural control points, scaling objects relative to, 42 defining inside a shape, — motion and characters controls definition of, classic tweens camera, disabling joint rotation, — applying, — playback, —, — editing shapes containing, overview of, Stage controls for constraints, — extending armature, — Clear Guides command, Timeline, — hierarchy of, click response, adding, — Convert Anchor Point tool, isolating rotation of, — clipping, audio, — Convert to Symbol dialog box F8 , 95, modifying joint position, — clips, movie.

See also swatches accessing assets, 9 managing paint brushes, 69 adding fills, 50 sharing assets, pattern brushes, 66 animating, — curves. See also HTML5 Canvas Encoder, — understanding, 40—41 documents converting video files, — using gradient and bitmap fills, 47—49 creating new, 3—4 overview of, filters playback environments, 4—5 understanding encoding options, animating, — switching between document types, 5 error checking, — applying to symbols, — types of, event handlers Filters section, Properties panel, —, domain, identifying, 75—76 adding click response, — — dot.

See file formats — adding video file to Adobe Media frame-by-frame animation applying eases to shape tweens, Encoder, — changing appearance of graphics, BounceIn ease, — converting video files, , — — complex eases, deleting or changing sound files, inserting new keyframe, — overview of, — overview of, removing eases, exporting SWF files, frame labels, — splitting motion tweens, — finding video files, Frame Picker, — Edit bar, on Stage, 5, importing Photoshop file for frame rate, viewing on Timeline, 11 Edit Document command, background, 96—99 Frame View menu, 12 Edit Envelope dialog box, — importing sound files, — frames.

See also navigation, interactive updating tagged swatches, 56 adjusting, — ActionScript 3. See also animating of objects, 50—51 animating, natural motion and characters guides, for placing symbols, — Frame Picker for selecting frames to adding eases, align sounds, — animating natural motion, — scaling, H defined, types of symbols, 94 H.

See Adobe Photoshop previewing animations, — working with filters, — Pin option, Properties panel, — turning on, — working with position, — pixels, resizing and scaling content, 32—33 Orient To Path option, Rotation, working with transformations, — Play command Oval tool working with transparency, — playing animation, , adding shadows, 62—63 MSAA Microsoft Active Accessibility , playing shape tween, creating shapes, 41—42 testing movie, playback P controlling video playback, — N Paint Brush tool, 63—65 previewing animations, — naming rules, paint brushes of video, — natural motion, animating.

See animating exploring Brush library, 63—65 playback runtime environment, in natural motion and characters managing, 69 determining document type, 4—5 navigation, interactive Paint Bucket tool playhead, ActionScript 3. See ActionScript 3. See animating symbols skinning, — adding movie clip instances, applying filters to, — previewing loop, area of workspace, 7—8 blending effects, project file, changing size to match Photoshop breaking apart, removing shape hints, canvas, 99 button symbols.

You can apply layer effects on individual or on multiple frames by selecting desired frames. You can also apply layer effects on all the frames of layer by selecting the entire layer. Layer effects can also be applied on symbol’s timeline such as movie clip and graphic symbol and across all the scenes. Layer effects can be applied only when Advanced Layers mode is ON. You may have to enable Advanced Layers mode explicitly for files to use this functionality.

To add filters on a particular frame, first select the frame. Properties Inspector panel loads the frame specific properties. When you add filters on frames, the Property Inspector appears as shown in the following screenshot. You can set the properties for each of the filters as per your requirement and apply them at a frame level.

Tweening is applicable for all the frame filters. Layer effects are supported only on ActionScript 3 document type.

Motion tween and camera layers do not support layer effects. To apply color effect on a particular frame, first select the frame. Property Inspector panel loads the frame specific properties. Choose any of the desired color property from Property Inspector panel. To apply blend modes on a particular frame, first select the frame and choose a blending mode listed under Display section of the Frame Properties panel.

When you apply blending on layers or frames, it gets applied to all of its contents including shapes, drawing objects, and graphic symbols. All objects on one layer blend with objects on another layer according to the blending mode applied to that frame.

For more information on blend modes, see Applying blend modes. As an Animator, you can place the layers in different planes of 2D animation creating an illusion of depth. You can dynamically change depths of layers from Layer Depth panel. As shown in the above screenshot, the layer depth values are displayed next to each layer name for a given frame. Each layer is represented with unique colored lines in layer depth panel.

You can view the colors representing each of the layers in timeline. You can also increase or decrease the depth of objects in each layer by moving the multi-colored lines up or down. You can use the camera on multi-plane layers to create a parallax effect or to zoom into the content on a plane. You can also lock the camera on a specific layer, or apply camera effects at runtime using interactive APIs.

For more information, see Creating parallax effect with camera and layer depth. You can change layer depth of objects without affecting the size and position of objects. To use maintain size functionality, click the Maintain size button at the upper-right corner of the Layer Depth panel. You can also introduce camera on objects at runtime and apply effects by using camera APIs. For more information, see Using interactive camera at runtime.

You can manage the layers at runtime by using APIs. For example, at runtime when you want to introduce an extra layer in the animation or decrease the depth of one of the layers in the animation. Animate allows you to parent one layer to another. As an animation designer or a game designer, you can speed up your animation time as you can control movements of different parts of a character more easily.

Layer parenting view requires the Advanced layers to be enabled. By default, Advanced layers is switched ON for new files. You can enable layer parenting view by clicking the hierarchy symbol icon at the top-right corner of timeline. In parenting view, when you drag layer 1 over to layer 2, then layer 1 becomes the child of the parent layer 2. The object on the child layer inherits the position and rotation of the object on the parent layer apart from carrying its own properties.

So, when you move or rotate the parent, the child also moves or rotates along with the parent. You can create multiple parent-child relationships to create a hierarchy. You can connect one layer to another layer, by clicking on the layer handle color head and dragging it over the other layer. Alternatively, you can click anywhere on the horizontal rectangular space adjacent to layer name and drag it over the other layer.

You can also use single click on any layer and choose the parent layer for it from the pop-up list. A parent-child connection establishes between the two layers as soon as you release the click and drag action.

The left most color head in the layer parenting view hierarchy represents the parent. The parent-child hierarchy moves from left to right. Alternatively, you can click on the horizontal space and click Remove parent as shown in the screenshot below. In the screenshots below, you can see the before and after views of layers hierarchy and positions when you use layer parenting. A sample illustration representing the usage of layer parenting for human body parts is show below.

Parenting is a frame property you need to set for each key-frame on the child layer. On a key-frame, you can break or re-parent the child layer to another parent layer. Legal Notices Online Privacy Policy. Create timeline layers with Animate Search. Go to Adobe Animate User Guide. Last updated on Also Applies to Adobe Animate. Creating and organizing layers. There are five types of layers you can use in Animate:. Normal layers contain most of the artwork in an fla file. Creating a layer. Do one of the following:.

Creating a layer folder. Organizing layers and layer folders. To organize your document, rearrange layers and folders in the Timeline. To move a layer or layer folder into a layer folder, drag the layer or layer folder name to the destination layer folder name.

To change the order of layers or folders, drag one or more layers or folders in the Timeline to the desired position. To expand or collapse a folder, click the triangle to the left of the folder name.

Renaming a layer or folder. Double-click the name of the layer or folder in the timeline and enter a new name. Selecting a layer or folder. Click the name of a layer or folder in the Timeline. Click any frame in the Timeline of the layer to select. Select an object on the Stage that is located in the layer to select. To select contiguous layers or folders, Shift-click their names in the Timeline.

Copying frames from a single layer. Select a range of frames in a layer. To select the entire layer, click the layer name in the Timeline. Copying frames from a layer folder. Deleting a layer or folder. To select the layer or folder, click its name in the Timeline or any frame in the layer.

Click the delete layer button in the Timeline. Drag the layer or folder to the Delete Layer button. When you delete a layer folder, all the enclosed layers and their content are also deleted.

Locking or unlocking one or more layers or folders. To lock or unlock multiple layers or folders, drag through the Lock column. Copying and pasting layers CS5. When you copy and paste layers, the layer folder structure of copied layers is preserved. Setting properties to multiple layers.

In Animate, create a FLA file or open an existing file. In the Layer Properties dialog, modify the properties. Click OK. Showing or hiding a layer or folder. To show or hide multiple layers or folders, drag through the eye icon column. Viewing the contents of a layer as outlines.

Motion paths on the layer also use the layer outline color. Viewing layers and layer folders. Changing an outline color of a layer. Setting layer transparency. In Animate, create an fla file or open an existing one. Use any of the following options to set layer transparency: Right-click any layer and select Properties from the context menu. Right-click any layer and select Show Others Transparent.

Layer transparency has no effect on hidden layers. Using advanced layers. Layer effects Layer depth Layer parenting Camera. A sample code to access symbols using advanced layers for AS3 document type:. A sample code to access symbols using advanced layers for HTML5 canvas document type:.

Applying layer effects. Using filters for frames. Using color effects. Using blend modes. Applying layer depth. You can set the minimum and maximum values of layer depth within to range. Hover the mouse on each value, click, and drag slider to your right or left. To decrease the depth, drag slider to your left. To increase the depth, drag slider to your right. You can use lower positive values to represent objects that are closer and higher positive values to represent far-away objects.

You can tween the layer depth values in any of the tween spans for your animation.

 
 

Adobe animate cc guide layer free download

 
 
Download Adobe Animate Free Adobe Animate is the best tool for creating Flash, canvas HTML5 animations and elements for websites (banners, buttons, etc.). The software is a convenient Flash professional development platform. Download Adobe Animate CC free trial and enjoy the speed and ease of working with Flash.5/5. ANIMATE CC CLASSROOM IN A BOOK ( RELEASE) f 3 Select frame 2 in both the lights layer and the smallRumble layer. 4 Right-click and choose Insert Keyframe (F6). Animate inserts a keyframe in frame 2 of the lights layer and the smallRumble layer. The contents of the previous keyframes are copied into the new keyframes. Jan 24,  · Following are some best noticeable features of Adobe Animate CC Portable Free Download which you will experience while working with the software: . Powerful application for creating 2D and 3D animations. Created animations can be used in web projects. Can also be used with other Adobe products on replace.mes: 2.

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