Skip to main content

About this book

Use solid and practical exercises to master the fundamentals of Adobe Animate CC. This is one of the first comprehensive books on Adobe Animate CC to thoroughly examine and demonstrate how to create and deploy interactive and motion design content to mobile, tablet, and desktop screens.

Using a series of carefully developed tutorials, Beginning Adobe Animate CC will lead you from basic Animate CC document workflows to the point where you can create animations, interactive projects, and anything else using a variety of techniques. Each chapter focuses on a major aspect of Animate CC and then lets you take over with a series of "Your Turn" exercises that let you create amazing projects based on what you have learned.

Beginning Adobe Animate CC focuses on the core skill set needed to master Animate CC and while you are at it, you will be guided to the mastery of the fundamentals, such as drawing tools, movie clips, video and audio content, text, graphics, external data, components, and a solid overview of the code you need to know to take your skills to the next level.

What You Will Learn:

Create and deploy animated and interactive content for the HTML 5 universe.Create images and vector graphics for use in Animate CC.Examine a variety of animation techniques that make full use of the Animate CC timeline.Add video and audio content to an Animate CC project.Use many of the graphic creation tools in Animate CC.Publish your projects to a variety of formats.

Who This Book is For:

Those who are proficient in creating and publishing animated and interactive web-based content. It will also help those who are proficient in using Adobe Flash Professional CC to understand the improvements and new workflows found in Adobe Animate CC.

Table of Contents

Chapter 1. Learning the Animate CC Interface

Welcome to Adobe Animate CC. We suspect you are here because you have seen a lot of the great stuff that Animate CC can do and it is now time for you to get into the game. We also suspect you are here because you discovered that Animate CC is more complex than you originally thought. The other reason you may be here is because you were a former Flash Professional user and you need to get a handle on this new stuff in relatively short order. Whatever your motivation, both of us authors have been in your shoes at some point in our careers, which means we understand what you are feeling. So instead of jumping right into the application . . . let’s go for walk.
TOM GREEN, Joseph Labrecque

Chapter 2. Graphics in Animate CC

In the previous chapter, we handed you a bunch of images and essentially said, “Here, you toss them on the stage.” In this chapter, we dig into how those objects were created, and in fact you are going to be drawing trees, drawing the moon, creating Venetian blinds, and playing with Chinese dancers and T-shirts, among other things. We will be using Illustrator and Photoshop and playing with JPEG and GIF images. There’s a lot to cover. Let’s get started.
TOM GREEN, Joseph Labrecque

Chapter 3. Symbols and Libraries

Symbols, the topic of this chapter, are one of the most powerful features of Animate CC. This is because they allow you to create reusable content. You only need one copy of a symbol. Once it is on the stage, that symbol can then be manipulated in any number of ways without those changes affecting the original piece of content.
Tom Green, Joseph Labrecque

Chapter 4. Interactivity Basics

To create interactive content within an Animate project, some basic programming knowledge is necessary. Animate makes it possible to build code-driven content across nearly all of the various target platforms it supports. This is not to say our intention is to turn you into a programmer outright, but an understanding of the JavaScript and ActionScript languages and the fundamentals of coding will make your day-to-day life easier.
Tom Green, Joseph Labrecque

Chapter 5. Audio in Animate CC

If you’re one of those who treat audio in Animate CC as an afterthought, think again. In many respects, audio is a major medium for communicating your message. In this chapter, we dig into audio in Animate CC: where it comes from, what formats are used, and how to use it in a project. Regardless of whether you are new to Animate CC or an old hand with Flash Professional, you are about to discover the rules regarding audio in Animate CC have changed—for the better.
Tom Green, Joseph Labrecque

Chapter 6. Text in Animate CC

This quote from Bringhurst’s master work, The Elements of Typographic Style, Second Edition (Hartley and Marks, 2002), sums up the essence of type in Animate CC. The words we put on the stage and subsequently put into motion on devices, tablets, and computer screens are usually well chosen. They have to be, because they are the communication messengers, providing the users with access to understanding the message you are trying to communicate. In this chapter, we focus on using type to do just that.
Tom Green, Joseph Labrecque

Chapter 7. Animation

Ah, animation! Where would we be without the likes of Disney, Warner Bros., Walter Lanz, Hanna-Barbera, and dozens more like them? For many people, animation is the reason to get involved with Animate CC as a creative outlet. This makes perfect sense, because Animate CC began life more than a decade ago as an animation tool. Supplemental features like ActionScript, JavaScript, XML parsing, and video integration—every one of which is a tremendous addition—all followed. What hasn’t changed in all these years is Animate CC’s increasingly productive ability to help you create high-quality, scalable animation for the Web, mobile devices, and even for television and film.
Tom Green, Joseph Labrecque

Chapter 8. The Motion Editor and Inverse Kinematics

What you saw in the previous chapter was a compendium of traditional animation techniques—traditional not in the Flash animation pioneer John Kricfalusi sense, but in the sense that they represent the basic tools animators working in Animate CC have used since time out of mind. Some tools don’t change simply because they don’t have to; they’re that useful. The exciting part is that Adobe introduced a new set of tools back in the Flash CS4 era in addition to the time-tested tools. This double-whammy puts you in charge of the workflow that makes the most sense to you. Use one set or the other or combine them—the choice is yours. The best part is that because this is animation, you pretty much have to drink a broth of lukewarm poisonwood oils to not have fun while you’re working.
Tom Green, Joseph Labrecque

Chapter 9. Animate CC and the Third Dimension

Designers had been asking for 3D manipulation tools in Flash for a long time. In fact, this feature has been requested in some form or another since the beginning of the product line. That makes sense if you consider that the mid-1990s promise of Virtual Reality Modeling Language (VRML) gave web surfers a taste of 3D before Flash ever hit the market. VRML was a great idea, but it was ahead of its time and, sadly, didn’t go very far. In any case, it was more of a programmer’s pursuit than something a designer would want to grapple with.
Tom Green, Joseph Labrecque

Chapter 10. Video

When it comes to video in Animate CC, the Grateful Dead had it right when they named one of their earlier albums, “A Long Strange Trip”.
Tom Green, Joseph Labrecque

Chapter 11. Components and External Media

Up to this point in the book, you have created quite a few projects using images, text, audio, video, and other media. We bet you’re feeling pretty good about what you’ve accomplished (you should!), and, like many who have reached your skill level, you are wondering, “How does all of this hang together?”
Tom Green, Joseph Labrecque

Chapter 12. Optimizing and Publishing Animate CC Projects

When it comes to publishing Animate CC projects for the Web, a common user experience is sitting around waiting for the project to start. From your perspective, as the artist who designed the piece, this may seem odd. After all, when you tested the movie in the authoring environment, it was seriously fast and played flawlessly. What happened? To be succinct, the Web happened. Your project may indeed be cool, but you made a fundamental mistake: you fell in love with the technology, not the user. In this chapter, we’ll talk about how to improve the user experience.
Tom Green, Joseph Labrecque
Additional information