Animation for Beginners in Procreate Dreams

1. Procreate Dreams for Beginners and the Principles of Animation: Procreate Dreams has transformed my ability to make animations from my art. Yet when I first opened the app, I was so frustrated I didn't understand what I could actually do. And I was stumped when it didn't behave like I thought it would cut to. Today, I've fallen in love with animation as an art form, and I'm blown away with how easily I can create something cool. The secret that took me from frustrated to fluent, well, first of course, was uncovering all the hidden powerful tools and gestures tucked away into this amazing app. But two was learning the principles of animation. These timeless foundations are what make an animation look good. Kind of like there are principles that make an illustration look good. They're simple to understand, but the concepts make big difference. In my new class, you'll learn both at the same time with step by step projects. No good at drawing. No worries. I've provided project files that you can focus on learning animation. But if you do want to animate your own drawings, this class is also great because you can easily adapt the projects for your own work. And if you've created something in my appropriate for beginners course, you've already illustrated one of the projects. We're going to learn all kinds of fun magical tips and tricks for easily animating your art. Like creating shadows that automatically move. And fun techniques like camera movements and creating waves. You'll learn all the hidden gestures and tools to make animating a breeze and neat ways to use the warping tool, clipping and layer masks, and how to troubleshoot common problems that you may run into. I'm Brooke Laser. I'm a professional illustrator and teacher, and I've helped hundreds of thousands of students level up their art and their careers. I'm an illustrator, not an animator, and despite my limited experience, Procreate Dreams has opened up a whole new world of art making that felt impossible to me before even beginners can create impressive results. So let's dive in. 2. How to Use This Class: Hey, welcome to class. In this class, you're going to be creating several animation projects. And each lesson is going to build upon the tools that we learned in the last. We're also going to do some periodic recap so that you can review what you've learned Now. In the first couple of lessons, we're going to go over some useful settings. How to create a movie, briefly introduce the interface and the basic gestures that you're going to want to know for navigating around. I've also created some project files for you to follow along with in this class, and there's a lesson on how to import those files into Procreate Dreams. In the next set of lessons, you'll actually use those project files to create your animations, but you can easily adapt them and bring in your own art. Now there's a few materials that you're going to want for this class. You're going to need an ipad that's compatible with Procreate Dreams. And you can find the current list at Procreate.com slash Dreams. If you're in the market for a new ipad, I do an annual video reading, which new and used ipads are worth investing in, which you can check out on my Youtube channel. Of course, you'll also need the app itself, Procreate Dreams. While I highly recommend an apple pencil, a stylus is not actually required. It just makes things a lot easier. And you may be able to get away with a stylus that at least has pressure and tilt sensitivity. 3. Theater and Movie Settings: This is our theater, and each of these thumbnails is a movie, one of our animations. Now if you tap this button right here, it's going to close this little locations folder. But this stuff right here is very exciting. You can have animations on your ipad directly, but you can also store them on the icloud drive. This is exciting because if you have multiple ipads, these files are going to be connected. So if I take my ipad mini to a cafe and I work on an animation there, and then I go home and I want to work on my ipad Pro. I can pick up where I left off because these files are synced in the cloud. To create an animation, you're going to want to tap the plus icon. And then you can swipe through these different options to choose a preset size. If you tap the three buttons, you can choose your frames per second or your duration. If you tap the four K, you can choose different sizes and dimensions for your movie. But once we open a movie, we can change this at any time by tapping on the name of the movie right here in the Properties tab. You can change any of these settings, so you can choose a custom dimension for your animation. There's also several other settings that you can play with in here by tapping on these different tabs. In preferences, for example, you can switch to left handed side mode or you can enable painting with your finger. Personally, I like to toggle off enable painting with finger because I'm often accidentally making marks on the canvas that I didn't mean to, but if you don't have an apple pencil, you're probably going to want to paint with your finger. Also, if you don't have an apple pencil, you'll probably want to enable timeline edit with finger. Personally, I like to crank my rapid do delay up a little bit because sometimes I accidentally engage a rapid Do when I didn't mean to. Once you're done, hit Done and then if you want to go back to the theater, you can tap these little buttons right there. 4. Gestures and Workspaces: Once you're inside a movie, we have two active spaces. We've got the stage and we've got the timeline on the movie stage. We've got this active area, and then there's a grade out area, and it's called the backstage. We can see it because we're the director, and if I play my animation, I can see the smoke off the screen. But if I were to export this, that would be cropped off and we wouldn't see it at all on the time line. I've got all of my tracks. And if I tap the down arrow, you can see it will expand to show I've got the coffee and the cup on different tracks. Tracks are very similar to layers in procreate, but you can animate each track. And if you're familiar with procreate, you know that you can use two fingers to pinch and zoom around the canvas. And we can do the same thing on the timeline. It gets even better than that. So if I take three fingers and I scrub side to side, it's going to zoom my timeline in and out. And if I move my three fingers up and down, it's going to scale the sides of my tracks. This little clapper board is called our playhead. And if I drag it across the time line, it's going to play my movie backwards or forwards. I can also hit the play button right there, and this will just play it automatically. Now once the playhead reaches the end of what's on the screen for timeline, it's going to pop back to the beginning. But this is also true if I zoom further out or if I zoom super close in. It's only going to play back what's seen on the time line screen. Another fun trick. If I take my playhead and I flick it, it's going to zoom all the way back to the beginning of my time line. This is really useful if I'm really far down on animation or I'm really zoomed in. Another fun trick, if you're really zoomed out. If I double tap, it's going to zoom in really fast and really close to a specific area. Now if I tap four fingers on screen, it's going to open up my preview mode. My controls are down here, so I can jump to the beginning or pause. And I can also use my finger to drag back and forth to play across the timeline. To exit, I tap four fingers again. Now there's one other work space. So if I tap this little squiggly icon right here, this is going to pull up my draw and paint mode. And if you're familiar with procreate, this is going to look familiar here. I can draw on my canvas and create any new drawings that I need. There's also a little time code right here, and if I tap on this, I can show my onion skins or hide them. And I can also tap on here to edit my onion skins. And I can choose a background color. So maybe I like a couple of these different colors. But you know what, I don't like these. So what I want to do, if I want to do, I can tap two fingers to do. If I want to redo, I can tap three fingers to redo. 5. Importing Files Brushes and Swatches: In this lesson, we'll cover how to import things like your procreate brushes swatches, procreate files, or even other dream files, like the project files for this class. So in order to bring in my procreate brushes, I'm going to bring the two apps side by side. So I've got both of them open. I'm going to swipe up, you know, as if I was going to close my apps. And then I'm going to grab my procreate app and drop it right next to Procreate Dreams. Now that these two are side by side, I'm going to open up the brushes and I'm going to find the brush set that I want to import and I'm going to pop and drag it over onto the stage. Once you've imported them, you can go to your brushes and you'll need to scroll to the bottom where it'll be imported. You can do the same thing with a single brush. So if you grab just a single brush and you need to drop it onto the stage, and then it will be put into a folder that's called Imported. You can swipe to the left to delete it if you don't want it, we can do the same thing with swatches. So if I grab my swatches and I drop them onto the stage. Now if I go to my palettes, I'll find that new palette, that custom palette at the bottom of all of the rest of my imported palettes. There's a couple ways to import your art from, procreate. One of the simplest ways is to simply go into procreate, tap, and grab the file that you want to import. Navigate to your Dreams file and drop it in. You may need to move your file or adjust it to fit the canvas size. Then if you tap and hold on the track, there's an option here that says convert tracks to layers. This will convert your track into a group. And if you open it, all of your layers will have been imported with their names. Sometimes you may find that you've got a working file and you just want to add one extra layer from procreate. For example, I want to add this flower, so I'm just going to grab the single layer, not the entire file, and I'm just going to drop it in. And again, you may need to move it, but now I have just that single layer in my existing animation. Now you can also import an animation that you've created in procreate. For example, I made this little pumpkin that are flashing. And all I need to do is drag this over just like any other file. I may need to resize this smaller. Voila, I've got my frame by frame animation with all of my groups and layers and frames pulled into procreate dreams. Now for example, this group right here has all of the layers actually in the draw and paint section rather than on the tracks itself. But if I tap and hold here, I can convert those layers to tracks if I wanted to animate those. You can also import a dream file from someone that you're working with. Once you've downloaded the dream file to your ipad, you're going to need to find it in your files app, which looks like this. If you downloaded your file from Firefox browser, you're going to want to navigate to on my ipad, look for the Firefox browser icon, and then check your download file. If you downloaded from a Safari browser, you're going to want to navigate to the icloud drive under locations and find the download folder there. Once you've located your file, you're going to want to tap and hold until this menu pops up. And we're going to choose Move. Now we're going to go to, on my ipad, look for Procreate Dreams and choose the Theater. Now I'll choose Copy or Move. Once you've copied that file to your theater folder, it'll show up inside the theater when you open Procreate Dreams. However, if you want that file to be on the cloud so that you can work on a multiple ipads on the same file, you're going to want to navigate to move Cloud Drive. Find the Procreate Dreams file there and here you can copy that file over. Now if I navigate to my icloud drive in my theater, I can see my Cloud files in here. And if it's uploading or updating, there'll be a little bar right here that indicates that 6. Animation Principle: Squash and Stretch: In our first project, we're going to learn to animate by making these cute little mushrooms. We're also going to learn how to add squash and stretch to any of our animations to make them look far more lively and interesting. Squash and stretch is an animation principle. If you've ever watched a slow mo, video of a ball being dropped, you'll instinctively know what squash and stretch is. When this ball hits the ground, it squeezes outward and squashes down. Now the amount of squash and stretch is different for each object. A harder ball won't squash and stretch nearly as much in our animation, when the mushroom pops down, it also squishes outwards. And when it pops up, it gets skinnier before coming to its final resting form. On the left hand side, our mushrooms have no squash and stretch, and on the right hand side they have squash and stretch. So you can see the difference. I also added squash and stretch to this truck. As the truck comes to a sudden stop and it bounces upwards, it gets taller, and then as it bounces back to the ground, it gets shorter. 7. Keyframe Animation: Okay, let's try our hand at animation. There are three ways to animate and procreate Dreams. You can animate via keyframes, perform mode or frame by frame animation. And we're going to start with key framing because it's going to help you understand everything else. And what's awesome about using key framing is that you can draw something once and then animate it without having to redraw it again and again. So we're going to start with my small mushroom. And to make things easier, I'm actually going to turn off the visibility of my big mushroom by tapping this checkbox right here, and that just hides this. If I tap it again, it'll bring it back. So I'm going to move my playhead to the beginning of my little mushroom track. So if I tap on my clapper board, it's going to bring up a bunch of different options. And inside a filter there's things like opacity and hue, saturation, brightness. But for now we're going to go to move, and we'll cover some of these later. But I want to focus on move and scale for now. Now notice when I tapped that move and scale, it changed my time line. My playhead has changed into this new little move and scale icon. And a new mini track has been created. This is my key frame track. And if I drag my playhead across here, that move and scale icon is grade out. But if I tap it now it's white and I can move my mushroom across the screen, and if I play it back, it's moving my mushroom. Cool, So what's happening here is that this track right here contains my animation information, the movement information, and this track up here contains all of my art. Now if I move further along the timeline and then move my content, it will also automatically create a keyframe for me. So now my mushroom slides across and then up, if I tap on an individual key frame, I can edit it. So I could say maybe I want this to go immediately up Now instead of sliding across, it's going upwards. But I don't want my mushroom to move across the screen. I want it to bounce up and down. Let's see some of the other things that I can do with this. If I tap on there, it will bring up the bounding box, Sometimes that will disappear over time. If you need to reactivate the bounding box, just tap on your key frame again, If I grab the corner nodes over here, I can scale. If I tap that corner node, it'll bring up this little curved icon right here. And that lets me rotate. If I tap and hold on the sides of the bounding box, I can skew my mushroom, but I don't want my mushroom to be going up and down in the center. I want it to be going up and down while the bottom stays still. If I tap these three dots right here, I can flip my content or I can edit my anchor. If I edit the anchor, there's this little square icon right here and I can move it to the bottom of my mushroom. Now when I skew or rotate, it's going to move from that point. Now I want to start over, so I'm going to tap and hold on this keyframe and delete it. In fact, I want to erase all of my keyframes here. I'm going to tap and hold between key frames. I can tap the delete, move and scale. And the entire keyframe will be deleted, so I'm going to make my mushroom bounce up and down. So I'm going to take my clapper board to the beginning of my track. I'm going to add a move and scale icon here. And one at the end. This is because I want my mushroom to come back to its normal height. Now I'm going to move part way through. I'm going to tap to add a keyframe. And I'm going to squash this down. And remember when things squash down, they can also squash outwards. Then I'll move further along, and you can see it's coming back up to its normal height, but I want it to bounce upwards before it reaches its end. I'm going to tap and add another key frame. And then I'm going to scale this up and I'm going to make it narrow. Now when I play this back, it's bumping up and down. Now I like this, but it's moving a little slow for my taste. What I'm going to do is I'm going to tap on one of these keyframes and I'm going to drag it in, and I'm going to tap on this one. And I'm just going to drag them in. Now my bounce is happening it a little bit more fast, so you can play around with how fast and extreme you want these movements to be. It may help to turn the visibility of your big mushroom on so you can see how tall you want your little mushroom to go. Now that I have done one bounce with my little mushroom, I'm going to do one bounce with my big mushroom. So I can kind of time them out and figure out when I want each one to go. Now that I'm happy with the timing and the look of my mushrooms bouncing, well I want them to keep bouncing. I don't want them to just bounce one time. 8. Trim, Duplicate, Push and Pull Content: Now that I'm happy with the timing and the look of my mushrooms bouncing, well, I want them to keep bouncing. I don't want them to just bounce one time. To do this easily, I can actually duplicate this. So what I'm going to do is I'm going to come to my content track. And so I've got my clapper board right here. Tap on here, tap, edit, and hit Split. Then I'll tap and hold on my content track, and hit Delete Content. So now my big mushroom bounce is what's And then it disappears. Oh no. Well, we're going to fix that. If I tap and hold on my big mushroom, I can hit Duplicate up here. It's going to duplicate all of those animations. So now I've got two bounces, and if I hit Duplicate a couple more times, we're just going to go across the entire time line bouncing up and down. I can do the same thing with my little mushroom. Now my mushrooms are bouncing over and over again. Now let's say I changed my mind about the timing here. I want this little mushroom to bounce. And then maybe for there to be a pause, I can actually come in here and I can trim or extend one of these individual tracks. If I grab on the side of my track, it will no longer have the entire track selected. I'll just have the side and then I can drag or extend it. And so this will trim it shorter or drag it further. But if I try and do the right hand side, if I drag this way, I can make it shorter. But when I try and push it further, it bumps against this track. That's also on the time line right here. What I can do is I can get into that edit mode and tap a second finger on screen. And this is going to push or pull. Now the tracks behind it are going to come closer. Come closer if I trim it in and they're going to be pushed out. If I expand it, and you can see this is pushed the end track down. Now I've got my mushroom. It bounces and then it pauses before it bounces again. But let's say I don't want to just have this pause in the first track. I want that for all of these tracks right here. What I'm going to do, we're going to go into the timeline edit tool. Right here in time line edit. You have a couple of options up here. If you tap up here, you'll have a couple of options. But right now I want this to be in content. If I select all of these tracks now I'm going to grab one finger and get this into edit mode. And I'm going to tap another finger on screen now it's going to and pull all of the tracks at the same time. This, the mushroom bounces and then pauses, then bounces. The P then bounces and pauses. I've edited all of these tracks at the same time. 9. Recap: Keyframes and Tracks: All right, let's do a quick recap. So you learned about the animation principles, squash and stretch, and how to apply that to your animations. You learned what a keyframe is and how to animate with key frames. You learned how to add, edit, and delete those keyframes. You learned about how to move, scale, skew, rotate your objects. And you learned about tracks. There's a content track which holds your art and a key frame track which holds your animation information. You learned how to turn on and off the visibility of the content of a track. You learned how to split, delete, duplicate, and trim content track. And how to push and pull those tracks by holding an additional finger on screen. You also learned how to edit multiple content tracks at once. 10. Perform Animation and Advanced Keyframes: All right, now that we've learned how to do keyframe animation, things can get really exciting with performed mode. In procreate dreams using this little round circle button right here, we can just move our track and it's automatically going to create keyframes for us. So we're going to try this out with our stars. So I'm going to open up my stars later layer and navigate to star number one. I want to rotate the star round, so I'm going to zoom in. I'm going to tap the perform mode and you'll see there's a little ready icon right up here. And then I'm going to grab the rotation node right here. And I'm just going to spin it around until I reach the end. Now if I play this back, it's rotating for me, which is awesome. All right, let's move to our star number two and try something a little different. This time, I want my star to sparkle, go in and out really, really fast. Now, when I play this back, that's not moving fast at all. Why? In perform mode, if you look up here, there's a little button that says modify. And if I tap on this, it's going to open motion filtering. Motion filtering is really similar to our stabilization settings. In procreate, it smooths our movements out. And this is really, really handy most of the time. But sometimes when we're trying to make really small fast movements, we want this to smooth our hands out a little bit less. So if I take this motion filtering and I crank it down, check out what's happened. It's added way more key frames to my animation. And if I crank it all the way up, or almost all the way up, it's moving it way more slowly. Now for most scenarios, 30% is a great average. In fact, most of the time I'm animating around 30% It's the default and procreate, but sometimes I want it to move a little bit faster. Now I was able to adjust my motion filtering on this movement that I just made because I was actively in record mode. But now that I've exited perform mode, if I come back in here, this is a new performance. So I can't automatically change this now. So you can only adjust this live while you're in that movement that you just did before I move on, I'm going to bump this back up to about 30% because it's a good standard. Once I've created one performance, I can actually come back and layer more animations on here. So if I go back to my star one, I could make this a falling star. Or I could even, you know, scale this one up and down as I play that back. I'm not wild about the way it looks. I don't want to have that falling star and I don't want the size changing. But I want to keep my rotation, we can do that. I'm going to come to my track here. If I tap on an individual key frame, it's going to pull up all of the things that I can do with the move and scale property. Translate x and y is just where the object is moving across the screen. Scale x and y is getting it larger or smaller, and rotate is rotation. Now I could come in here and type numbers in every single one of these, but this is a lot of keyframes because I performed it. Instead what I'm going to do is I'm going to tap and hold in between two key frames on the key frame track. And tap, expand, move, and scale. This is going to open up an individual track for each one of those properties. Now all I have to do is tap and delete my move properties and my scale properties. Now my star is back to normal. It's just got the rotation on it to collapse all these tracks. I can tap and hold on any one of them and hit the collapse, move and scale. Now it's just got the one single track right there. Another cool thing we can do is animate all of our stars all at once. And I can do that by animating the entire group. My stars are all in a group labeled stars right here. This is an individual's track, the star one, star two. And I've just grouped them all into a single layer right here, named stars. And I can animate this entire group. If I go to my playhead this time I'm going to choose filter. And I'm going to do HSB, which is hue saturation and brightness. And I'm just going to animate the brightness. So I'm going to animate them so they look like they're getting more dim. Pretty neat, I'm animating all the stars all at once. I don't have to animate them, each individually. 11. Workarounds to Duplicate Animations: I don't know about you, but I love doing things the easy way. Now that I've created these two stars, I don't have to re animate two other layers of stars. I could just duplicate these. So if I go to my star one right here and I tap and hold on. The content track, not the key frame, track the content track. Your instinct might be to hit duplicate. That would just duplicate this along the same time line. And I don't want to do that. I want to duplicate the track. So I'm going to go to Track Options and I'm going to tap duplicate there. Now I have two versions of that star, but they're stacked on top of each other. So I'm just going to move this one down here and boom, I've got two stars animating. Now, sometimes that'll work perfectly fine, but sometimes you'll find that you can't move. You can't move something the way that you think you should be able to. Let's take a look at star two right here. What I want you to notice about star two is that it's getting smaller, but it's also moving across the screen. Let's see what happens if I try to move this one. I'm going to track options duplicate. I've got two versions of this here, and if I try and move it down, it's just snapping back up. Okay, well, if I go on a key frame, now I move it. Oh, look, it worked. But no, it didn't. So what's happening is I just edited that single key frame, but all the other key frames are set to be up here. All right, so what can I do about this if I expand this track here? There are already x and y values. Remember those are the values that say this is where this star should be on the stage. These x and Y values, they already exist. So you can't just move them down here and it just works. So there's two ways that we can work around this. First, if you don't really care about the X and Y values that you have on here, well, you can just tap and delete both of those tracks. And now I can move that over, but it's just flashing. It's not moving. What if I do want that movement to be duplicated on a new track? In that case, we need to do another little work around. So I'm going to undo that and bring my X and Y values back. I'm going to collapse this track so it's easier to see. What I'm going to do is I'm going to create a group out of this layer. To do that, I need to use my Timeline Edit button, which is right here. This is the two boxes right here. And I'm going to use my Apple pencil to select this star layer. And I know it's selected because it's highlighted red. And I'm going to tap and hold on here. And I'm going to hit a group. It's going to create a group. And if I expand it, it's just a group of that single track, that single star layer. But that's fine. So before I try to move this, I need to exit out of timeline edit mode. And now I'm going to move this group. And I'm not moving this layer right here, I'm not moving the star track itself, I'm moving the entire group. And now I can move this star animation with all of its properties with it moving across the screen and scaling up and down. 12. Sharing Your Animation: Once you've finished your animation, it's time to share it. So I'm going to tap on my movie name. Navigate to the Share tab and I can just tap to export as a video. Now there are a couple other export options. You can even export as appropriate Dreams file to somebody else. And if you tap on the custom settings, you could choose a couple of other settings. You could choose to export as an MP four instead of an MOV. And the document size is kind of interesting because if you go to this custom setting here, you can set a custom export, so it's even smaller than what you originally created it as. But if I just tap on video, it's going to bring up my save dialogue box. I'm going to choose Save Video is going to save it to my photos. If I go to my photos here, boom, there's my animation To share this on Skillshare. We're going to want to convert this video into a gift because it's not very easy to share videos on Skillshare. We're going to do this using an app that's already on your ipad. I'm going to swipe down to open the search, and I'm going to search for shortcuts that looks like this app right here. Now once I'm here, I want to navigate to the gallery tab and I'm going to search for gift. I'm looking specifically for this one that says make gift. And I'm going to tap the little plus icon in the corner right here, that's going to make this one of my shortcuts. If I navigate to my shortcuts right here, if I tap on here, open up my gallery and I can choose the image that I would like, the video that I would like to turn into a gift, and I'll just confirm that by saying use. Then it's going to create a low res, small gift for me, which is great because there's a file limit on skill shares. This is going to create an image that I'll be easy to share on there. I'm just going to hit Done. Then if I navigate to my Photos app, I can see right down here, there's no time stamp on this. It just looks like a still image. But when I open it up, it's an animating looping gift. Next, you're going to need to navigate to skillshare in an Internet web browser, not using the app. Navigate to the projects and resource tab, and tap Submit Project. Once you're inside your project, you can add the gift by going to this image button right down here, hitting Photo Library. Choosing that gift image and voila. 13. WIN A YEAR OF SKILLSHARE: Want to win a year of Skillshare. To celebrate the launch of this class, I'm giving away two year long memberships to Skillshare. There's two ways to enter. To win, you can post a project in the class and or share a review. One winner will be chosen at random from the projects and one from the reviews. So you'll have two chances to win in your project. You can share a single project from the class or you can do all of them. You just need to post a project or review by the deadline. The deadline to enter is December 31, 2023 at 11:00 A.M. Pacific Standard Time. I'll announce the winners in the discussion tab of this class. Best of luck, I am so excited to see your Art. 14. Recap: Perform Mode, Advanced Keyframes, and Troubleshooting: All right, it's recap time. You learned how to automatically create key frames using perform mode. And also how to adjust motion filtering so that you can make smoother movements. You learned how to adjust and delete individual settings in those keyframes and how to animate multiple tracks at once. You learned how to duplicate tracks and troubleshoot any unexpected movements. You also learned how to group tracks. 15. Animation Principle: Spacing and Timing: Our next project, we're going to learn how to use frame by frame animation. If you've ever drawn a little flip book animation like this, you'll instinctively understand frame by frame animation. Each frame is a new drawing that played together looks like it's actually moving. We're also going to learn another animation principle, timing and spacing. When we draw our objects really close together many times over, that object is going to move relatively slowly. Whereas if we add more space between our objects when we draw them, they're going to move more quickly. More space between each frame equals faster movements, and less space between each frame equals slower movements. Sometimes an object moves so fast our eyes can't even pick up the movement, It just looks like it's a blur. If I were to pause a frame of this video, you can see that you don't even see the apple pencil in one single movement. It's a blurred shape. In animation, we sometimes refer to this as a smear. So what we do is we can elongate our shape to make it look like it's moving even faster. And this is a lot of fun. If I take a closer look at my swush right here, you can see it starts as a relatively the same shape line, but here it's gotten twice its length. That's to help mimic the idea of that blurred movement of it moving really, really fast. And again, it's kind of getting smaller and bigger. And this changes how fast it feels like that swoosh is moving. 16. Frame by Frame Animation: In this project, we're going to do some super beginner friendly, fun and easy animations using frame by frame animation. In the project file, I've created a track called star template. And this is basically a template for me to draw my little swoosh. Now you don't have to use this path, It's just a drawn path. You can move your swoosh in a totally different pattern. That's totally up to you. But the idea here is that you're going to be playing with the amount of space that you put between each of your dots and maybe even some smears as you create your frame by frame animation. I need to create a new track for my frame by frame animation to live on. So I'm going to tap the plus icon and choose track. Now in order to access my flip book mode, I'm going to go into my drawn paint menu. And now this little gray bar in the center of the screen. If I drag that down or up, it doesn't matter which direction, it's going to pop into flip book mode. Now I can move my flip book around and I can tap the X to exit that mode, and I can flip it back up to come in. Now these little squares right here, these are my frames. That's kind of like the pages in my flip book right here, right? So each of these ones represents an individual frame. So I'm going to zoom in here and I'm going to create my little sushi star. So I'm going to choose a brush that's really easy to do this with. I'm going to go to inking and choose studio pen, and I'm going to create my first dot, tap on the next frame, but I'm not sure how far to put my next dot because I don't know where the first one was. To help me with this, I'm going to turn on onion skins. I'm going to tap right here and mega hits show onion skins. And onion skins will show me a preview of what my last frame was. If I add another dot right here and another dot, you can see it's showing me all my previous dots. Now sometimes you might find that the color that you're drawing with or the color of your background makes it hard to see your onion skins. And you can actually, if you tap edit onion skins, you can choose the different colors. You can choose how many frames, forwards or backwards you want to see. And how much opacity you've got. Your forwards here and your backwards for example, you can see the yellow is my forwards and the purple is my backwards. I'm just going to keep drawing my frames until I get to my star. Now I'm going to do something fun here. I'm going to draw a little star shape. Then in the next frame, I'm going to make a little dot with dashes on the side. And then the next one will just be a dot. Let's play this back. I'm going to turn off my star template so that I can see this a little bit more clearly. I love this little star popping, but it happens so fast in real time that I can hardly see it. I want this frame to last a little bit longer. Now, in order to do this, I'm going to extend this track. I'm going to tap and hold until I get the side of this track right here. And then I'm going to tap one finger on screen. And this is going to allow me to the content on either side of that track. Now if I play it back, it holds for like a beat. In fact, I could even extend that to maybe three frames. I think that reads a lot better. I'm going to make a small pause between the swoosh up here and the swish down there. Uh, oh, it looks like I don't have any more frames left. If I come out of flip book mode, I can see that I'm at the end of my timeline. This animation is set to be 5 seconds and I've run into the end of it. So I have a couple of options here. I could extend my timeline. I could go into the settings here and I could change the duration to 10 seconds. Or I could come in and try and make this animation shorter by using less frames. Or I could reduce the space that I've created right here. Now, it would be really annoying to have to pull every single one of these tracks over that way, but there's an easier way that I can do this. I'm going to create a group out of all of these tracks. So I'm going to go to the time line edit button right here. And I'm going to use my Apple pencil to select all of these tracks right here. I'm going to tap and hold and I'm going to group them. Now I've got all of my frame by frame animation in this group right here. And I can just pull it over. I'm going to exit my timeline edit tool, but when I go into my flip book mode, well there's still no more frames available right here. That's because this group, it's ended right there. In order to give myself more frames, I'm going to pull this group. I tap and hold on the far edge. I can drag this group longer. Now look at all the extra space I have right here. If I go into flip buck mode, I've got lots more frames to work with. Now I'm going to turn off my star template and preview this animation. Fun. 17. Boiling and Color Drop: Next we're going to create a fun frame by frame animation that's called a boil. You see how this egg white is kind of like wiggling around. This happens when a line is drawn over and over and it kind of creates like a wiggly appearance. We can do this in a really fast and easy way without having to redraw this 1 million times. I'm going to show you how now. So I'm going to open up my egg group and I'm going to navigate to my egg white track. This is an entire track and I want to redraw this like two or three times. And then I'm going to duplicate it across. What I need to do is I need to split this egg white so that it's just a single frame. So I'm going to tap on here, edit, hit split, Delete the big one. So now I've got one frame of this, I'm going to pop into flip book mode and I'm simply going to move to my next frame and redraw this. Now I used the brush drying and sticks because you might have to scroll down to find this sticks brush. I use it because it has this really cool rough texture. Now I'm trying to do my best to keep this as pretty close to the same shape, but it doesn't need to be perfect. In fact, the effect is going to be ruined. If it's too perfect, I'm keeping the outside edge really rough, but I'm creating this really tight, like a solid line here. And now I can use color drop to fill in the rest of the egg white. So if I grab my circle right here and drag it and then drop it into the egg white, it will fill it in. But you might have noticed that it's left a weird kind of outline right here. Well, we can make the color drop threshold bigger or smaller by doing this. So I'm going to grab the circle, drag and drop it in here. But I'm not going to pick up my pen now. At the top you'll see this threshold bar color drop threshold. And if I drag further over, it's going to fill more or less of my threshold in. If you find that you get all the way to the edge of the screen and you can't fill in that threshold all the way, just let undo what you've just did, drag and drop it again on your threshold. It's going to pick up wherever you last left off. So now I have a little bit more room plate with that. All right. I'm going to fill in more, I'm going to draw one more layer of this egg white. It filled my entire screen because the threshold is too high. If there's a gap in my outline, then the color threshold is going to fill the entire thing. It's got to be a completely filled in circle. And that can really easily happen with a textured outline like this. But I'm going to just see if I can try lowering my threshold. Yeah, and that work just fine. All right. I'm going to draw just a couple more frames. All right, Now that I've created a few of these frames, let's preview it. All right. Well, this looks all right, but you know what, I kind of like that kind of like slow, kind of jerky movement that you see in stop motion sometimes. And this is moving just a little bit faster than I'd like it to. So what I want to do is make each of these frames last a little bit longer. And so I could come in here and just drag each one of these out, but that would take a lot of time. So what I'm going to do instead is I'm going to use my time line edit tool. And I'm going to select all of these frames and I'm going to grab the edge of the last one. If I just drag like that, it's only going to drag that single frame. But if I tap one finger on the screen, it's going to extend all of these frames the same distance. Now let's check this out. It's a subtle difference, but I really like the way that this looks. It moves just a little bit more slowly. Now, I don't want to have to redraw this 1 million times to fill out my entire time line. What I'm going to do now is I'm going to group all of these and then duplicate them so I can go back into my timeline, edit, tap, and hold to group them. And then duplicate them a handful of times. Now my egg is boiling across the entire time line. 18. Frame by Frame Shortcuts and Tips: Next up, I want to animate this eggs face. I want him to look up when there's a swush up here and down when there's a swoosh down there. If I look at my egg layer, I've got all of my egg. And then the face is all of the face elements. If I open up this group, I've got a track for the eyes, for the mouth and the cheeks. Instead of having to animate just the eyes and then the mouth looking up, I can animate the entire face group because I want this animation to loop. I'm going to start by creating a moving scale frame at the beginning. And then I'm going to tap to add the face in the exact same spot at the end. That way when I play through my animation, it's going to come back to the same spot. I want him to look up over here as this starts to swoosh down. And I want him to stay looking there until it pops. I'm going to add one more frame there, then I want him to start looking down here. When this starts, I'm going to move his face, looking down that way, you'll see that he's starting to move back to the center because that's where the original frame was. I want him to keep looking at that spot until the stars, I want to just add one more frame to keep him looking that direction. If I play it next, I want to show you an easy and fast way to create blinking. So if I open up my face group, there's a track labeled eyes. And I'm not going to do my frame by frame animation on my eyes. I'm actually going to tap and add a new layer above this. And I'm going to go into my flip book mode. I want to paint with this yellow color, so I'm just going to tap and hold a finger on screen. And that's going to copy it. It's going to eyedrop that color so I can paint with it. And I'm going to draw over his eyes In the first frame, he's going to be half closing his eyes. In the second frame, I'm going to cover his eyes entirely. In the third frame, I'm going to uncover his eyes. Eyes half shot, blinking, opening. I have a blink right here. I don't have to redraw this 1 million times. I can just group these three frames right here and then duplicate them. And I can move this blink anywhere else across this time line. He's blinking here and he's blinking there. And I can add as many blinks as I want in here. All I got to do is duplicate that group and pop it over there. Finally, I want to make him go, ooh, ah, as he sees these stars right about here. I'm going to split this track. I want him to go, that's how long I want my O to last to split this. And I'm going to delete this in the center. Now I'm going to come into my flip book mode and I'm going to turn onion skins on. I'll make sure that the mouth is the same color as the eye. I can see that his mouth was this wide in that frame, so I'm going to make it a little bit shorter. I'm just going to give him an ooh shape. I'm going to scroll all the way back to the end of here where it's going to meet. It's going to meet this frame right here in my flip book. There it is. I'm going to work backwards. It's going to go from a smaller shape going like, oh, so that he's back to smiling. Now, instead of redrawing all of these shapes right here, I can just extend this one right here. I'm going to grab him and move that track in there. Now he's going, I didn't have to draw every single frame. Let's try it further down here. I want him to go right about here. I want to go, we want it to start right about here. I'm going to break this there. Say ah, and I'll stop it right about there. I'll move into flip buck mode. I'm going to draw his mouth slowly filling in like so. Then again, I'll come to the end over here. Make his mouth a little bit smaller, working backwards. Then I'll drag this frame over here, easy peasy. From here, you're welcome to add any other stars or expressions that you'd like. And then don't forget to share your work with us. 19. Recap: Flipbook, Color Drop, and Eye Drop : Recap time with frame by frame animation. You learned that adding many frames with very little space between each of those movements makes an object look like it's slowly moving. And adding a lot of space between each frame makes that movement look fast. You learned that a smear creates an illusion of a super fast motion. You learned how to access flip book to create frame by frame animations and how to customize your onion skins. You learned how to group multiple tracks together to be able to move them faster. You learned how to create a boiling animation. How to use the color drop threshold in paint and draw mode. And how to sample a color on screen by holding a finger down to activate the eye drop tool. 20. Shadows that Auto Move: This project, we're going to learn how to create moving shadows. In this animation, I've created a project file with an upper leaf and a lower leaf, and we're going to start there. The first thing I want to do is create a shadow from this upper leaf that is casting down onto this lower leaf. I'm going to tap on my upper leaf. Track goes to choose track options, duplicate this lower version. I'm going to rename as my Shadow Layer. I'm actually going to change the highlight here. It's really easy for us to tell them apart. Next, I'm going to change the blend mode and I'm going to choose multiply. Now if I move this track, see what multiply is doing. Blend modes change how layers mix with the layers underneath of them. In this case, multiply is creating a darker color of whatever it's on top of. It's creating a darker version of this green on this green leaf here. Now this is cool, I've got this moving leaf and it's creating a shadow. But this is not how my shadow would look. It wouldn't be connected like here. It wouldn't be connected like this. This is a little weird. Let's change this. I'm going to undo the move that I just did. I'm going to move to the beginning of my shadow track and I'm going to add a distort key frame. Distort will allow me if I grab one of these red dots, I can distort the shape. If I'm thinking of a shadow, a shadow would come down at an angle like this. I think that's much more how that shadow would fall. However, my shadow shouldn't show up on my background. The only place the shadow should show up is on this lower leaf. This is where clipping masks come in. My shadow layer is above my lower leaf. This is very important, it has to be right above the lower leaf. For this to work, I'm going to tap and hold to go to mask. And I'm going to choose clipping mask. Now if I play this, the only place that this shadow is showing up is on the lower leaf. A clipping mask will only reveal the clipped track where there's some kind of content or art on the lower track, or in this case, my lower leaf. Now I like this shadow, It looks cool and it looks like it's high noon, really intense. But we could also make this shadow a little bit more blurry. If I add a Gaussian blur key frame, it'll make the edges more soft. I could also add an opacity filter and make it a really faint shadow if I want, I'm going to do that for now because I think with the gen blur, that looks like a really nice shadow. Next, let's try applying a shadow to our cherries. I'm going to go to my left cherry, because that's the one that's in front, and I want to make a shadow from this one. We will duplicate this track. I will rename the lower version to shadow. I will change the high light mode to blue. And then I'm going to change the blend mode to multiply. Now if I try and add a distort key frame to this, it'll say distort cannot be applied to this content. I can apply a distort to a group. So this group is made up of the left stem and the cherry itself. What I could do instead is I could just move this cherry over. There's my shadow. And that works. Now I'll just create this shadow track into a clipping mask there. I've got a shadow on my cherry as well. At this point, you can add your goshen blur or whatever other details that you would like to your shadows. Once you're happy with the way your shadows look, export your project and share it with us. 21. Animation Principle: Easing: The next animation principle we're going to cover is called easing and procreate dreams gives us an awesome tool to add it automatically. If you've never heard of easing before, I find it easiest to understand with the example of a car. So if I want to animate my ice cream truck across the screen, I'm going to start with a keyframe at the beginning. And then move my truck and add a keyframe at the end. But when I play this, it doesn't look very realistically. It starts immediately and stops without warning. In real life, if a car stopped this fast, it would bounce around a little bit. Instead, I want my car to slowly start, pick up speed, and then slowly come to a stop. This is called easing. If I check out this sun here, it's moving at a constant linear speed. For every frame that this sun is moving, it's moving over in equal spaces. Each frame is moving the exact same amount of space. But if I bunch this up, we know that movements that are closer together appear slower, and movements that are further apart appear faster. Now my sun is easing into motion and it moves way faster in the middle and slows down at the beginning and the end. We can have procreate dreams do this for us automatically. If I tap and hold between two key frames. There's an option here that says set all easings. And I can choose between linear ease, ease out, and ease in and out. Let's compare those. Here's what all of these look like altogether. Linear goes at a constant speed. Ease in slowly starts and then picks up speed towards the end. Ease out comes in hot and slows towards the end. Let's take a look at these as onion skins with linear. I can see that the ice cream truck, the spacing between each frame is consistently the same. However, with ease in that, spacing is really tight in the beginning. And as we get further and further along, you can see the spacing between the frames. The truck is getting further and further apart between each frame. It's exactly the opposite. With ease out at the beginning, there's a lot of space between each frame. But as it gets towards the end, those frames get tighter and closer together. 22. Adding Camera Movements: Adding the camera movement like this is super easy, appropriate dreams, all you do is group all of your layers together and then move that single layer. In fact, in this illustration, I have no animation except for the camera move itself. This is a really easy and simple way to add some interest to your art without even having to do any complicated animation at all. Here's a couple of tips for animating your camera. In this animation, I'm starting with the cat and two of the bookshelves in frame. As the camera moves out, I want to zoom out so I see all of the bookshelves. But when I try and make my illustration zoomed smaller, it goes to the center. Don't forget that you have this anchor point. If I set my anchor point to this side over here and then I zoom in, it's going to make making that camera move so much easier. Next, I want to pan up to the bookshop sign really quickly. One thing that I can do is of course, I can move my key frames really close together so that it'll zip right up there. But another thing I can do is add a ga, blur. When the camera moves really, really fast and we can't see everything clearly, it creates a little bit of a blurring motion. I'm going to tap and choose filter gach blur. I want this to be 0% when I start the move and 0% when I end the move. But halfway in between I want it to go to, let's say at 0.7 This will add a little bit of a blur as this moves. Don't forget that you can also choose different types of easing, which can really have a dramatic effect on how the camera move feels. If we expand all of our transformations, we can change in what order these happen. If I move the y key frame over here, now it's going to start moving upward a little bit sooner. Animating these key frames a little bit more separately gives us more of a handmade movement rather than a very mechanical, clean, stiff movement. 23. Recap: Blend Modes, Distort, Easing, and Pans: Recap time, you learned how to rename and add highlights to your tracks. You also learned how to use blend modes. And how to use the Distort tool to create realistic looking shadows. You learned how to add customized easing into your animations. You learned how to adjust the anchor point to make your camera zooms easier. You also learned how to add a blur to make your camera pans look faster. 24. Tips for Looping Animations: In the next project, we're going to learn how to create looping animations, which is really useful for social media. Looping animations are often used in game assets and video games. And well, they can make things a lot easier. For example, this animation can last indefinitely, but it's literally only 1 second of animation. So I did a little bit of work and with a little bit of thought and planning, I'm able to have an animation that can continue on indefinitely. Let's create our first loop with these mushrooms on my mushroom track, I need to create a keyframe that is the same at the beginning and the end of this track in order to make this loop. So I'll add a move and scale keyframe, and I can add another one at the beginning. Now a Procreate Dreams can actually add this first keyframe automatically. I'm going to undo that. If you go to your movie settings and you go to Preferences and you toggle on add keyframe at start now. So I've got no keyframes right now, but once I add a keyframe at the end of my track, it adds a keyframe at the beginning automatically. So now I can come in here and I can just add some rotation to my track here. And if I play it back, you'll see that it's seamless. It just continues to move over and over again while you're working on your key frames. If your movement doesn't feel like you would expect it to, you may want to check your easings. I find it easiest to work with a linear easing because it's very predictable exactly how this will move. But if I choose a ease out, it's going to totally change how fast the movements happen between my keyframes. Another thing that you may want to watch out for with your looping animations is when there are two key frames that are on the very far ends. When these two keyframes are exactly the same, it can sometimes create a little hitch. It pauses because we're using two of the exact same frames. For example, right now, when this point reaches right here, it doesn't move smoothly to the next motion, it pauses for a moment. Whereas if I trim that last keyframe out, now when I play this back, it's moving smoothly between all my key frames. Now, yes, that work to just trim that out, but as we're going to go over next, making sure that this animation is exactly 2 seconds is super crucial to making this whole animation work. Instead of trimming that down, I'm going to extend my track out by one frame, move this keyframe over, and then trim it back down to 2 seconds. Now I don't see that extra key frame, but when I'm moving between this keyframe and where that keyframe would be, this is still moving back to its original position. Now honestly, sometimes you just will not notice this hitch and it won't be a big deal. But if you're ever doing an animation and you're like the timing on this just isn't quite right. Checking your easing and trimming out the two key frames so that it's not sticking on the first and last can help with the timing of your loops. So that's how you create a single loop, but my entire animation is going to be 10 seconds long. Now, I don't have to animate these mushrooms for 10 seconds. I can just create a single loop and then duplicate that loop within the ten second time frame. But however long I decide to make this loop, it must fit within 10 seconds. For example, this mushroom is 2 seconds. So if I duplicate this five times, it's going to fit perfectly within that ten second frame. Now when this reaches the ten second mark, it seamlessly pops back to the beginning. Now this would also work if my animation was 5 seconds long. This flower right here, this little leaf right here. The animation that I created for that is a five second loop. And if I duplicate that frame over now, I've got this flower floating one time for 5 seconds and another time for 5 seconds. 5 seconds plus 5 seconds is 10 seconds. You could also do this on 1 second loops. So if the moon only took 1 second to loop through, I could do 1-234-567-8910 loops of the moon. Speaking of the moons, this looks like it's a lot of work. But actually I've got a couple of tips that are going to make it really fast and easy. In my project file, I've created a single loop of my moon right here. So if I break it down, basically what's happening is I have a circle right here that is the same color as the background. And it just moves from one side of this moon to the other. And it is in a two second loop, just like my mushroom. I'm going to duplicate this across my time line until I've got 10 seconds worth of this moon eclipsing. Now I'm going to group all of these together. I'm going to go to time line edit. And I'm going to group this whole track into a single layer. If you end up with an empty track right here, if you just tap and hold on this track, you can delete it. Now if I duplicate this track, I'll have two groups of this moon and I can just move this one over and resize it. Now I have two moons looping. I'm going to do the same thing for all of these moons. All right, so I've gone through, I've moved and resized all of them and they're labeled 12345 in my timeline so that I can keep track of them easily. Cool. But I don't want these all to eclipse at the same time. I'd like to have them move at slightly different timing. We can also do that, I've got my first moon right here, and the second track is my second moon right there. So what I want to do is grab the second track and move it over slightly so that it's going to start a little bit later than that first moon. But you'll notice that there's no frames right here, so it's empty. What I'm going to do is I'm going to come to the end of my track at the ten second mark, I'm going to tap my clapper board and I'm going to choose it, split. This will break off the end piece of my animation that I just pushed forward. And I can tap and hold it and then drag it to the front of my timeline. Now these two moons are just slightly offset. I'm going to do the same thing for the rest of my moons. I'm just going to move them over a little bit further than the one before them. Trim off the end and bring it to the front. Great. Now I've offset all of my moons, so they're at slightly different speeds. But I want to point out one thing. When I get to the very end of my loop here, everything flashes blank for a second and some of these moons disappear. Well, what's happening here is that I wasn't able to, I didn't trim my timeline to the exact last second On a couple of these, I need to make sure that I'm pulling every single one of these tracks to the very end so that I don't have like a blank frame at the end. Cool. So everything's looping properly Now. Now I want to address one trouble shooting issue that you may or may not have had if you took your track really far out. And then when you went to trim it, you only ended up with a really tiny piece like this. The reason that's happening, the moons are part of a group. That group ends right here. If I take my full group and I expand it out, that's going to let me see more of this track right here. Now I can grab this and move it into place. Let's come back to our mushroom track over here. I want to duplicate this and flip it, and so I have a mushroom track on this side of the moth. I've got my one loop right here. If I duplicate this track and then I try and move this track over here, it won't move. Why not? When I was doing my rotation, I accidentally, instead of rotating it, I accidentally scaled it. If I open up these tracks right here, if I go expand, move, and scale, I can see that I've got X, Y, and scale tracks right here. I don't want those, I just want the rotation. So I'm just going to come in here and delete those tracks. Now when I try and move this guy, he moves right over. And if I tap three dots, I can hit flip horizontal. And I've got both of my mushroom tracks moving at the same time. I want to move him over so he doesn't jump out of the scene. Now I can group these two, delete the extra tracks that they left behind and then duplicate. And I've got all of my mushrooms moving now. 25. Warp Tool Tips: Next we're going to learn how to use the Warp Tool to create some cool effects. The Warp Tool is really useful when you have something that you want to move part of, but not the entire object. For example, this wax, the wax is on this layer right here. Using the warp tool, I can grab and pull the lower part of the wax, while keeping the upper part straight, right there. Now my wax comes dripping down. You can play with the Warp tool on lettering and have some really cool effects. I even use the Warp tool to move her eyebrows up and down. All right, back in my project file, I'm going to start with a simple example of a warp, and we're going to do that on our lower red flower before moving on to a slightly more complex example. The first thing I want to do is add my key frame. So I'm going to tap and add a warp key frame. Because this is a looping animation, I want to make sure that I've got one at the beginning and the end that are in the same position, so that this will loop. And I'm going to stick with four by four, right, for now. The way that the Warp tool works, if I grab one of these nodes, it's going to pull from that node and it's going to pin all of the other nodes. If I grab this center node right here, it's pulling the center of the flower, trying to keep these top parts right here, those nodes. It's trying to keep those in place. I'm going to undo that. What I want to do is create a waving motion with this flower. I'm going to create my first key frame right here. And I'm going to pull this node a little bit this way. My flower is straight up and down because it's going from curved here and then it's going to go straight. Then as I come back around, I want this to really curve in. Now I'm going to pull this guy in this direction. Now this is making this really squashed up here. If I pull on the second node right next to it, I can bring that back to a regular shape. Now if I play this, my flowers moving at the tip. Once I'm happy with this loop, I'm going to duplicate this track. And then I'm going to move the second flower over. And I'm going to flip it horizontally and put in place. Now I've got both of those flowers, then I'll group those two tracks, delete the ones that are left behind, and then duplicate this across the timeline. I've got both of these flowers animating across my timeline. Next, let's move to the flower buds up here. When we are adding a warp, we can control how many points we add to this grid. How do you decide how many points you want to add to this grid? It all depends on the movement you want to make. In this example, I really want to move this bud on the end quite a lot. You can see in my finished animation that this is curling down and upward. And then the rest of the bud is just moving up and down. I don't need fine control over this part, but I do want fine control over this part. Now if I add this many points to my mesh, look how many points I'm going to need to move in order to curl this bud around. That's annoying to have to move all of those mesh points, but if I create a mesh with only four points, if I try and move this bud, I'm really having a dramatic impact on these ones right here. Instead of having more control over this one, because these buds are within the same square. Now let's look if I go from four horizontal control points to five. Now this bud is no longer included with this one. I'm going to have much more control of how I can move this one without dramatically affecting this one. I'm going to create a keyframe at the beginning of my track and a keyframe at the end to create my loop. All right? I'm going to double check that my easings are all set to linear. I'm going to, at the two second mark, I want this to breathe upwards, so I'm going to grab the middle, middle node right here and pull it up. And this one, then I want this bud to curl down this direction as it gets a little squashed. This is going to be breathing upwards. And then about halfway between this point and this point, I'm going to add another key frame. I want this to sink back down, and I want the bud to flip so that it's going upwards. If I play this back, it breathes upwards and then sinks back down and then slowly moves to breathe upwards again. Now, if I was using a different easing, this is going to dramatically change how this feels. It's going to move at different speeds. If you want full control over how this moves, make sure that you're using a linear easing. Once I'm happy with the way it moves, I can duplicate the track, flip it horizontally, move it to the other side of the moon group. Those two tracks. Duplicate each of those tracks, and I've got my buds floating at the top. 26. Recap: Looping and Warp Tool: All right, let's recap. You learned a lot about looping animations. You learned that the start and the end of the animation must be the same to create a loop. And how to avoid a little pause or hiccup in your loop. By adjusting that last frame, you learned that easing can dramatically impact how your motion feels. You learned how to create many loops to fit within a larger looping animation. And how to re, use those looping animations and offset and trim them. And we learned lots of tips for troubleshooting your looping animations. You learned that the warp tool is awesome for keeping parts of an object still while moving other parts of it. And how to decide how many control points to add to your warp mesh. 27. Clipping Masks: In the next project, we're going to create this animation and we're going to learn about using masks and clipping masks. Now, I don't use masks a lot when I'm illustrating in procreate, but when I'm animating, I use masks a ton. So that I think they're going to be really useful for you in a variety of projects. In our project file, when you open it up, it might look a little bit like a mess, but I promise it's all going to make sense by the time we're done. So the first thing I want you to notice is that I've got a layer for my teapot, and then I've got a grouped layer for this pore where the tea is pouring out of the teapot. And if I expand that, there's a layer called Details and a layer called Stream. For now, I'm going to turn off the visibility of the Details layer. And we're going to come back to that in a bit. The first thing I've animated the teapot moving up and down, but my stream of does not match where that should be pouring out. We want to do that first. I'm going to add a key frame at the very beginning of my poor group. The T is matching up right there. But as I move to the next keyframe, where my teapot is, you'll notice that this doesn't match up anymore. I'm going to add another key frame, and I want to skew this down. Now I need to zoom out a little bit to find the bounding box. And I want to make sure that I'm skewing this, rather than scaling it until it matches where the spout and kettle should meet. If I move to the next key frame of the teapot, it's no longer matching up. I'm going to do the same thing. I'll just continue this for the rest of the key frames of the teapot. All right? My tea is moving with my teapot, but let's be real. This isn't very convincing yet. Next I'm going to add these white details to really sell that idea of this pouring. I'm going to come back to my project file and I'm going to open the poor group and I'm going to turn that detail layer back on. I'll add a keyframe at the beginning and then a key frame at the end. And I'm going to move this so that the squiggles, the very last squiggle is at the top of the spout. Now this looks like a hot mess, but if I tap on the details layer, I tap on mask and I choose clipping mask. Now all of those details are only showing up on the stream track. They are clipped to the stream track. Here's another example of when you might want to use a clipping mask. Let's say I've got this flash moving across these glasses. I don't want it to show up outside of the glasses. If I tap here and make it a clipping mask, now it's only going to show up inside the glasses because that flash is clipped to the glasses. I used a really similar method here to create the shine in the hair. You can clip onto groups. The shine is actually clipped to an entire group. There are some small details in the hair and some chunkier details in the hair. Those are all of the details of the hair. The shine is clipped to all of them because it's clipped to the entire group. Back to our teapot example. There's one more thing that I think we can really do to make this water look like it's moving. So if I go to my stream layer, which is right below my details, I'm going to add a warp to the stream so that it looks like it's moving a little bit more. Under my details layer is my stream layer. I'm going to add a warp key frame at the beginning and the end. And then I'm just going to use the perform mode and I'm just going to wiggle this in just a little bit. And then maybe I'll go back to the other side and wiggle it in and out just a little bit so you can kind of play around and get some movement in the stream to make it look like it's actually like changing size a little bit. 28. Layer Masks: Next we're going to add this waving motion inside of the tea cup in my project file. I'm going to open up my tea cup layer and you'll see that there's a layer called Not moving. I don't need that anymore, I can just delete that layer. And then there's a hidden layer that says wave. This is going to create the illusion of the moving up and down this wavy line. I'm going to create a key frame at the beginning. Then I'm going to create a keyframe at the end of my track. And I'm going to drag this over until it's lined up with this side of the T cup. Now this is not what we had, mine, right? So what if I turn this T wave into a clipping mask onto the cup itself, which is below it? Well, this doesn't quite work either, so I'm going to undo that, or I'm going to remove the mask. I got a mask and I choose none. What I want to do is create a mask and you can think of a mask as masking tape. So above my T wave. I'm going to add a new track and this needs to be directly above your T wave. I'm going to turn off the visibility of my T wave. For now. What I want to do is create the only space where I want to have the wave seen. That's going to just be the inside of the cup. I'm going to use a bright pink color and I'm going to just fill this in. The color doesn't actually matter, color drop in there. And I'm going to name this my Mask layer. Now I'll turn my T wave back on this mask. I'm going to use mask layer mask. Now that pink has disappeared. And if I play my tea cup back now, I can only see the tea cup waves where this mask is. If I turn the visibility of the mask off, well now I can see that it's this whole shape down here. But when I turn it on, now it's only contained to that area. Something really cool that you can do with masks. If you tap mask, you can invert your layer mask and this would prevent something from showing up. Now, this doesn't work in our example, but it can be really handy. I used this same technique to create the waving part at the bottom of the ghost. I just used a layer mask to hide that this was just a single wavy line. Next, we'll add a little ripple to the tea cup. I'm going to create a new track above my pre group. I'm going to go into flip book mode. I'm going to drop this color right here of the light details. And I'll add a small circle around where I think that E is pouring in. I'm going to turn on onion skin so I can see where the last one I drew. And then I'm just going to draw a slightly larger one, a slightly larger one. And I'm going to let it dissipate. It's not making a full circle anymore, it's dropping off. If I play this back, I think that's making a cool ripple effect. I'm going to group group this frame by frame animation and then I'm going to duplicate it. Although I don't like it to continuously be plain. I think I'm going to drag this over a little bit so there's a small gap between the ripples. I'll do that one more time. The only thing left is maybe I'll add some rotation to the plant leaves or whatever other details that you'd like to add. Once you're happy with your animation, don't forget to share it with us. 29. Recap: Clipping vs Layer Masks: Let's recap that. With clipping masks, you can draw inside of the lines of a separate parent track. You can move and edit that clip track without it affecting the parent track. You also learned that you can clip a track to a whole group. Now with layer masks, a layer acts as a window for your art by only allowing it to be seen through the mask layer. That mask layer becomes invisible and only the layer underneath is visible. You can also invert the mask layer. 30. Final Notes: I want to say a quick thank you for joining me in this class. If you enjoy the class, please leave me a positive review, a comment in the discussion tab or a project. Your interaction with the class makes a big difference in the algorithm so that other people can find it. And if I'm completely honest, it's your words of support and encouragement and seeing your art that make doing all of these classes and all of this work worthwhile. Thank you so much for your support. I'm currently working on even more tutorials that I'll be releasing in different places like Skillshare and Youtube. So if you'd like to get a heads up for when I release a tutorial, make sure that you sign up for my newsletter. If you're on social media, I'd love to see what you're doing. You can tag me on Instagram. I'm at Paper Playgrounds and on Youtube. I'm Brook Glazer. Thank you again for watching. I hope it's been fun and helpful. You are what makes doing all of this worthwhile. So thank you so much for your support.