There are three types of layers: Raster, Smart Raster and Vector. Each has specific uses and advantages depending on the style of animation you want to create.

How to choose brushes, modify them, and sort it them into collections.

Tahoma2D has a powerful palette system, but it works differently from other programs. I show you how to create a global palette, and how to set up your colors so that characters can be re-colored easily.

How to line characters with vectors. This is crucial for those coming from a Flash/AnimateCC and/or Harmony background who need to map their vector skills onto Tahoma2D. These vector designs can be shape tweened.

The gradient system is limited to a 2-color gradient. It has both linear and radial modes.

Using traditional raster brushes, we draw a 1940s style cartoon character, from rough through to a cleaned-up version. We also add color, applying it on a separate layer.

We add a shadow and a hi-lite layer, and mask them to the character with an alpha-lock.

How to import a reference image from a different source, e.g., artwork created in Photoshop, for reference.

SVG is a common vector format. I use the free software INKSCAPE to help convert an old Flash file into a file that I can import into Tahoma, to save me from having to re-line the vector image.

How to control timing on the timeline: how to add frames, add and remove exposures, and adjust ease-ins and ease-outs with the function editor.

Create the classic bouncing ball using motion tweening and guide paths. We use nested animation as we would in AnimateCC, but with the Tahoma2D method.

A simple shape tween is applied to a 4-colored ball. A more intricate geometry is also tweened, showing the strengths of Tahoma2D.

How to rig a tweenable mouth for dialog, using layers for easier shape tweening. We also import a dialog .wav file, lip synch the mouth shapes, and tween it.

How to animate a bouncing ball by hand, without using motion tweening. A more artistic brush style is used.

A more detailed look at adding audio to the timeline. How to import the file, and how to edit it on the timeline.

Different approaches to looping animation on the timeline in order to create a crowd or flock effect. How to change the exposure sequence of a character to create a vibration or shake effect.

How to nest the animation inside a peg. This is the equivalent of nesting inside a symbol in AnimateCC. The alternative (and superior) method of using an empty layer or column is demonstrated.

How to create a fully layered character using the raster brush. Each body part is given its own layer to prepare it for the rigging process.

The layers of the character are connected. Layers are connected with child/parent relationships. The Schematic view shows how to control the character model with a node system.

A reusable eye blink is animated. It can be triggered at any point in the animation of the character.

A classic TV A-F dialog system uses six mouth shapes. These are then reused over and over to create the characters' dialog animation.

Using a nested peg animation, a head turn is animated using motion tweens.

The body turn animation is completed. This action uses the plastic tool to create a mesh distort.

It's possible to move layer backwards and forwards in 3D space without changing their layer orders. This uses a 'Stacking Order', similar to the process used in Toonboom Harmony. It's powerful because you can animate these values to change the character's positions without altering the layers on the timeline.

How and when to use pegbars to nest animation. This is similar to nesting your animation in a symbol or a comp in other software.

You can speed up the animation process with a bones/skeleton rig. This method has some pros and cons. I demonstrate how to avoid some common problems.

Another way to simplify and cleanup your timeline is to nest a layered animation inside a sub x-sheet. This allows you an equivalent tool to the nested symbol animations of AnimateCC.

How to blend animation from two different scenes into one project.

A speed-run of a vector character being lined and rigged in preparation for a walk cycle.

Posing the contact poses for the feet to establish the stride for the walk. Adding the arm swings, and fixing gaps when they appear.

Applying a shape tween to smooth out the action. I show a copy-paste glitch and how to avoid it.

Any walk cycle will need to be tweaked to fix any number of small errors. This walk has a few, so we go in with a fine tooth-comb.

When animating traditionally, it's crucial to thumbnail the action before you animate. This is your map to the action, and is vital to stop you from getting lost in the process.

Our first pass of the animation is loose (but not too loose). This will be the foundation of the later tiedown / cleanup.

Putting the rough on a lower layer, we draw a new, cleaner version on top. This will be used as the line layer for the color fill.

We use 'refer visible' to drop the color from the line layer to a separate color layer below. This allows us enormous flexibility when adding new layers for shadows and hi-lites.

How to track the character as it walks across the screen. We use two methods: one in which we move the background, another where we move the character and animate the camera to follow.

The multiplane is powerful if limited. It's similar in scope to the Disney Multiplane camera used on 'Pinnochio'. However it lacks some of the features in similar camera systems in After Effects and Harmony.

A very quick look at filters and how to add and modify them on your layers.

How to export your animation as an .mp4 file, but also as a png sequence (useful for compositing in more powerful video editing software).

A great list of resources if you want to pursue Tahoma2D further!