Animating an illustrated object: bringing life to the static | Richard Bolland | Skillshare

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Animating an illustrated object: bringing life to the static

teacher avatar Richard Bolland, Animation | Illustration | Motion Graphics

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Overview of project


    • 2.

      About Studio Bolland


    • 3.

      Finding References


    • 4.

      Creating an object in Illustator


    • 5.

      Finishing your illustration.


    • 6.

      Preparing & Importing into After Effects


    • 7.

      Animating in After Effects


    • 8.

      Rendering and making a gif


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About This Class

Explore how illustrator and animator Richard Bolland brings motion, weight, and energy into his projects. In this 53-minute class, you’ll learn his step-by-step process for creating motion ready objects and bring them to life — the process behind how Studio Bolland creates all their work—as well as a range of insider insights on creativity, tips and tricks, and the power of motion. This class is perfect for motion designers, illustrators, and everyone who loves making things move. Some prior knowledge or experience will be helpful! By the end, you’ll have everything you need to dream, create, and share your own motion animation.

Meet Your Teacher

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Richard Bolland

Animation | Illustration | Motion Graphics


Hello, we are called Studio Bolland. A small but dedicated team of passionate illustrators and motion designers. We work with both local and international clients on various creative outlets: Animated explainer videos, TV commercials, web videos, illustrations, cartoons, corporate identities, logos, animated gifs and the list goes on...

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Level: Intermediate

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1. Overview of project: Okay, So today's project, we're going to be going through how to create animated household object. I know that my might sound weird, but but the best thing to animators, the things you can see around you. So whether you're saying at home or sitting in the office, just find something that's sitting next to you and try design in an animated them. Here's a little glimpse of what we doing So here's a toaster. Pretty nifty toast. So it's a surprise. Here we go that encina we're coming aboard and lastly, it'll wash machine, Um, for sure. Close. It's so easy on. I'm gonna teach you how to do it, Andi, Essentially, what we're gonna be going through is finding finding references on the Net, so they're using, you know, dribble on Google and leftover thing. Then we're gonna be dropping into illustrator and designing it there and then lastly, going into the off to fix and learning how to actually create this animation and then a bit of rendering and we done kill, See, in the next lesson 2. About Studio Bolland: Welcome to my skill Shake class. This is Richard from Sea of Island on Boy, do we have a treat for you guys today Before I start. This is my team, Jake. Yeah, You can roll in your e and just on closer inspection, let me show you them That's that's them. Better, Better picture. Sorry for my huge forehead and lack of kind of hair. That's me. And without further ado, let's go through our website. You can find us pretty much on all corners of the way. This is our main website studio born dot com. You can catch us on video on Facebook, Hans on Twitter on dribble, on YouTube, on Pinterest, even by some of our products on on creative market on even for those business minded people we're on, we're on lengthen snooze fists. But yeah, it's pretty good for the business people. And some of my favorite projects that I've worked on is definitely my man and make us kind of project that we worked on here, which which raised Jake and I actually worked on. It was one of off this project we worked on in ways we helped raise over $2500 pounds for that, which was incredible. And if you guys kind of take a look on your own at what it is, But again, it was really fun to work on. And yeah, it pretty much, you know, the way we got here into studio Bowman was just through a gap in the market. Hard work, having fun on and boom way here where we are. So just work hard, keep determined, keep creative, keep making cool stuff. And eventually people will notice and start paying you for it. So welcome, Teoh. My steel ship, US. 3. Finding References: Okay, so it's a start. Wolf. Any project you need to get the references on what that thing looks like. It animates on different styles that people have done it before. So I'm gonna just I'm gonna choose that toaster that that I showed you any of this, This little guy that's coming apple, and you can see that this tie says this has a style it as a It has a visual difference to how other things might look. And so the first thing I always do is just such Google images you type in oyster Teoh Google images. You can start, you know, seeing exactly what makes up a tips. If you have a tourist in front of you, that's even better. But for those who don't, people just didn't they look like here's another animated toaster and you can kind of collect all these references and put them in one big file eventually come up with with a visual style guide to work with, and I usually once I've kind of finished with Google images. I got into trouble on our I do the same thing. I step. Um, you can start to see here. Hey, like diesel the toasters that other people have designed. And maybe I can take some references from from them and, you know, not copy them, but but use some of them in order to influence my design. Um, you know, this is quite a nice flat design that I might want to go for it. It's tilted slightly, but, you know, maybe I can essentially take this type of style on Dsquared out making more flat. Also used batons to check things up. And anyone can sign up to these things and visit. Visit these websites to find references. And, you know, actually here that that someone's created a free eye icon set for all these household objects, which is pretty cool. You know, you might want Teoh investigated further, but enough that any toast is in yet. But you could essentially take this icon, sit and and, you know, give it, but more color and energy toe perfect. So that's essentially what you have to do when you when you found your object. If I take a look at my illustrative far, yeah, I normally just put all my objects into illustrated to use as a reference or when I'm designing You can see here ill My toaster references kill my washing machine references. And here my beckoned cleaner references. The vacuum cleaner was definitely a little bit more tricky, cause not many people up there have designed a vacuum cleaner for some reason. But it's really simple Thio Thio not get stuck in designing often when you're designing an object that maybe is a bit out of your comfort zone and it's so easy to get stuck into for for it to not look good because you don't actually know what goes into it. So definitely always these references when trying to design something, um, even even go a step further on it. Teoh, you know YouTube and type in, Um, try See how it tastes, actually animates and weighs a quick video. It didn't seem like this. Any quick ones just try find like and a four minute one. Well, how to use The Thais said it should be quite a Come on, Uist action. Okay, well, there's lots of information. Feel free. Teoh, try find different video. This one was pretty useless, but, um yeah, they're all out there and it shouldn't be a reason why you Clint designed something. You should be able to design anything by using references and adding urine flavors to them . Um, awesome. That should be all for this lesson and next lesson. Well, kind of show you hard to illustrate something. Maybe picking a color palette and and how to set up your illustrated far and those basic shapes to start you off so we'll see you in the next one. 4. Creating an object in Illustator: I guess now we're going to start designing an object essentially, once you've found all your references them. So I'm hoping that you guys had a stage now which looks a bit like this where you've got but all the references you need, Um, And to help you just sit up on Illustrate that when I'm using illustrator CC 2014. Um, you go into the found year. Um, I just use this this preset called HD TV 10 80. Now give us an HD reference of one HD stopped. I normally take off this transparency grid because sometimes it can just get a bit confusing and and that will essentially give you a nice starting page, which is free from street from any other settings. And it's RGB, and it gives you a good parameter off where it's getting too close to the age and might not might not appear on TV properly. Only found that, but we're going to be using it for web. So it doesn't really need Teoh. You know, things can go in this area without being too problematic, but just so you know, that's that's why they the first thing I normally do It's also just get rid of this back outboard by clicking under the our tool or shift. Oh, just clicking on the little top right cross, which gets rid of it. And then I tend to just pull this art board, then up to the corner, because generally, if you're making a storyboard or have other objects you doing enough space to work with, uh, then I just normally tap escape, and that brings me back to, um, the normal one. But well, certainly, if we jump back into care, this is them. You know, my outboard, that the way I've got rid of these lines is by clicking on the outboard icon and then a You can take these off if you don't like those lines. Um, cool. So once you've got your your references, you condemn the first thing to do is really to start by choosing a color palette. And adobe have made it really easy to choose that by by going to this website, cord color died. Adobe dot com used to be called cooler culo. Other know exactly how you pronounce it, but your, um, yeah, it's really easy. You can you can kind of upload a photo if you if you like, and it will pull the colors from that. Or you can change the different color rules in order to get a nice color you like. You know, I like to use the complementary one because it's it only offers you quite a bit of a contrast in color, but the colors aren't like too bad. And as you can see here, you can kind of change your own, pull in different colors and split them up a bit if you want, and and then you can kind of graft them a bit. Finally get like I want this one to be, like almost my shadow and more darker color this one to be my my life to one, um, on this to be a bit of a middle ground. Maybe that seems like, you know, pretty good representation of what? What I need. Um, and you can, you know, name this. Let's call the sweating tester already named testes off Name attested to You can save it, and then you can actually also share this with with other people are in the world or downloaded as a as a swatch panel. But sometimes that can get a bit tricky so that in the selection panel shoes from your so the swatches penalty you can choose from from cooler, you say scorches. That's a cute No, it's one of you. Look at that. Okay, so there's the is my original test that I just, uh, refresh. Incredible. Thank you, Jake. There it is, always a pleasure in your group. So him ago, you can see my test, and it's a little bit different from the original, but But for the sake of it, we'll use this one. And now, using your references, you wanna start building your toaster and trying a bold like it a simple shape in almost all toasters have a bit of a rounded edge to it. So the best thing to use is the rounded rectangle tool. You know, maybe pick a base color that you want your toaster to be. You know, its changed later on and draw it up and said for me maybe that this edges are but too small . Maybe I want to move bigger. Um, you can just click back on your rectangle to just cook once in the middle, and that brings up your kind of tool box off, how to get a more rounded And here's a corner radius, which you can increase. But let me just finish that at 75. I've got a bit of it A bit of shape now for toaster. So then let's about a good toaster size. And using these tools appears horizontal line and vertical line. You can get it in the in the center for that's gonna help us. We need there, you know, get everything centralized. It's it's gonna be a good help. Cool. So so for me, this stress, it doesn't need this basic kind of we can take that away. So if you click and you get the subtitle and you just hover over certain points, you can actually just you see, those two top ones are selectively even just pushed back space on delete them. Um, and if you cook this pencil, you can kind of just make sure that it's still completed shape and a We got a completed kind of semi rectangle going. I look back on my references, you know, you can see that all toasters have this base. Um, and a bit of it some. It exists. Well, so and for Look at my Finnish design you now you're not gonna have a finished science, so you can really use this, But but it's a good idea to keep reverting back to your references. I'm gonna do exactly the same and using that ally until you can get it. Make sure that it's not consented. Um, and for the sake of time, when I kind of go through this quite quickly and it might not be as polished is this, but But it will be quite close. So I'm gonna make my little legs an easy way to make sure that these legs are centralized is too grouped them. Say if you push control Apple G that not groups that men in because it's a group, it's gonna It's gonna use this as its middle kind of section, and you can just click the horizontal line in. We'll get it perfectly centered, which is which is really nice. And, you know, we started to get the basic shape. Now, maybe for these handles all use the same kind of rounded corner tool. And then, by selecting using this sub selectable direct selection tool, select these two bottom ones and fill it in slightly. And now we've got, like, a bit of a handle going. Maybe we want out. Extend this out of bed and it could be, you know, a little triangle shaped like that with around it around the top. You know that that kind of works. It's a little bit different from that original one, but it's still still working, Um, to get a similar shape to that one. Maybe we should actually reduced this corner radius and then pull that end. And what I can do here is take take this little busier tool, which which gives me these. These little handles. When I click on this point and just a line and a bit better So that is that these thoughts matching up and giving it a nice and shape, then looks like a handle shape in a fight. If I select control shift and it'll open bracket, um, I can also go into you. I think it's object here and is it an object? Was it a select? Yeah, here we go. So you can send these, you know, further back or for the Ford using those tools. I don't think I might be wrong, but you can figure it out. A new side. The easiest way is to just use the keyboard, Select control or apple shift and then open bracket. No, What I want to do here is just duplicated. And I normally use this transform bucks and the little top pan corner you can say flip horizontal. And that will flip health of the image for you. Some of the exactly same thing I did with the with the feet and group it control or Apple G , and they consented and then pull it down a little bit. And this time I'm gonna get back. Teoh, see what we need. We probably need a slut for the toast. It situates teacher. And so I use a different color now and and hey fresh there, we pretty much have Ah, you know, a working toaster. On the next lesson, we're gonna just refine these shapes above more. Maybe add some shadows and highlights and maybe add that little plug on certain and Crestor . You'll have a work from Tester 5. Finishing your illustration.: Okay, So now that we've designed the simple object, what we want to do now is look at where we can add highlights, but we can add shadows where we can add little embellishments, Teoh object and make it make it just look 100 times better than it is at the moment. So the first thing you gotta do is decide Where am I gonna put the shadows and these highlights, and depending on the type of object you've done, if it's metal is going to be a lot of highlights. If its wooden or plastic, they're probably gonna be less highlights. But more shadows and and yes, So take a look at your object, and I can really see here that again, the slug where the toast is going to come out of that's gonna need a shadow. These handles are going to need a shadow below. The toaster is going to need a shadow, these legs again, each others, and then the general body off. This toast of the mental body is gonna is gonna need a lot of highlights. So we gotta think about that stuff. Um, a lot of people will do highlights and shadows in various different ways. But my favorite way to do it is is to do the cookie cutter approach where where you take a shape, let's use this Slaton by holding down shift and dragging, holding down old and dragging him with your cursor outside, you can you can get a duplicate off that shape. Um, what I'm gonna do is just select this kind of darker brown. Um, and if you sleep both objects now, you can see that, you know, this is where my shadow is gonna be fired. If I by stem taken quickly cut and stamp it over there. What I'm gonna see is, you know, essentially the middle shape that you see so away we do. That is, we use this tool called Pathfinder, um, and then used this this button court divide. And if you click that button divide, what you could do is just Then take your subsidence tool, delete everything else, and you left with this. That's nifty shadow, which you could just manually kind of plunk on there. Zoom in to get a thanks, Johnny. Tea would be lovely. Just the usual milk and four triggers. Very naturally. Um, disappeared. It up from inter natives. Then he sugar freaks up there. Um and so we're going to get it shadow looking like that. And we're gonna do basically the exact same for the rest of the for the rest of the all that shapes. So just draw some thought shapes the way you think that shadow might be. And on these little Leight's cool was a little kind of the brown shadows that I'm going to be using. Let's just select everything dragon out, fish divide, and then just delete everything else. Alright, integrate these now. So if we if we select this shape when we push control X or, um and then select where we want to paste it kind of again and push control if that's going to give us exactly the you know, it's gonna essentially pace it over the shape. And instead of on talk, you can see here that now they're coming below these little legs pushing control shift and open brackets. I'm gonna just move these legs right down to the bottom and then, for the sake of you know, the future and making sure everything separate. I'm just gonna push control shift, G uh, you can do it in in here by selecting on group so I can group them, and then I can live with them, And this way know that it will be separates, and pretty, pretty a k. Now I want to probably lower the passivity of these highlights of it. So I'm gonna drop that down to maybe 25. The scent. Um, I know I can add another shudder to this base kind of toast there. So using a think with color guide if you go to your window, uh, color guide, you think just, you know, select the color that you want, uh, thick on double click or double click on that kind of set the base color and then just moved up slightly. And you can darken or lighten it, competing on the shades and tints. Um, but what I want to do is just create shadow first talking it drag that arts, cut it up, were divided and then not my complacent back. All right. No, pretty much. All of my shadows are done. Maybe I want to give the actual toast itself a bit of a shed it and shift control shift open bracket just who's in that sense that this up a bit on waken drop this Professor fia's Well, cool no one of the highlights them. The highlights are a bit tricky. What's gonna were gonna do them in a different way to read in the shadows? A we want to do is create big rectangles of highlights to give it this kind of sheen. If you look at your references, you can see here that, you know, the more metal the tester is, the more kind of highlights and shine that it has. And on these animated ones, you can see there that depended on on the corners and and almost one, you can see that it's given it like things. Kind of like I don't know what fluid, thes bars, thes rectangle of high life, and we're gonna do the same. For four years, we've been on a final peace there, someone group, all of these apple apple G O control G just tilted 45 degrees and then I'm gonna drop their capacity down to 25. You can kind of see Hear that? God, it's it's gonna be good for when we take this into after effects. When you want to get this election like to pass through. So at the moment, we can leave it as is. If you don't animate this and you want to just end your lesson here a quick way to get these highlights, but good, it's just by creating a clipping mosques. So I'm gonna select this base coming here, which control? And if a man bring it to the front bus saying, control shift close brackets when selecting the highlights as loss, you got both selected. This just blue colors are right on top and you get right. Click make clipping mosque on And then just to get thes highlights on top of the base color and not the rest, just cut it, click on it and on an apple or shift f There you go. There's your kind of finished highlighted toaster and we're gonna add, like, a little embellishment. Now, little star. Um, so there's normally defaults to fire, but I'm gonna drop it down to four and there's normal defaults. 25 job down, Teoh 15. And then you get a nice looking, like kind of shop star, which is pretty cool. Um, the last thing I want to do before. I kind of saved this and move honestly. Creator background. It's That's a pretty good This is getting a little bit last year this this that kind of base plate. So we're gonna just darken this overall background a little bit. If you go back to your color guide on, it's jumped that well, just, you know, select the color which works for you. Yeah, that looks pretty good. I see here, this this one is slipping a bit. So let's bring it back in, and you can see that that's that's fitting every bit at Yeah, good, but looks pretty good for the sake of time. I'm looking at create this little Clegg, but it's pretty easy, you know, apply exactly the same principles as you know. You can get a pretty some of the toaster or whatever you choose designed who Wait. That's the one thing I would add is thes little side to give it a bit more of a roundness. And so So, Mr Net, select that dark, darker color duplicate. Let's group it and then censor it and then own group it again. I'm just gonna take that base plates, pull everything out divide it and then that it's select that control or apple F, and that's it on a fit right in place. And then I'm just gonna drop the opacity dancing. 25. You guys, you have a pretty finished toasted ready kind of starting. Well, that you need to in order to get it into after effects. So thank you very much. We'll see you in the next lesson. 6. Preparing & Importing into After Effects: Now that we've got a finished piece of artwork to important after fixed, I'm gonna teach you guys hard to get it into, off to fix, ready to animate. What we're gonna do is we're gonna select everything, including our background on Just copy it. Control or apple. See open a new file. If you can just use exactly the same parameters and sittings on day, just paste it then should pace throught in the middle on. We'll have everything now grouped on one of you almost to focus in on the slayer's sections . If you got a window layers, bring that up and you click this little drop down arrow. You you'll see that it's all broken up into separate layers, and sometimes you know it is good to have a lot of layers, and sometimes it's just a mission. A lot of players on what we're gonna try to after fix it reads when you import this in tough to fix, it reads every single layer like a new object will new layer in after fix, so we're going to try and get it as quickly as possible into various different group players. So the first thing I'm gonna do is I'm gonna create a new layer, and I'm just call this background. Just bring it down to the bottom and I'm gonna take my background of the net. Cut its of no, in a minute, pasted as my background. Bam! So no luck that off. So now you've got your background sorted. Um, I'm gonna systematically go into every single object that I think their work need to be. Well, that will be animated together. For instance, the this handle on the handles Shut it, you know, weaken group that together. So, like, I see that every group he's from a previous from creating at someone, it just one group them get an object on group on. I am not. Select both of those. There's elements of the shadow and handle on group them. The knots, you know, group as one. I'm gonna do exactly the same for that. I'm just gonna go through everything now and and group everything that I need to. Um I'm gonna group this full kind of back buddy as one thing. Um and then for this, these highlights, I'm gonna just release this clipping mosque so that we have access to to the whole kind of on the whole bars, and I'll explain that shortly. Why are we gonna do that? But first, I'm just gonna the slut. And I think that should be everything. And we drop down this little air ago, we can kind of go through and ck that's gonna be the star. You know, the base plate. This part that we used for the highlights Weaken. Delete that, um cool. It can kind of see you. I see here that this is funny little parts of it here we don't need. And that's the shadow. I'm actually gonna change the shadow. Too black, so that it just looks more like a shadow. Um, cool. That looks pretty good. World. If we select the top, layer the layer one and you click this little drop down menu you want click on this. This thing that caused released two layers. What that's gonna do is gonna make everything into original layers. You can select all of those and just drag them out, because this this top layer is anti. Now this bottom layer by layer one, it's empty, so we can deleted. And now we have everything in a separate layer, which is really handy toe having after fixed. I'm just gonna go through these and and name everything said stuff. Base slut. I like, uh, cool. This one, buddy. Right, left leg. All right. Next. And they shut up. Cool it. It's fine. It's what? Important to name everything so that it's just rude. It's quicker to animate once if you know what everything's called eso. We're gonna save this. Now I'm gonna put it in my toast of Boulder and I'm going to school. This just there on the score e and then two because that's the original. And then it brings you up to Styler box. You can just click. OK, um will not be ready to go into after fix. And so, um, for the steak, you know, you can you can just import it into into after fix. Yeah, maybe. Yeah. I was looking to start again. Yeah, I'll start again so you can just find that file, and then this is probably the most important step for animating it off to fix. You need it. Import this as a plum position with retained glare sizes. Um, and once you've pushed that push important it's going to come in as a composition. Um, because if it's not coming up with the composition for you or there's an era, just be careful that this this illustrator pdf sequence isn't checked. If it's checked, it's gonna come into weird things. So just make sure its composition. I intend land because we've broken it up and illustrated different layers. It should, as you can see here, if you double click on this come, you open it up here or you drop the stone. You can see that they all have different layers, and that's exactly exactly rights. And what we what we needed to do. Um, cool. So the next lesson I'll teach you how to animate everything, but that should get you into after fixed now and ready to go. 7. Animating in After Effects: Okay, so today is a new day for me, and I want to be teaching you how to animate what we've got in off the fix. And so hopefully your object now is off to fix, radiates and layers. It's separated, it's important. And we get to get the first thing I want to do is just lock my background on just so that I don't click. It will move it by mistake. And the next thing I'm gonna do, select everything and just drag it out a couple of frames, Um, so we can bring it in as we animated on. The first thing I want to do is just I love just to work with motion blur. So make everything motion, blood. And we're gonna start with this, uh, this base on the way. We're gonna animate the space that's going to kind of like four down twist and four down and then, like, come up and we're gonna we're gonna use the position, scale and rotation and to bring a lot of those up. So I'm just gonna hit f nine and make this an easy, easy key frame. Dragon. Maybe, too. About the one second mark and and then I'm gonna left this position up. I'm gonna turn it like 90 degrees or so that way on dropped the scale to note. So no, you know, I mean, that's looking okay, but it's we wanted to get, like, this. 10 effect Blue kind of snapped up with the fix. So to do that, we're gonna go into this graph editor Little I can't here that's gonna give us if if it's not showing for you, you need to go into this little dialog box, choose draft type, and just make sure you on the edit speed graph. Um, And to do this, we're gonna we're gonna push this position back so you can see that the colors match the graphs yet. So actually, we ended the other way around. It's gonna it's gonna be slow, slow to grow, and then it's gonna what's going to hover up there in the top? Forbid And it slammed down. I said, That's cool. That's what that looks. Pretty Gays. We can kind of mixed these rotation and scale, but maybe maybe will be quite quick to scale thing that looks pretty good. Maybe you can even be more of a slam, right? That's a pretty pretty neat. And we want the body not to kind of raise up out of the space, almost like a grave tombstone type of thing. So we're gonna bring this body in as it slams. It's going to raise up to this point. Um, I'm just making key friend driving it forward. And then as it hits now, it's gonna come. It's gonna break through the bottom on. We wanted also to be, like, super fast in the beginning and then slow down towards the end. But as you can see, it's going kind of below below the baseline. We don't want that. So how are we going to do that as we create a track? Matte. Um, So I want you to duplicate that buddy. You could just rename it buddy Matt, we're going to need all the key frames because essentially, what we're gonna do is make this like a window and it's gonna be essentially a portal. You only going to see what's going through this this window. Um, so if you total your switches here, make this into an L for Matt. Uh, and you can see here. It's actually If I switch this own right and I make it like, you know, let's give it Let's give it like a rid a red tent Cool. So you can see there that that that's the That's the window it's looking through. And I'm just gonna turn it off and say it doesn't come at the bottom. It's any going to show what's in the window, you know? And that's the window that so I hope that makes sense. Um, well, we're going to just quickly go through the rest of the snow, the sluts. I'm gonna I'm gonna bring in hit as to get the scale up, only going to bring it in on the horizontal axis. That's the first ones horizontal. The 2nd 1 is vertical. Drop that down to zero. Going to autograph it, apply the same formula. And I'm just gonna parent this to the bodies that it kind of raises up with it local. That's good. Let's get these legs and p for the position. Bring this up. Boom. They kind of dropped down. Uh, it's also kind of make it a fuss start in its slow finish. Let's get the shadow going. Let's bring the shadow in, like, sloppy before as its landing. So just on the horizontal scale, maybe these ladies need to climb in about four. So I think we're gonna play exactly the same formula that we did for the body and just create these in tow formats. I hope I'm not going to foster. If I am, just try your best to re do the exercise. We re watch this video. That's looking pretty good. Now we can move on to the Angel's. We're also gonna attach that to the body using the parents toe. Let's see. Okay, let's bring these guys down. They can come up a little bit later, so we don't see them court. And if you have P to get the position, we can kind of make this toast pop. Now whom? A toast. The last thing we're gonna dio full kind of moving on to the next episode. It's just get that shine happened is the Yes, the slope is the shining. We're gonna gonna take that buddy Matt duplicated. Make that Wilson to track. Met said no. You're going to see Wait. Joke this down. Sorry, I was in the wrong one from the high left. So now we can use this highlights and give it like a bit of a shimmer. So using the position daughter Eazy E's it come up with a few frames, bathroom and mistress repeat prices. I know that it's going to kind of go on its way back. We don't really want that. You pushed page up. It sticks one frame back and there was no copy and paste that sets. Not going back kind of. You see that? It jumps, I don't know. So now that's a look pretty good. We can even probably slow these dollars. Very nice. Yeah, cool. Um, let's animate this little stark. Let's give it a bit of a but a blink turtle. It's open scale in rotation. Izzie's got for it. So just one full rotation here. Make it down to zero, and then that's just move these on the graph. It it said to give it a bit. Well, that looks pretty good. And we can just scale it back down again so scale can get down. And then we can just kind of maybe he to that. So it's going from zero Thio going from 1 to 0, and let's get from 0 to 1 just that it's consistent. We can even know. Let's make this like never, as it slows down to kind of then slowly picks up again. Well, that's a pretty good for the sake of time. I'm not going to animate the toast. I'll leave that guys up to you. But I want to bring in a bit of a texture, and a bit of that will be the effect. So if you go layer new adjustment layer well controlled, why, same thing. You can use this effect in the start called Turbulent Displacement. Now that's gonna, you know, make everything look a bit horribly. But if you bring these levels or the size down, you can let's bring it down to full. You can get it looking like like almost like it's hand drawn a bit, and you need to just play with these figures around, but that that looks pretty good. Maybe even drop it down slightly more. Yeah, that's pretty good. Maybe it's a bit 80 and then all you really need to do is just use this office off, settle to give it like a but it affects. If you just we just regular like that. You can see it's a kind of working to get that wiggler fix used. Hold on, hold and click on the office that key friends and then you want a type in dot wiggle. I've been bracket, and then it's This is gonna be how many times it happens a second. Let's make it five times a second, and it's gonna move 25 pixels, so every every five times in every second it's gonna move 25 pixels. That's what it means. That's a pretty good. The last thing we want to do is just find a texture. I'm sorry for the noise on my Texas. We're resource Is useless is textures. Let's use like a seamless paper texture That's pretty good. And I'm gonna use this thing called motion tile. You just drag that and you can kind of where the edges and then essentially just gave it. And it's at a most We'll give everything was nice, kind of texture to its very, very subtle, but the checks is there. It's really and yet they have a nice finished piece of animation 8. Rendering and making a gif: cool. So the last thing we're gonna do now is render it out and make it into a gift. And if you take too long, all kind of speed up their enduring so it doesn't take up your time. But first we're gonna dues. It's any you know. Let's make it five seconds long. If you check in, it kind of will bring the work area to wear your curses or your play. It is if you arrive, click on the work area. State trim. Come. So no, it's like five seconds long. Um, and if you push control shift and Ford space, we'll add it to their end. Acute? Quite a nice quick, I'm sure that. And so let's make this a quick time. Ah, in my settings, I just use your quick time. H My 264 um, 15 kilobytes a second on its test test too will render the subject wanted too long. When I get up for the shop so long. So I think I'm remember to create your own objects and upload them to the class so that we can all see in regional comments and, um, you know, track combine different effects. You know, for the sake of time. I haven't include the toast toast, but the taste is a really nice way off bringing this to life and adding a bit more character tip. So, you know, if you're doing a vacuum, maybe bring in some dust. If you're doing a washing machine, check in some clothes, make it spin around, do something that's that's gonna ring. It's a life, Um, and try keep granular adventurer e of things. Who knows when you might need that twist? Oh, that washing machine. You know, maybe it's a cell phone, an advert on there or something like that. But let's quickly carry on with this now, sir and Fred a shop. Uh, if you got a file file import video frames to laze, it's good again. Okay, so, no, let's get ah, test thing video that we've just rained it. And if you don't have this, you don't have this timeline. I'll tell you how to get that up. Now. Just you can just click, OK? It should hopefully bring it up on its own. But otherwise you can just go into window on good onto timeline and you'll see here now that it's Ah, its allies A gift not depending on whether you want upload this to trouble or the Hans. Those have said in requirements like dribble can only be 800 by 600. Behinds can only be 600 pixels wide. Um, you kind of will have to just if you push control etc. You can change the canvas size down. Teoh, you know, goes requirements. Let's say 800 by 600. And if you then select or the lays which control T you can kind of scale this down and sometimes it takes a little while just Teoh recital of them. But there they have it. So we got back to the beginning. Cool. Then if you push control old shift s, it should bring up a Web dialog box which allows you Teoh to save this for web. Um here it is. Yes, you can just, you know, sit at use one of these defaults kind of settings, depending also on the size education. You know, you might want this to be smaller, right? Not sitting at full mix is quite big. So, you know, we could probably use day to There's not a lot of colors uh, you know, it's a let's just go back to the original. It's looking pretty good, and then just make sure that it's set on forever, Uh, and save it out. And now you've got a gift. So it's the gift to you can upload that one or blood videophiles whatever you want, and that's it. You've created a fully animated household objects, so thanks for joining me. Double thumbs up and we'll see you in the next class, which is?