Animated Illustrations | Jamie Bartlett | Skillshare
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10 Lessons (45m)
    • 1. Class Trailer

      0:58
    • 2. Class Project

      0:29
    • 3. Preparing Your Artwork

      5:09
    • 4. Tweening and Duplicating

      9:31
    • 5. Puppet Warp

      15:27
    • 6. Frame by Frame

      2:52
    • 7. Exporting a GIF

      1:44
    • 8. Exporting a Video

      3:09
    • 9. Compositing in Photos

      4:55
    • 10. That's It!

      0:31
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About This Class

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In this class you will be Illustrating an everyday object then bringing it to life through animation in Photoshop. I'll show you three different methods of animation that each have their own unique look and can be applied together or can be used on their own.

This class if for anyone. All you need is an illustration and Adobe Photoshop. I'll go over every step of the process to take your illustration to a final animation. I'll also show you how to export your animation as a gif and a video for sharing online. 

I can't wait to see what you create!

Transcripts

1. Class Trailer: Hi guys. I'm Jamie Bartlett, and I'm so excited to bring you my next class, "Animated Illustrations." For this class, you're going to be illustrating an everyday object, and then bringing it to life through animation in Photoshop. I'll show you three different methods of animation that each have their own unique look, and can be applied together, or used on their own. I've even included a fun bonus lesson to show you how to place your animations in a photo to make it come to life right inside your sketchbook. This class is for anyone. All you need is an illustration and Adobe Photoshop. I'll go over every step of the process to take your illustration to a final animation. I'll also show you how to export a GIF for sharing online, or a video for places like Instagram. By the end of this class, you'll have everything you need to start bringing your illustrations to life in Photoshop, and sharing them online. All right, guys, let's jump in. I can't wait to see you create. 2. Class Project: For the class project, I want you to illustrate an everyday object. It could be anything from your cat to a potted plant or a tree you see outside. But before you start illustrating, go ahead and watch through my entire class first. That way, you know the different processes of animation, so when you're drawing, you can kind of think through that and plan for it, and as you're drawing and animating, feel free to post your progress in your class project. That way, we can see your work every step of the way. 3. Preparing Your Artwork: So, before you get started animating, be sure to save your artwork as a copy, just so you don't mess anything up and you always have the original. Next, we need to organize our layers and merge any of the layers that we're not going to be animating with. This is just going to help keep our file size small and our PSD organized. Right here, I have all my cat layers in a group. The first I have some texture on top and I have the body and face and all these different layers. First, I just want to tell you how I'm going to animate the cat. I'm going to want this tail to move back and forth, and I also want the eyes to move to the left and then back to the right. So the only things I need separated are the tail and the eyes, everything else can be merged on top of each other. The easiest way to think about it, is if it needs to move, it needs to be on his own layer. All right. So first, let's start with the texture. I've two layers of texture. So, we can easily just merge those two together, and a shortcut for that is command-E and that merges the top layer with the one directly below it. I have the texture. I have these little highlights in the eyes, so those are going to need to be on its own layer and eventually I'll merge those with the black parts of the eyes. So,, the next layer is the eye highlights, and that's just these little white specks right here on the eyes. I'm going to keep those separated because I'm also going to move those from the left to the right inside the pupils. then I have this face layer. Now, this face layer, I don't need all this mouth and all the details on the bow tie. I'm going to need to separate the pupils of the eyes from everything else. So sometimes you might not put everything on its own layers and to separate it, it's pretty easy. All I'm going to do is take the Laso tool here, draw a selection of my eyes, then I'm going to cut by pressing Command-X on the keyboard and then I'm going to press Command-Shift-V to paste in place. Now I have it on its own layer. I'm going to name that Eyes, and then I have the face separated, more texture down here and then the white part, so I can merge the face, the texture and the white, I'll do that. Then last down here I have the body. Now, when I drew this, I did not separate the tail. So again, we're just going to separate that. I'm going to need to cut up into the body a little bit because if I just cut straight across when you rotate it you would see the edges. So, for this, I am just going to take a circle, a perfect circle, and then I'm going to add the tail into the selection and I'll just hold Shift on the keyboard and you'll get the little plus sign, I'm going to switch to the rectangle tool. I missed a little spot here, so I switch to the Laso tool, hold Shift again, and make a little selection to make sure I got it all. All right, that looks good. I'm going to make sure I'm on the body layer, and now instead of cutting it, because I don't want to get rid of the black right here on the body, I'm going to copy instead of cut. So, press Command-C for copy and then Command-Shift-V to paste in place. Now I have that tail there. So, now I'm going to turn off that layer and turn the body back on, and I need to get rid of this layer. I'm just going to draw there, and this is going to be covered up with the other tail anyway. Make sure I have that layer selected, press Delete and then we can turn on that layer again. Now I have the tail separated from the body. So, one more thing, I have this white highlight on the tail, so I'm going to select that, cut and paste in place again, Command-X, then Command-Shift-V to paste in place and I can just go ahead and merge that right on the tail. Then another thing down here, I have these little accent marks, I'm going to also separate that out from the other white layer. Then I can also go down here and merge all these, and there's one more thing I can merge. I can merge all the white with the body. I think that looks pretty good. So, for the background, I'm going to lock that. I don't need to mess with any of the texture and I don't need to mess with the body either. Go ahead and make sure you're saving throughout this whole process, and it looks like we're ready to animate. 4. Tweening and Duplicating: So, now we're ready to open up the timeline. So, if you go up to Window, then go all the way down to Timeline, and your Timeline panel should show up right down here. All right? Right here, go ahead and click on the button that says Create Frame Animation, and now we have one frame so far. So, the timeline is where we're going to be animating. So, each frame that we add we can edit an object in that frame and then play it back, and I'll show the animation. For this animation, we're not going to need too many frames. So, I'm going to zoom out so I can see all my artwork. Now, Photoshop can make some of this animation a little automatic but that's only with positioning. So, to show you what I'm talking about I'm going to make a new frame by going down to this button and now I have two frames. I can go back and forth between them and you can see nothing changes because I didn't change anything yet in my composition. So to give you an example, I'm going to take this tale and just move it over here. It's not how I want to animate it but I just want to show you. So, now if I click back and forth between the frames you can see that the position of the tail moves. But say you don't want such a drastic jump. I want more frames in between to make a smoother animation. These are called in-between frames. So, to get those in-between frames, we're going to do something called tweening which is short for in-between. So with the first layer selected, I'm going to go down here and click our Tween button. I'm going to say, let's add three frames and you can choose up here to do with the next frame or the last frame. We're going to stay with the next frame and we got all layers selected. You can see here that the parameters show you that you can only tween position, opacity, and effects. So, this is a little limiting but it can be useful. We'll click OK, and now we have three more frames in between those other two frames I created. So, I have the first one and I'll click through to show you. So now I'm going to go ahead and click play and you can see how it moves. So, unfortunately, we can't use tweening with rotation so I can't use this on the tail that I animate cause I want it to rotate back and forth. But we can use it on the eyes going from the left to the right. So, now I'm going to delete all these frames cause we don't need them, and we'll set up this first frame to have the cat start looking over here to our left. So, I'm going to select both the eyes and the highlights and let's zoom in nice and close so we can see. Then I'm just going to nudge these over to the left right there. It's important to know that you can't transform the layer by pressing command T, so you just need to nudge or drag them over. Then I also want to move just the highlights over to the left as well, right there. That's how the eye should be on the first frame. Now we're ready to start adding some more. So, just like I showed you before with the example of the tail, we're going to add another frame and then I'm going to move the eyes all the way back to the right. Make sure I have both my highlights and my eyes selected, then we'll move those all the way back over right about there, then I'm also going to move those highlights over all the way to the right and that's my right frame. So, now we can tween. I'm going to go back to my first frame, click the Tween button, and I'm going to stick with three frames but you can always add more or less depending on the style animation you want. The more frames you add, the more smooth the animation is going to look. But for this style, I like it to look a little more choppy. Click OK. All right, and now let's play back and see. All right, that looks good but it's going way too fast. Down here at the bottom of each frame you can see that it says zero seconds. That means there's no time in between when the first frame and the next frame starts playing. So, we can slow that down to make our animation look a little better. So, to do that I need to select all my frames by holding down Shift and clicking on the last frame. Then I'm going to do, we'll try 0.2 and see what that looks like. That looks good. Now that that's working, let's go down and deal with the tail. So for this one, instead of tweening we're going to have to make a duplicate of the tail for each of the frames and then we'll rotate each one separately and turn that layer on and off based on which frame we're on. I'm going to start by grouping the tail so that all the duplicates stay in the same folder. So this first one, I'm going to need to rotate it all the way to the left. I'm going to move my anchor point all the way up here to the top so it rotates from that point, then we're going to go down to the corner until you can get these curved arrows. I'm going to rotate it all the way to the left position. Then we're going to press Enter to apply that transformation, then we're going to move on to the second frame. We'll click on the second frame. So before we duplicate it, we need to go over here to the Menu on our timeline and make sure that New Layers Visible On All Frames is unchecked. That way, when we duplicate the layer, it will only be visible on the frame that we duplicated it in. So now we're ready to duplicate that tail and the shortcut for that is command J on the keyboard. So we got our tail copy, we can turn the first layer off and now we have our new tail. So again, I'm going to move this anchor point up to the top and rotate it just slightly to the right. Press Enter again to apply that and let's do our next one. Click on the third frame. You see right here that my duplicate turned off but my original is still on, and that's because the original was always on all of the frames. So we're going to duplicate that second tail, turn it on and make sure to turn our original tail off. Again, we are going to rotate that. Press Enter, go to our next one and keep doing that. Now we need one more frame. All right. Let's play that back and see how it looks. That looks pretty great. The next thing I need to do is position these accent marks for the first and the last frame because I only want them to show up there. So we'll go to our first frame, find those accent marks and position them, and I'm also going to need just to rotate them so they look like they belong on that tail. Rotate them about like that. Okay. There's the left one and then I need to go to the second frame and turn off those accent marks and the same for the third and the fourth. Actually, you can select all the frames that you wanted to turn those off on and just uncheck them and it'll do it all at the same time. So that is a little timesaver. Next let's go to the last frame. I need to duplicate this, turn off the original ones and then move these ones over here. That should do it for that. Zoom out so we can see the entire animation, and now that's a great animation but it's not looping. It's just going straight from the left to the right and then jumping right back to the left. We want it to play forward and then reverse backwards. So to do that, we need to copy the first four frames, select all the four frames then we need to duplicate them and put them on the other side of the last frame. But to duplicate them, with them selected hold on Option click and drag until you get those two little arrows and then drop them right there after the fifth frame. Then we'll go to the Menu and say Reverse Frames. That literally just reverse the order, and now we'll play it back. Okay. It's looping but something looks weird right here on the left side. That's because the first frame actually gets played twice. We didn't need to duplicate that. So we have this frame, the first frame here, and then we also have the same one here. So it plays from nine and then it goes back to one and plays it again. So to get rid of that we can just press the trash can and delete that. Now, let's play it. Now it's looping perfectly. That's our first animation. 5. Puppet Warp: For this next animation, I'm going to show you how to animate using the puppet warp tool. So, I want my final animation to look something like this. The plants are moving and the curtain is blowing in the open window. I already went ahead and organized my layer's palette. I merged a lot of the background stuff and I also merged each individual item, like the lamp, and it's texture, and all the layers that went with that, as well as the table and the pot. But I kept them all separate from the background because you never know if in the middle of animating, you might decide to do something different or animate something else, and I don't want to get stuck with everything completely merged. So, to start, we're going to go into our flowers group and see all the different layers of the flowers that I have drawn. So, to animate with the puppet warp tool, it'll be a lot easier if we make all of our flower layers into smart objects. So, we have to do each layer separately. So, right click on the layer, and say Convert to Smart Objects, and do that for each of your layers. Then, we're going to group each individual flower and I'll show you why this is helpful in just a minute. Let's go ahead, and zoom into the plants, and start with the first flower, and that's the flowers all the way and the left. If you never use the puppet warp tool, it's under Edit, and Puppet Warp, and then click up here on the top menu, and say Show Mesh. I'm going to zoom in a little more, and this mesh is everything that's covered that you can animate and move. The way that the puppet warp tool works is that it generates a mesh that goes over top of the contents of your layer. You can distort this mesh to manipulate the layer's contents. To distort it, we're going to add pins to the mesh by clicking at different points. So, we're going to start by putting one here at the base, then we're going to put one at the edge of this leaf, one all the way up the top, and one at the base here, and that's probably enough pins. Now, I can grab any one of these pens and just move it around. Next, I'm going to zoom in really close and I want to make sure that all of this mesh is covering all of the content in my layer, that no pixels are getting cut off. Otherwise, those pixels aren't going to be manipulated. If you need to ingest it, you can just go up to the word Expansion, and then click and drag it, and that will expand the mesh further out. Just like that. It's best to keep it as close as possible. Now that my mesh is set, I just unclick Show Mesh, and then I can see just my pins and my artwork, and that's just easier to animate that way. Now, since this is the first frame, I'm not actually going to manipulate anything. But since I made it a smart object, it saves those pins, and I can always go back in and edit it on the next frames. So, I'm going to go up here, hit the check mark, and set pins for the rest of my layers. We'll go back up to Edit, Puppet Warp, Show Mesh, make sure the mesh is containing all of our artwork, and I'll just do one at the base, about the middle, and the top here. Cut the check mark and move on to my next layer. Now, my pins are set and I can make a new frame. So, this is the first frame where the plants are going to start moving. So, let's start with the first flower. We're going to need to duplicate it first by pressing command J, and double check that the new layer visible on all frames is still unchecked, and it is. So, we're good. We'll turn off flower one from the first frame and then we can double click on Puppet Warp to go into our Puppet Warp. Uncheck Show Mesh, and then just click on your pins, and start to move them in the direction you want them to go. I'm going to move mine like the wind is blowing from the window. So, I'm going to move mine to the left just a little bit and you don't need to move them that much. As we watch the animation, we can always go back and do some adjusting. So, don't worry if in the end, it doesn't look quite white. You can also click on a pin, and press the arrow keys to nudge it back and forth. So, when you have that positioned how you want it, make sure to apply it by clicking the check mark. Then, we'll go to our second flowers, and do the same process, duplicate it, turn off the first one, double click the Puppet Warp to get those pins up, and just move that just a little bit. Now, when I'm animating this, I'm trying to think about how real plants would move. The top is going to be blown more and move more than the middle section. Click Enter to apply that and moving on. All right. So, this is the difference. This is our first frame and this is the difference between the second frame. So, I just want to repeat this probably two more frames, and that should be enough. Then, we'll just reverse it just like we did the cat and we'll get a nice loop going. So, add another frame, go back to our first flower, duplicate that, and start the whole process over again. Make sure we turn off our second frame's flower, go on at the Puppet Warp, and then move it a little bit more, moving on to the next one. You notice I'm not moving any of the base pins because that part shouldn't really have much movement. Let's see how that's looking. Yeah, that looks pretty good. Let's add another one and do it one more time. You can see why it was helpful that we put each flower in its own group, so that all the duplicates of that flower stay in the group. It just keeps things a little more neat and organized. All right. Let's play through that. That's going really fast so I'm going to change it to 0.2 seconds. Let's play that through and see what it looks like. Now, that looks pretty good. Now, let's move on to the curtain. Now, that we're working on the curtain, I'm going to close the group of all the flowers, just so we can see our layers a little better. I'll open the curtains group. I have my curtain rod on its own layer and then my curtain over here. Just like before, the first frame, the curtain doesn't move. So, we'll go to the second frame, make this curtain here a smart object, convert to a smart object and then we'll go up to Edit and add the puppet warp. To get to start, I'm going to put one pin down here, one in the middle and then one here up at the top. Now, I just want to move that bottom pin. As you can see, when I move out, this top corner up here starts to move. Now, that wouldn't happen if this was a real curtain. I'm going to undo and I'm going to add more pins to these top corners and that should help a little bit. Let's move it out again and, yes, that anchors those point in place. I can apply that by clicking the check mark. So, I did this on the second frame which is fine, I just need to go back to the first one and make sure to turn it on. Then, go back to the second one and duplicate this. I'm going to rename this really quick to Curtain and then duplicate it. Turn that first one off and then go into the puppet warp and start animating. So, the wind is going to hit the middle part of the curtain first. So, that's going to be the part leading the animation. I'm going to grab that middle pin, move it out like the wind is blowing it. For this frame, I'm going to leave the bottom of the curtain right where it is. That should be enough for now. Apply that. Go to the next frame. Duplicate that. Make sure to put it on. I'm going to move the middle out again. Now, move the bottom one out just a little bit too. That might be a little too much. I'm going to use the right arrow key and tap it back and a little bit. I want this top part to move a little bit too. So, I'm going to add another pin on this frame and go ahead and start pulling that out just a little bit. Apply that. Move on to our fourth frame. So, I keep moving this one out a little bit, grab that pin, pump that out a little bit. Just bump that up just a little bit. Apply that. So, now, we've done all the frames that we currently have. Let's play it back. So, now, after seeing this, I don't think that four frames is enough movement for the curtain. So, I might add one more frame and then adjust everything again. Then, I'm just going to go back and do the plants. Okay. Now, let's play that back and see what it looks like. Then, we're going to reverse it just like we did with the can. but all we need to duplicate is frame two, three and four because frame five is the midpoint and then it's going to loop right back to frame one so, we don't need another one of those. Go hold Option on the keyboard click and drag and pop those frames right after frame five and then go over here to our Menu and say, Reverse frames. Okay, let's check out that. Start with frame one, play. Okay, so that's looking great on the flowers but the curtain, that's not quite looking right. So, in the real world like we were saying earlier, the middle part would lead and eventually push the bottom part out. When it was going back towards the wall, the middle would lead again. This is called overlap and it can really make your motion look a lot more natural. So, we're going to have to go back into the curtain and do some adjusting, but only on frame six, seven and eight. So, I'm actually going to go into frame five and then go into this middle point. Let's close our flowers up. Go back into curtains and I'm going to actually go back to frame five and go into the curtain and move this middle point back to pretty close to where it was in frame four, and we'll do the same thing with this pin too. Now you can see that the bottom of the curtain is further out than the middle. Then, frame six. So, now that these are new frames that we duplicated from the previous frames, we are going to have to duplicate the layers so that we're not changing the other puppet warps. So, we're going to duplicate this top layer, turn off the other layer, turn this one on, out on the puppet warp and now, we're going to keep moving the middle part back in. Now, let's just go back and look at five and six and compare them a little bit. I'm going to actually push that bottom out of the curtain just a little bit. That's looking a little better. Then, let's go to frame seven. Duplicate that top layer, turn it on, and off the other layer that's visible. Now, all the pins are going to be on their way back. Just keep in mind, we only have one more frame to go. On to eight. Just for reference, I can turn on the original layer of the curtain and see where the first position was and that looks pretty good. Turn that off and play it back. Now, that motion is so much more natural looking, and this animation is done. So, before we move on to the last method of animation I'm going to show you, I just want to show you one other animation I did using the puppet warp tool. Now, this one is really simple, all I needed was two frames but it's really effective. So, the first frame here I have drawn out in a straight line and the second frame bounces back to the paddle. So, I'm going to go on my puppet warp tool so you can see how it looks. I just added as many pins as I needed to warp the ball a little bit so that when it hit the paddle, it flattened out just a little bit and then enough pins to warp the string the way that I wanted to. If we play it back, it looks just like this. Adding that little bit of rotation on the paddle when the ball hits and rushes away from the paddle, adds a lot too. There you have it. I just wanted to show you that other example. 6. Frame by Frame: The next style of animation I'm going to show you how to do is frame-by-frame, where instead of moving anything, you're going to be redrawing items that you want to look animated. So, with this example, I want smoke to be coming out of this chimney and this chimney. But instead animating it, I've drawn it four different times, like this, and we're going to be turning on and off those layers. So, let's start by creating a frame by pressing this button here. We got our first frame. This is probably the simplest form of animation that we've gone over. It's going to take a little more time in the prep work by drawing items multiple times. So, I went ahead and I have already drawn four different styles of smokes, and they're just each slightly different. So, for the first one, I'm going to turn on my first smoke. There you see it. Then I'll go ahead and create a new frame, turn my first smoke off, and turn my next smoke on. Now, if you look at this first set of smokes, you can see that I did offset the smokes a little bit. So, the first one is closer to the chimney, and the second one I drew up a little bit. Then we're just going to do that again. Turn that one off, turn the next one on, and do it one more time. Then, all we need to do now is select all the frames and change the duration to 0.2 seconds. Let's see what that looks like. That looks great. This is a really fun style to work with. In this final animation here, I went back, and I added some movement to the trees with the puppet warped tool, and then I made the sun just bounce in the sky a little bit with the positioning. But before we finish up, I want to show you one more example of how redrawing simple elements can give a lot of life to a simple animation. So, I want to open up one of my other animations I did for my title graphic. So here's my van, and let me show you how animated it. You can see I have the van bouncing up and down, the wheels moving, and then these little lines here. Just this little bit of animation and movement adds a lot of life to this still drawing. So, I'll stop it, and show you what I did. So, for the tires here, you can see that I have these little motion trails and I only had to draw it twice. Here's one, and then here's the other one, and just that simple switching between those two drawings, adds a lot of motion. For the tires, I also went ahead and use the puppet warp tool and just slightly moved each of these points, just to give some movement to the tires. Then for the van, I just moved the body up and down just a little bit. With these two frames, you got a simple and really fun animation. 7. Exporting a GIF: So now that we have our animations done, we're ready to export them. The first way I'm going to show you is how to export them as a GIF, which is great for sharing online. So to do that, you're going to go to a File, Export, Save for Web. This could take a little bit of time to load because it is a big image. First thing you want to do is change the image size. You're never going to want to GIF this big. I'd recommend sticking to around 800 pixels wide at the max. So, I'm going to change mine to 800. Then it's going to resize that in our preview. In that way, when we're changing any of these settings, it doesn't have to work so hard. So go up to the Presets, go all the way to the top and change it to a GIF 128 Dithered, and then change the colors to 256. So, adding more colors will increase the file size. Since my animation is only six frames, which you can see down here, it's not that big of a deal to double the colors. You can look over here and see that my file size is not very large, it's only 289 kilobytes. Now if your animation is longer, your file size might be larger as well and you might start to get into megabytes. Now if you're posting it on Skillshare, you need to make sure to keep your file size under two megabytes. You can reduce the file size by lowering the colors and also changing the resolution down here. But mine's great, so I just need to look down here and make sure that my looping options is set for forever. Then I'll click Save. Save it how you want it. I'm going to save mine on the desktop. Here it is! That's all there is to exporting your GIF. 8. Exporting a Video: Now, I'm going to show you how to export as a video. This is for places like Instagram that doesn't support GIFs. To post on Instagram, your video has to be at least 10 seconds long. So, in order to make our video ten 10 seconds long, I'm going to need to duplicate my frames. But I have to remember that I need to duplicate all of them in order for my looping to work properly. So, you're going to have to do a little bit of math if you're like mine, and yours are 0.2 seconds long, then five frames equals one second. So, I'm going to need at least 50 frames for my animation to work. So, I'll select all my frames, hold option, click, it doesn't matter how far you drag this over even though there's that circle with the x drawn through it. For some reason, it has that but it still works. There you go. I'm going to select all these again, duplicate it again, I'm going to keep doing this until I have at least 50 frames. At this point, if it's too hard to do this by dragging, you can just go into the menu, and you go copy frames, go back into the menu, and then say, paste frames. Say, paste after selection, click "OK." Now, have 48 frames. So, I need at least 50, but I have to duplicate all six my original frames. So, just the last six. One, go back into my menu, copy and paste. Now, I have 54 frames. Let's just play it through and make sure everything looks good. Before we export, I'm just going to go up here and resize my document because it's really big right now. I'm going to want this to be 1080 by 1080. Someone change my shorter edge down here to 1080, and the resolution to 72. Then I'll change it back to 1080, click "OK." Then I'm just going to crop it into a square really quick cause I plan to post this on Instagram. Enter, now group to File, Export, Render Video, you can tell it where you're going to put it, and I'm just going to put mine right on the desktop, leave this as Adobe Media Encoder, format H.264. Make sure your preset is set to high quality, the documents size looks good, document frame rate is fine at 30 frames per second, and everything else you can leave exactly how I have it. Then we'll hit "Render." This will just take a little bit of time, but you end up with the movie. We'll just go to the desktop, and check out our movie file, and see how it looks. That looks great. It's 11 seconds long and ready for Instagram. 9. Compositing in Photos: So, before we finish up, I want to show you one extra thing we can do with our GIFs, just to make it a little more fun. If you want to make your post a little more unique, a fun idea would be to make your GIF look like it was actually on your notebook. Since we're already in Photoshop, that's really easy. So first, you need to take a photo of your sketchbook or whatever you want to put your drawing in, then we'll insert that photo into our GIF. Okay, I already exported a GIF of this French press and opened it in Photoshop, and now let's insert a photo. So, I have my photo opened in another tab in Photoshop, and it's ready to go, so I'm just going to double click on it to unlock it, and then right click on it to duplicate the layer. We're going to duplicate it into my French press document, click OK, and then go back to here. Here's my photo. So now I'll just resize it, send it all the way to the back. If you look in the timeline, you can see that the picture is only in the first frame. So, if I just Shift click all my frames to select them, and then just turn it off and then turn it back on, it shows up in all the frames. Now, with all the frames still selected, I'm going to select all my French press layer's and distort my image to fit on the notebook. I'll just make sure I'm holding Shift but everything stays in proportion, then I'm going to rotate it so that the top edge lines up with the top of my notebook so I know it's the right perspective. Then I'll just shrink it down till I get about the size that I want. When it's in the position that I like, I'll hit Enter to apply it. Let's press Play and see if it works. It's working. Now we need to make it look like it's actually on the page, because right now you can see this halo around there and it doesn't quite look right yet. If you are actually drawing this on your notebook, these white highlight and spots would actually be the paper coming through. So, I'm going to use a blend mode to make those parts go transparent. Unfortunately, in order to change the blending mode of every frame, you have to do it one at a time, because you can only change the blending mode when that layer is on. Since we have all these layers, you have to do individually. So, a little shortcut to get around that is just make a new frame. Then once you have the new frame, turn all the layers on. Then I'll select the rest of my frames. Then I just need a hold Command and click on the first frame to add that to my selection, and then go over here to the blending modes, change it. I'm going to use darker color and then we can delete the second frame that we just created. The reason this worked is because you can't change blending modes from frame to frame. So changing it all on one frame changed all on the other ones as well. Let's hit Play, make sure it works. It looks good. So, one other step I'm going to take to make this look a little more like it's on your notebook, and this is totally up to you, is my colors look a little too saturated for a photo. So, I want to go to the top of my layer's palette, add a hue and saturation adjustment layer, and then I'm just going to bring down my saturation, just a little bit, until it looks a little more natural. I think right about there looks pretty good. Then one more thing, when I took down the saturation, it also took down the saturation of my wood, which I definitely don't like. So, I'm going to take my lasso tool over here, just make a quick selection around my French press, Command-Shift-I to invert that selection, and then Command-Delete to make a mask. Now that hue and saturation adjustment layer is only affecting what was in my box. One more thing, I want to bring up the curves of my photograph a little bit. So, I'm going to add a curves adjustment layer, bring up my brights and let's bring down our darks a little bit. There we go. Then I'm going to go back and just turn down that saturation just a little bit more. Right about there. So, now I need to just go through and select all my frames and make sure that the curves and the hue and saturation are on for all my layers. There you go. You have a nice little animation that looks like it was hand-drawn in a notebook. You can export this as a GIF or a video. 10. That's It!: All right, guys. That's the end of the class. Thank you so much for taking it. When you're all finished animating, be sure to post your final project to your class project page. If you post it on Instagram, feel free to tag me @jamiebartlettdesign. I love seeing everyone's work. If you have any questions, feel free to post them on the community tab, and me or even another student might help you answer that. If you're not already, be sure to follow me here on Skillshare. That way, you know of any updates I have and any new classes. Thanks again, guys. I hope you enjoyed this class.