Animate Your Watercolor Illustrations with Photoshop and After Effects

1. Introduction: Hi, My name is Will Camp one animator and on educator from Los Angeles. Currently, I teach in the art department at Riverside Community College. Alongside the teaching I've been illustrating animating for my personal films, various types of films and commercials. My primary tool for animation is watercolor painting medium. I am a curious observer and a learner as yourselves taking everyday inspiration to paint. And it was trade animals, people, plants and Astra concepts, like many of you guys do. This class is about learning how to make your hand drawn and ham pain. Illustration. Move Whether you're here to take this class as a painter illustrator, War is a motion graphic designer animator. You can assure that you're in the right place. By combining two dimensional art and digital animation, you open up unique opportunities to bring your watercolor work to the next level. You learn how to create simple movements and how to make a quick video and gift file of your own moving illustration. For this class, you'll need Adobe Photo Shop, Adobe after fats drawing and painting materials, watercolor papers. Animation papers are like box and the scanner. I hope you can join me so we can all create a original, personal and unique moving illustration that can be used for your future animated films and gifts and shared on social media on and offline galleries and film festivals. I am very excited to paint and animate with all of you today, so let's get started. 2. Art Supplies: So for this class, you're gonna need a number of different art. Supplies are an animation supplies. So first I have appear is the light bucks or tracing box. And here you're going to get, uh, Acme Animation pick bar, bring it to the bottom of your life box and then with the duct tape or masking takers in the go ahead and tape it down on the bottom. Next, you'll need an emission papers. So animation papers, just like any other pre papers. Except there are three holes on the bottom, two rectangular ones on each end and in the circle shape in the middle. So you can, and he made it frame by frame. And, of course, you're going to need your watercolor palette and, um, brushes. So the recommended size of the brush. Right now I'm holding the brush size six and 10 but anywhere from 6 to 12 or 15 event would be good enough. You need a sketchbook, of course. So when you bring it out in the field for ideas, sketches and life drawings, you can come in handy and ah, watercolor paper. I like using this can sahn lightweight watercolor paper, but it really can be any type of watercolor paper as you ease, and then you're gonna need pencils in any racer. But you can also use the kopek multi liner pen. A fine point. Sharpie. We're in a ballpoint pen. I use Prisma color color pencils for textures on my extra animation or for the fill sketches and ideas. Sketches, observation drawings. Lastly, for the supplies you need a scanner and a computer. It can be any kind of scanner. It can be any kind of computer. A zong, as your scanner can scan the minimum size off a letter size 8.5 by 11 paper and your computer or a laptop has Adobe Photo Shop, and it will be after effects. But if you would like to animate digitally and skip the process off getting a light box and uh, and animation papers, so you like to skip those parts and work directly on your C antique or tablet, there's always way to do it. You can use different applications, but among those what I recommend is a photo shop, because you can easily click on and off the layers and create bunch of multiple layers and animate on each layer as you go, you can lower the opacity, and you can get rid of the layer as necessary. So if you're willing to animate a photo shop or other digital application and individually export the files, which think can be brought to Adobe after effects, you can technically skip the process of hand drawn animation and individually scanning each and made a frame. So all the lessons in this class it will be really helpful if you have some kind of basic knowledge of Photoshopped, basic tools and just basic navigation, regardless off whether that you were going with pencil on paper, Handwara in traditional animation or zero to the animation, which can be done applications such as Adobe Photo Shop. So without further ado, let's go ahead and get started. 3. Animation Techniques: in this lesson. Today you be learning basic animating techniques, including timing and spacing off your drawings, how to properly foot the frames and use a life bucks and animation papers. So that way you can use this technique you use to the project we all will be creating together. So for this lesson, all unit is the animation paper animation, Acme Hole punched animation paper and the picture on the bottom of the light bucks so that we can register the paper and a pencil and an eraser. So here, let's work on a simple animation. So when you first animate, make sure to animate as usually as you can. So after you enemy loosely like I'm doing, um, one of the things that you need to remember is you might want to come back and close out all the gaps you see in the control line. So that way, when you channel it out in photo shop, we can nicely do it out of the empty background so he can be a standalone ah animated object. Also, don't forget to number your frames and once again, as you animate each frame like you can see, don't forget to flip the papers back and forth, back and forth to check the movement. One of important things for you remember, is Thea Anguish principles aren't discussing here is not the only way to animate. While it is important to fully understand and remember what it takes to show a proper weight and gravity off the characters, it is important to acknowledge it is not. The only way to animate the way your character is animated should really depend on the way your character is designed and according to your own unique original vision. In this particular case, I made these wings grow out of this simple character so it can flap the wings as it moves forward. Once again, keep your animation nice and lose. And don't forget to come back to your drawings and close out all the little gaps of in your control line. So let's revisit the animation. So here I have the first couple of drawings spaced out so as I squashed is organic Blob is character down. You're going to see the character anticipating so anticipation eyes very necessary in animation because it shows how the character gathers its energy and momentum to move forward. and jump forward. And then when you go to the stretched frame once again, we call it a stretch. As in squash and stretch, Um, I tend to animate the shape in a reversed curve or reverse direction to create such contrast. And then, on the top of the line of action, don't forget to slow in or easing, meaning you want to slow down the speed of the animation a little bit on the top of the line of action so that you can feel the gravity. You can feel the weight off the character dropping down, Ah, much more effectively. And once again, don't forget to work with the line of action or arc of action so that your animation can move rather smoothly. And when you stretch out your animated frame like you can see here, make sure to stretch out the character, maintaining the volume consistency. So when the space between each one of the animated frames getting larger and larger and even larger ah, we call this he's out or slow out, meaning you're accelerating your speeding up. So the character, after after a slight moment of easing in or slowing in on the top of the line of action. You want to space out the drawings bigger and bigger as it drops down to the floor or to the ground level so you can make your character show more of a wait and, ah, you know, with the proper gravity. Now let's check out how this demonstration turned out. On your next lesson. We're going to finally get started working on this project by researching and brainstorming and coming up with the concept sketch, which you'll be based off when you start working on your own animated illustration project . 4. Sketching Outdoors: in this lesson. Today we'll be talking about research, brainstorming and visual development. We'll go out in the field and do some ideas, sketches, observational drawing sketches, taking videos, pictures so that that we can bring them over to your computer or onto your phone so you can use that as your reference while working on this animated illustration project. So I'm out in the field doing some observational drawings and ideas sketches, even though I know what I will be animating. Is this large scale pigeons sitting on some sort of tree branches? I wanted to go ahead and do as many sketches as I can of several different types of birds that come and visit the site and the bird feeder. Don't forget to take as many videos and pictures picture references as you can. Just in case there are some important details or poses you may have missed out in the field sketches. Now let's take a look at my drawing process, although for the most part it will be shown as a speed drawing. You can get a rough idea off my approach and how I emphasize the simplicity and, ah, gesture off the figures. I'm drawing than getting too realistic and detailed with the drawings. Even though I'm using color pencils for uh, these demonstrations, you should feel free to use any medium of your choice, including just graphite pencils and some sort of coloring materials. At the end of the day, you will be using watercolor or any painting materials to execute the actual project. Anyways, I encourage you to bring your sketchbook outside. Besides just a phone or a camera s so you can get a good feel of the character or objects, movements and personalities before you start animating them. In my opinion, the quicker and gestural ends employer, your drawings or the better it is. So here is the process off the concepts get sketch. I decided to use for my animated illustration project that I will be working along with you . You can use color pencils or watercolor were really any truce of medium for the concept sketch for your actual project. But the first thing you notice here is I am drawing the field guide, meaning this little box I'm drawing to indicate that's the screen aspect ratio I'll be working with in this particular case one by one square screen aspect ratio. As you can see, I try to keep the shapes fairly simple and try to look at several different layer possibilities. For my actual animation. You can see I have a main character tree branches and backgrounds divider Accordingly. This is also a great opportunity to decide what kind of rough color palette you have for your actual animated project. Now that you have your own concept, sketches and observations, drawings from your research, let's go ahead and start animating on the next lesson. 5. Drawing Animation Frames: in this lesson today, we're going to animate. So now I've gathered all of the materials, Uh, from my research and ideas, sketches, brainstorming all observational drawings and the video footage and the pictures that I have taken in the field, we're going to be animating for your actual project. First, you're going to draw a preliminary sketch of overall look off the project, and then you're going to put a blanket of animation paper than turn the back light on. Then you're going to start tracing the character layer. And don't forget to write down the layer name in this case, the birds. And in just example, you're going to see me animate the bird characters for a minimal movement. As I put down new poses, you're going to see me numbering each frame accordingly. Basically, in this case, the birds are flapping the wings. I'm sitting on a tree branch, so keep it pretty, minimal and simple. That's revision de animated frames. The 1st 3 frames are in moving hold, meaning I traced the 1st 3 frames from one another, so that there in a repeating movement, in other words, I put it in a cycle so that I can put those three drawings together and make it look for how much ever duration I want that, too. And then I want to make sure birds frame number one and eight are in a similar or almost the same poses. That way, when the cycle to set of animation frame number one through eight, it will repeat the movement, and then you're going to a textures with color pencils or and a pencil. But even putting down the texture, um, I try to keep it fairly simple, just looking at the light and dark off the object, which is completely optional. But by adding texture, you know you give little more characteristic to the to the birds, and you can make you're moving. Illustration more appealing this way. The next step is Siri's off a bunch of moving holds, meaning all the individual layers, such as tree, foreground tree, middle ground entry background. You be basically tracing from your preliminary sketch, Um, and so you can make a cycle off each one of these layers. But even then you can notice how I try to keep it simple and lose. You don't have to trace all the background layers to perfectly, you know ah, by loosely and roughly sort of tracing a drawing from another to make a moving hold. Basically, you're giving it a more life. And then my final step in this animation will be as some texture on to the trees. Tree layers, just like what I did with the textures on the birds. So when they bring these two photo shop and after effects and layer this texture layer on top of my animation of the moving hold, you can add more richness and depths. Ah, and again characteristic to to all the layers you you've animated. But what I'm doing with these color pencils on the tree layers is, uh, not only to just add texture off the tree again in the minimal manner, but also to show a certain degree off the values of light and dark. Now we've animated the minimal movement of the birds and moving hold off all the individual trees and background. There's and the next doesn't will be using watercolor to paint all the layers. We will be eventually combining with the with with the line works. We've just done 6. Painting Watercolor Blocks : in this lesson. Today we're going to paint unit, your watercolor painting materials and watercolor papers for this lesson. I'll be painting a couple of different colors for the color changes in color transitions for each layer off your animation. And that includes your character. Ah, a couple of layers of your background, perhaps middle ground, the foreground If you're on the creator, little more taps. So the first layer I'm painting is my character birds. But before you put any colors down on on the paper, the first thing you're gonna want to do is to spend a good amount of time to mixed colors. So you get the right color for the character or for any layer. So eventually, what you're doing here is creating approximately 5526 blocks, rectangular blocks of watercolor that represent color of each layer, as you can see on the right upper corner off the screen. There is a little thumbnail off the concept drawing I did for this project, and each time I paint each layer, you're going to see the arrows indicating for which object or for which layer I am painting this blocks for so what? I normally do is to look at the concept sketch I've done. And, um, look at the basic collar represented on each layer on the concept drawing. And once again, I try to do as much of, ah, color mixing as possible to get the right color. And then what I would do is to come up with 5 to 6 rectangular blocks off the same color tone, but with a slight variation. That way. When I looked it in a cycle, uh, and eventually merge these blocks with Thea black and white line animation I've previously done so I consider this flickering effect. Ah, that kind of looks like water reflection in the way and another purpose of coming up with he's set of 6526 watercolor rectangular blocks with ah slight variation in each block. Is that so I can refrain from making each layer look static. So what you're seeing now, uh, are all the watercolor painting blocks I've done for all the individual layer. As you can see, there's tree, middle ground, foreground background and birds, background layers cetera. And what I'm going to do right now is to take these paintings and scan each block individually. Oh, so you can save each rectangular watercolor block as an individual file and bring those images over to aftereffect adobe aftereffects to do a diesel compositing along with the black and white animated layer. I've previously done so on. The next lesson will be editing by using Adobe Photo Shop in Adobe after Fats. 7. Editing in Photoshop: in this lesson today will be primarily using Adobe Photo Shop so that you can work on separating the layers and channeling out the layer off your hand drawn animation and paintings. So in the next lesson, you can take these images to adobe after effects and start editing. First, open the scanner and then you're going to take your concept sketch with the, uh, the field guide, which is the little box you've drawn. Put put your field guy upside down with a paper attached on the bottom of the scanner and hit the preview or overview button and then select the area off your skin. In this case, this is about a square screen aspect ratio. But make sure to click on the pick cells so that you can work with the pixel instead of inches, since both foolish up in after effects is pixel friendly. By increasing the resolution on your scanner, it'll allow you, uh, increase the size of the pixels, and I'm going to keep the dimension somewhere around 1000 or 10 80 pixel. Ah, but the size of the screen really is up to you and then click on the folder icon next to Ursus scan to, so you can select the area or folder where you will be saving thes documents to and make sure to rename every time your skin and you later birds or background foreground middle ground, etcetera. Now you're going to start scanning the first frame off the first layer, which is the birds. Could the first frame upside down onto the paper in the scanner and put something on top of it to sort of press it down so that there's no gap between the sheet and then the pig bar, and then you're gonna start scanning. Most scanner will automatically number the file in order. Um, when you click the scam button every time, so you don't have to preview the field guide or the box every time you scan on individual frame. Continue to scan all the black and white drawing frames, including the characters, background, foreground middle ground tree branches, etcetera, selecting open all the scanned drawings in the finder and rotate them to petition them the right way. If your drawings or not scanned in the right angle, del but sometimes some Skinner's, it will allow you to scan it, uh, in the right angle from the first place. But the way my scanner works is it's Kensington 90 degree angle. So I have to go to the preview and quarter the tools and rotate right to, uh, basically once again, position the the anti animated frames in the right angle. Now on preview, you can go ahead and check if all the and made it frames. Black and white animated frames are in the right order next to will skin watercolor painting blocks, so put each sheet at a time. First, overview it like you do with the black and white layer. Then you're going to go ahead and select the box. I will call each one of these watercolor box water cut block so you click. Now you go ahead and rename it. Name each layer differently, like you've done with the black and white layer. In this case, it's W C sure for watercolor on birds so that a big enough of a resolution to skin each box with the large pixel rate because you've painted these watercolor blocks in ah, fairly small scale. What you want to do is to select each box and, like, ah, high resolution with this watercolor blocks, you're going to basically move around. There was a little dotted, dotted line box from 1 to 1 another, and every time you move from one box to the next box, you're going to hit the scam button. Continue the same process off, scanning each watercolor block for the rest of the watercolor layers. Next, select all the black and white frames and opened them on Adobe Photoshopped Guru Actions panel on for a shot, but you're going to be recording each step to Alpha Channel or channel out white blank sheet area. So you first hit the create new action button on the lower right side of the actions panel and hit record button and double click on the layer on the Layers panel on the lower right corner to unlock the layer and then click on the Magic Want to, which is on the tools panel on the left side of the application and select Theo Empty part and later he delivered on your keyboard, and then you're going to go ahead and save it or save it house and then, um, quick, safe and then close out the window off that particular drawing and then you're going to go ahead and hit Ah, the stop button on the bottom of the actions panel. After that, all you have to do for the rest of the J pic files they're open basically is to click the play button on the bottom of the actions panel toe. Apply all those steps all at once, so you don't have to go through all those individual step to channel out the background or MT. Paper area every time you you know, open up Thea J pic file. Click on the finder or wherever you can. Locate your files so you can select all the foolish up document files PSD files and create a folder called PST or offer Channel and move them over to the Office Channel folder. After applying the offer. General action to each file. Open up the PSD. The Photoshopped doctrine files in preview to go through the fastest. If there's any individual frame that is to be divided or to be reworked on in this case, you see some of the blank, um, paper part that is not being deleted. You're going to go ahead and bring those files over to photo shop again and to select the area by using the Magic one tool and on the tools panel and deleted out on the next and the last lesson. You're going to go ahead and bring all those channel that all PST, document files and watercolor painting files over to. But don't be after Fats, and we're going to go ahead and to a linear, editing off those frames in a sequential order and make a movie file. 8. Setting Up in After Effects: in this lesson today will be finally editing. Now you've done animating and scanning and channeling out your scanned images in Adobe. Photoshopped will be taking those images that you've channeled out in photo shop to adobe after effects and will be doing a deserter compositing and perhaps making basic special effects. By that, I mean cholera adjustment Blurriness. If you would like to blow out some background flaring different layers, including characters and backgrounds in linear timeline, first open Adobe after effects saved the project in an appropriate folder, you're going to create a folder on project Panel, actually a couple of folders, one for competition, the other for pictures. And within the folder, you can create self folders, for example, black and white comp and W C. Watercolor camp, CETRA Click and directive files from your Project folder to the Project Panel folder War. You can Goto file and import and file to import the files instead of clicking and dragging the files from the finder to the folder. And then you're gonna go to preferences to change the default aeration of each animated frame. And over there, as you can see, there's our minutes second and frame you're going to click a new competition icon on the bottom of the project panel and then click the competition folder and you're gonna create a new competition and make sure to give you a different name off the competition for each layer. But the other thing that you notice is there's a frame rate frame rate I selected as 29.97 or 30 30 frames, or 29.97 Work as equally. Basically, what that means is in 30 frames of duration that'll equal out to be one second. So one second equals to 30 frames, so you can imagine if you hold each frame to us three frames. Then you'll need approximately 10 scanned images or 10 drawings to create one second of movement and then click and drag the black and white B G one file over to the timeline, and you're going to select the 1st 3 frames copy and paste onto the timeline for multiple times. But I will say to be safe about 20 to 30 times, So the way you do is click Select those three frames on the timeline, as you can see, and then ah Kam NC or Control CNPC and Command v. Esso. Hold down the command the button and keep hitting V for many times, and then you're going to select all of those drawings and on the timeline. As you can see, there also liked it, right click on it and then goto key frame assistant and sequence layers. Then you'll see this sort of stairway format off. All these animated frames kind of put together one after one another in a linear format, and you can hit the space bar to render a preview or to test the animation. And make sure to keep all the competition in the same folder and name each competition differently according to the name off each layer. Then, from that point on, you're going to repeat the same process for the rest of the black and white or hand drawn ah animated frames and made a layers, creating a different competition off for each layer and then click and dragging the files down to the timeline and then duplicating the same set of three looping frames for multiple times and then, um, clicking right clicking on the selective frames in the timeline and key frame assistant and basically sequence layers. Then what you see here is the character layer the birds. I'm going to go through aftereffects, CC and preferences and import once again and change the duration off each frame, being whole or held to three threes. And so, as you can see, I brought down 1st 3 drawings off the birth, which were again a moving loop. And then I duplicated for multiple times and randomly insert the flapping wings part in the murder off the loop so he can stay stationary in in place without looking static. And then it can continue to sort of flap the wings here and there in the middle and basically finished making competitions for the rest of the black and white line layers. But as you can see, I'm making competition is not only for the backgrounds, foreground middle ground, but also some of the texture on missions I've had. I have done with color pencils, so now we're going to do a comp compositing off watercolor painting blocks that we've previously scanned in. So, as you can see, the the watercolor paintings or painting blocks are saved under W. C. Picks pictures, right? So but the first thing I want to do is to go after effects CC preferences, an import so I can import each frame or each scanned image to last three frames each. But, like I said, because in animation requires 30 frames to create once a kind of movement. If you hold each painting for three friends, you can imagine there needs to be 10 paintings to create one second movement. So that's sort of basis off this concept. Off, off timing or frame rate in general continue to drag over the water color blocks for a project panel to a timeline and duplicate the same files about 20 times or even 30 times. So, like all the files on Timeline on, basically, we're going to right click on it and call it a key frame assistant and to sequence layers and, of course, hit the space bar to test the animation. Continue the same process for the rest of watercolor block layer, naming each competition differently. So here you can see the foreground layer, the sky, the background there, another background there, all of these animated frames or or painting blocks all put it in the sequence, layers or sequence order than what you're going to do is to create a new folder called Combined Competition. And so, so far, we had black and white competition and the watercolor competition. Now you're gonna have a combined competition where you're gonna be combining both water color layer and back, A black and white pencil animation there together create the first combined competition where you will be combining the line and mission with the watercolor block. Layer the drug over the B Y P d one layer and ah W C watercolor PG one layer to the timeline. So I like the previous ones. Now that you've already edited individual drawings and paintings, all you need to deal with on the timeline is there's just two competitions. You can re scale the water color block layer on their transform Ah, and scale to sort of cover the entire area off the black and white shape. You go to the mod column, uhm off black and white, feed you on the hair and click normal and change it to stencil offer. Now, if you don't see the mold column, what you're going to do is you're going to go ahead and click on the toggle switches slash modes eso that the mod column can show and basically continue the same process for the rest of the watercolor layers. So the whole idea is to have the black and white shape on the front layer and right below the layer on the timeline, you're gonna put water color block, and here you can see me re sizing the watercolor block layer off the burden have put the water color layer below each one of the two birds, and I'm re sizing the watercolor block to fit each birth as necessary and, um, to cover the entire area off the animation. And now it's not the watercolor plot, not just the black and white. It is Aziz. You see the combined shape, and I repeat the same process for the tree branches and the backgrounds, etcetera. And always don't forget to save every 5 to 10 minutes on the next lesson will continue to add it, compiling all the combined competitions for the final competition and make a movie file and give file 9. Animating in After Effects: in this lesson. Today we will continue to edit the animation project, finally compiling all the combined layers of black and white line animation and watercolor painting blocks and make a movie file and the GIF file. We'll explore how to properly select the right compression type of the video and how to properly apply a looping action and rendering for the gift file. Before we continue editing, I would like you to scan a blank sheet of watercolor paper and imported to adobe after effects so you can put the blank watercolor paper layer underneath the entire set of layers . Now let's go ahead and create a new competition with the same setting as the previous competitions and dragged down the blank sheet of watercolor paper. File onto the timeline, click the end of delight purple block off the blank sheet and drag it to the right side of the competition to feel the entire timeline. Now we're ready to start dragging down all the combined competitions onto the timeline. Notice how I'm layering or stacking up the combined competition of each layer on top of each other while deciding which layers should go on top of which layer on your timeline, you can right click on any of the later if you like to make additional color or brightness adjustment on effect. Tool to color Correction tool. You can see how I'm continuously adjusting the brightness of most of the layers on the middle ground and foreground to make them darker, then dragged down black and white texture layer and black and white birds layer on top of the birds and tree layers and changed the most from normal to color. Burn or you can even try multiply on a mod column next to the name of the file on the timeline. One additional thing I'm doing is lowering the opacity off a DePuy texture layer and be wipers layer. So, um, the over late line works don't appear too dark or too strong. Hit space bar on your keyboard to render out and test your animation. You can always click on and off the ice symbol on the left side of your timeline. To check which layer you're currently on, you can make more adjustments, such as blurriness or saturation, by right clicking on the desire layer. In this particular case, the sky blue background and um control it on effect color, correction or blur and sharpen. I'm d separating and blurring out the blue layer a little bit. And, of course, don't forget to save occasionally. If you like to add a copyright symbol watermark to your piece, you can simply Google copyright symbol and right click the copier symbol and pasted onto your project in after effects. In order to do that, you will need to click on the T symbol on tools panel. Make a box on your competition panel to allow the typing on and, uh, right click and hit pace to paste the copyright symbol you've just copied from Google. You can control the fun size, fund type and color on characters. Panel on the right side of the application lengthened the duration off the copyright symbol on your timeline. Finally, we're ready to make a movie file. Go to competition hit. Add to render queue to start saving and rendering click best settings to make sure you select the highest quality and your project is on the full resolution. Then click lossless to change the compression or Kordic type from animation to H point to 64 on former options on the right side of the setting. Rename the file is necessary and saved a file onto an appropriate folder by clicking the current name off the file next to output to. Also, this saving file in the folder process can be done at the beginning off the rendering process hit Render on the right side of the Render Queue panel to complete the process. As the blue bar reaches the right end, it means the rendering is completed, Saving quit after effect. And let's open the door. Be Photoshopped to make a gift file off the project you've created hit file open, then click on a movie file of your project than hit open there, you can see your project opened along with the timeline. Underneath, you can hit file export and save for Web. Lexi change lipping options from ones to forever so your project can look. For example, when a blow Iran Social media sites such as Tumbler, you can check the size of the file and dimension on the current panel. Ah, you will hit save on the bottom and hit save one more time. Let's check out if the file was safe properly. You can go to your finder and locate the file. Give file You've just made and simply hit space bar on your keyboard to check out how the gift file came out. You can see the size of the file, which is around 50 megabytes. That is definitely smaller than the movie file, but maybe not small enough to upload on places like Tumbler or your website. So let's go ahead and find out a way to make the file size smaller while maintaining the similar picture quality on your timeline. On the bottom of photo shop, you can shorten the duration off the project on top of the application Golden image. Then click on image size, changed the view to pixel instead of inches, and change the dimension to somewhere around 400 to 500 pixel a Z. For viewing your work on phones and both social media sites, it doesn't need to be as big as over 1000 pixels. Then you will repeat the same process of exporting the file as a gift file. As you've previously done, you can rename the file, indicating in a smaller file than the original file. First of all, you can see how the file size got reduced almost 50 times smaller than the original gift. Let's check out how my project came out altogether on the next video, which is my conclusion. Ah will do a brief recap of what we've learned and explore a couple of messages of uploading and showcasing your work. 10. Conclusion and Uploading Your Work: I would like to thank each and everyone of you for taking this class and going on the journey off, creating unique and original moving illustrations with me. I really cannot wait, Teoh. I check out each one of your projects. You all made it this far and this is a beginning off, even Mawr. Exciting journey and opportunity ahead of you. Now what can you do with this awesome project you've made? I would like to make several suggestions. For example, taking advantage of social media sites will be the key on Tumbler. You can post the GIF file. You've made a previous lesson and it will be a little extra. Plus, if you make sure to properly use hashtag such as give design illustration, watercolor birds. In this particular case, the same goes with instagram. Except you will be uploading a quick time movie file or on MP four file instead of gift. The reason why using Hashtags are important is because many art viewers hashtag tag editors and possible future clients access your work via hashtag Besides your email or website or other social media sites, how about V me or YouTube? I recommend you to use a desktop or a laptop instead of a phone for uploading your work on Vimeo or YouTube, mainly because it's easier to navigate that way. And unlike Tumblr or Instagram, where most viewers access your work on their phones, a larger one of viewers on Vimeo or YouTube access your work or animation on their computers. I recommend you to upload your work on the project gallery so I can leave some comments, make some suggestions, feedback, anything that can be helpful or any trouble shooting. Also, a 50 to reach out to me via email will 1005 at hotmail dot com or DME on my instagram at W I L l 1005 That's will 1005 I would love to answer to any of your concern question comments , not just about the projects you've done here, but really about any future possible projects. Thank you again and happy painting and happy animating