Blender 4 Digital Drawing & Animation Class for 2D Artists (Introduction to Grease Pencil)

1. Intro: Why this class?: Five him murmur, welcome to my Blender 4.0 class. For two D artists and animators. We will get familiar with the software and use green pencil blenders drawing and two D animation tool to create the school animated piece of art. There are several reasons to learn blender. It's free, it's open source, it's powerful, flexible, and has a great helpful community. You can use blender to do two D or three D art or a mix of both. And you can even do compositing and video editing inside Blender. I started using Blender a few years ago for personal animated projects and found myself studying green pencil deeply. And even came up with my own unique ways to do things to give back to the community. I started making tutorial and tips videos on my Youtube channel and eventually full fledged courses. This class is for new bees who never use blender. Or users who have some experience with green pencil and want to learn a few tips and tricks that I spent months figuring out. We will start by downloading and setting up Blender, learn basic navigation, then start working on our animation. To get comfortable with drawing, coloring, editing, animating, and more. We finish by adding sound and render our animation as a video. The course comes with a comprehensive list of free resources that you can download to gain deeper knowledge about most of the points covered in this class. All you need to attend your computer and Internet, A graphic tablet is a bonus. So I, myself will only be using the mouse. So let's start. 2. Project & resources: We will draw a pair of glasses and a colorful background using 2.5 D techniques. Meaning that we will mix two D and three D. We will add animation, some visual effects, sounds, then render everything as a video. Crafting this piece of digital art will help us get comfortable with the whole creative process inside Blunder Navigation. Drawing, coloring, a few ways to do animation, adding effects and sounds, and exporting our work. Project resources are available for download. Find them in the Projects and Resources tab as a zip file. This file contains your final project file and the sample sound effect. This class introduces various aspects of the software, but covering everything in depth will take a very long time. That's why the downloadable zip file also includes an HTML file with links to free in depth information in various topics. If you are stuck in any part, reach out so we can solve the problem together. 3. Download & install Blender: Download Blender. You need to go to Blender.org Here we are. And you get this button here. Download. You click on it. We can directly download it from this button. Since I'm using Windows, I can click on the Windows download, or it can go here and you get more options. We have some options for Windows for Macos, and four Linux for Windows. We can either download an installer, which is the most common option for most software. We can download the portable version, which comes as a zip file, and we can also download Blunder from the Microsoft store. I personally prefer to download the zip file or the portable version. Once the download is complete, you can open your zip file on Windows, you just double click on it and then you double click again on this folder and you can select all these files, do control C or right click and do copy. Then what I do is I create a folder in my local disk, the C disc, that I name blender. And here I have multiple versions of blender because sometimes I want to test files on older versions of blender and also have the newest versions, the unstable versions. I like to test new features and I like to find and report bugs to developers. That is a very simple yet effective way to be an active participant in Blenders development. So I create a folder like this in my blunder folder named 4.0 and if I open it, I get all the files here. Yours, of course, will be empty, and you pass here the files that we copied from our zip file. If you want to update your installation, you will have to first delete all these files, so we select them all. Shift Delete. Are you sure you want to permanently delete these 20 items? Yes. And once you delete everything, you can right click and do past here in Windows 11, I click on this icon and I can copy all the new files. Now we can double click on this file here and open your Blender. And this is the first thing that we get when we open it for the first time. If you have an older version and you want to import your sittings and add ons, et cetera, you can click on this button. If not, you can go ahead here and click Save New Settings. Now we have this. We can open a new file, a general file, two D animation, sculpting V effect video editing. And we want to open the two D animation template, so we click on it. Or we can go here to file new and open it from here to D animation, and this is our two D canvas. 4. Customize & save settings: This is our two D drawing canvas and we are here in camera view. You see here that we have a grease pencil object and we have a camera. We can't see the camera frame because we are a little bit zoomed in to zoom out. You can use your mouse wheel like this, or you can use this button here. Now we can see the camera frame. Let's use this hand button here to pan a little bit. Now we can change some settings and we can save those settings for later use. Let's go first under the edit menu for references, under this tab here interface. And the first thing I want to do is to change the resolution scale from one to maybe 1.3 or 1.36 Enter Now I have bigger text so that I can see it comfortably and you can see it comfortably watching my tutorials. Then I want to go under system and under memory and limits, I have the undo steps number set to 32. That is if you work on Blender, if you draw some stroke, if you do some operations and want to undo them, the maximum number of undo steps with control Z, as known in most softwares, is 32. But this number is not enough and we can increase it. Let's try to make it to 1,000 Enter and we see that we have a maximum of 256. I think maybe 100 will be enough. And I'm not sure if this will have a big impact on our memory. So depending on your machine and if you see that it's taking up a lot of memory, you can decrease this number. These settings that we can change here will be saved automatically when blender closes. So if you hit these three lines here, you see this checkbox here, Auto Save Preferences. This will save preferences automatically when blender closes. But if you don't want this, maybe you will do some changes and you don't want them to accidentally be saved. You may want to disable this checkbox. And now you can save your preferences manually. So I can hit this button and I can save the new preferences right away. Let's get out of here. Then we can also change and customize settings in our two D animation template. Something I like to have always is here. And their object properties and their visibility. I like always to disable use lights here. Let's increase the size of the panel. I like to disable it because use lights, will my grespencil drawings react to light, which make my colors in accurate? And if I pick colors, I won't pick the right colors. So most of the time I keep the setting disabled. During this class, we will make a lot of changes. If you like any of those changes you can apply them yourself to your to the animation template and then go here file defaults, you see here to the animation. And you do save start up file, you get this confirmation window, okay? And you click again, save start up file. 5. Alternative input methods: The Nam pad, that is the numbers block on the right side of the keyboard, the middle mouse button and the mouse wheel are needed heavily in blender or navigation. But some people use laptops with no mouse or Nam pad. Some people use graphic tablets and in that case they are not using their mouse. And sometimes the middle mouth button just breaks. And before buying a replacement, you will need a workaround to still be able to use Blender. The middle most button is used. For example, if you press it to navigate the three D space. If you had shifted and press the middle mouth button, you can pan like this. The Nam pad is used to get in and out of camera view using zero. To get in front view using one, you can instead use these buttons here on the side. If you left click and move your mouse on this magnifying glass, you can zoom in and out and you can navigate to the side view. If you left click on the X here, you can go to the opposite side if you click again on X. And you can also left click and drag to move like this in three D space. Let's go back to camera view then. We have some settings under here. Do replace also the middle mouse button and the numpad. If you go to input here, you can enable this checkbox to emulate three button mouths. And the description says emulate middle mouth with Alt plus left mouse. You can also emulate the numpad main one to zero keys act as the numpad ones useful for laptops if you emulate the numpad. Now the numbers on the top of the keyboard can be used to replace the Numpad. Let's go out, and if I hold Alt left click, I will be able to navigate the ready space. Let's press zero, Not the Nm pad one, but the upper one to go to camera view. And yes, it works. Now if I do shift alt left most button, I can pan like this without changing view. The dot key on the Nm Pd is also important. So let's see some replacement. Let's draw a circle. Let's change the brush to this one. Maybe draw a circle. Do Enter or middle most button. Then go to Dm tab and we can select the circle and do the dot. We can also focus on just some of the points. Again, dot as a replacement, you either use the tilda key on the top left of the keyboard and we get the Spin menu. We hover over view selected and we release the tilda key. But not all the keyboards have the tilda key. Another way is to go to the view menu here and select this one, Frame selected. And yes, we can also add frame selected to quick favorites by right clicking on it and doing Add to Quick favorites. We can access quick favorites by doing on the keyboard. And we have this menu. We just click on frame selected. Now what about emulating the mouse wheel that is used here, for example to zoom in and out? Or if we go to Edit mode tab and we try proportional editing, let's change the select mode here to here. We have this influence area that is used in proportional editing and that is also controlled with the mouse wheel. For zoom, you can use the plus and minus buttons on the numpad, or if you have emulated numpad, you can use the plus and minus on the top of the keyboard To for proportional editing to you can use the page up and page down on the keyboard. 6. Viewport navigation: The simplest way to navigate the viewport here is by using the middle most button, the mouse wheel, and the numpad with the alternatives that we saw earlier. If you want to pen in camera view, you do shift middle mouse button and you pen like this. If you want to go out of camera view, you do a middle most click and drag. You can zoom in and out with the mouse wheel or by doing control, middle mouse button and drug like this. And you can get back to camera view by doing zero on the Nam pad, back again, zero. You can go to front view by doing one and to the opposite side by doing control one. You can go to side view by doing three. Let's zoom out with the most sphere to see the camera. You can go to the opposite side by doing control three, top side seven. Zoom out more to see the camera again as our guide. And then control seven to the opposite side. We saw how we can use the gizmo to navigates the view part two and to go to any side front view y, the opposite side by Ken on y again. And you see the minus sine here, X two side view, opposite side, z to top view, and z again to the opposite side. If you have the tilda key on your keyboard. You can also use the spine menu here to go to any side to camera view or also to view selected as we saw earlier. Let's go back to camera view zero, and now we have these shaden modes here. The ones I use most with green pencil are this Material Preview mode and this one Render Preview mode. You can also access them by doing Z. On the keyboard, you get the Spy menu and you can switch between solid rendered wire frame or Material Preview. In Material Preview, I like to go under this arrow and disable scene world so that I see a darker color and not the white background that will be shown in my render. If I go back to render view Z rendered, you see that I have again, my white background. This is an easy way to switch between two different backgrounds if you have objects or drawings that are hard to see in white background and vice versa. You can also change the actual background that will be rendered by going here under world and changing the color. Let's do escape to undo this change. And we also have overlays. The overlays are helpers or maybe objects that will be shown in the viewport, but that won't be rendered. If you disable this button, you won't see any of those grades or the camera or anything. Only the strokes or drawing or animations that will be rendered. Let's go to camera view and draw something. I want to change to a brush that is more visible. Let's increase the radius, maybe 500. And just now overlays are disabled and we can only see our word. Let's enable them again. And here you can disable or enable individual helpers. For example, we can enable the three decursor or enable the display of the three decursor. We will see later how this can be useful. We can also display the three D axis, the green one, that is the y axis, the axis that goes from front to back, the red one, the X axis from left to right, and the Z axis that goes top to bottom. Let's go back to material purview. And you see it's even easier on the eye when there isn't all that white on the screen. Under this button here, there are some overlays that are specific to green spencil like onion skinning like the canvas which will show us the plane on which we are drawing. These overlays specific to green spencil will also be controlled by enabling and disabling overlays from this. When you are drawing, you will switch a lot between en abline and Sabin overlays. That's why it's best to have a shortcut for it to create a short cut. Right click on this button, Go to a sine shortcut type in your shortcut, I usually use D and follow. Now if I hit disable overlays, if I hit it again, it is enabled. If you have a graphics tablet, you will map on your tablet buttons. Now we have this area here that is called the outliner, in which we see our grease pencil object. It's named Stroke, will name it two glasses by double clicking on it. Type in the name and enter, and you see it is inside a collection. We have also a camera object and it's also inside its own collection. Each grease pencil object has also layers. If you go here under object data properties, you see this layers paneled here. You can arrange the layers using these arrows and you can add more layers or delete layers. And you can rename layers also by double clicking on them and changing the names under this arrow. We have some options for our layers. This icon you see here, besides our grease pencil object represents the interaction mode we are in. Here, we are in draw mode and we have all these drawing tools. But there are more interaction modes that we can access from this menu or using the shortcut control tab to display the Pi menu to switch modes. Or you can just to switch between any mode we are in and edit mode. Here we went inside edit mode. This is a mode that I use a lot. And tab makes it easy to switch between this mode and any mode I was working in previously. One of the modes also is we do control tab again, Sculpt mode and here you can use these tools. Here each mode has its own tools to sculpt your strokes. Then we have object mode. Object mode will let you interact with all the objects that you have on your scene. You can go to object mode using the pine menu, or you can click on the icon besides your green pencil object. And when the icon goes, you switch automatically to object mode. And here you see that you can move, for example, your objects by doing G. You can also here select the camera and move the camera also with that means grab. And here in this mode you can also create more green Spencil objects. If I do shift a four ad, I can go here under green pencil and add the new blank object. Stroke object or monkey object. They are the same, but this one will have stroke pre, drown on it, left click. Move it with again shift a Greenpencil. Let's add the monkey. Now let's to the dot on the Nam pad. To focus on it, we can go to the outliner and select a different object. Again, go to the viewport and do the dots and we focus on the stroke object two. To delete objects, you can press the delete key on the viewport or select that object here in the outliner and also do delete. 7. Grease Pencil Tools add-on: You can use addons with blenders. Some addons you will download and install, some of them are free, some of them are paid. And some of them come with the package that we installed. Let's go to the Edit Menu Preferences, go here under addons, and you see that we have a lot of addons. And most of them are disabled so that you will only enable the ones you need, and they don't slow the program for nothing. Let's look for green Spencil and we find this Adon. Every green Ppencil user should enable and use this Adon. Let's enable it. And then save Preferences. Let's get out, let's draw something. Now if you hit to display the side menu, here you can see a new tab called Green Spencil. If we click on it, we get some tools related to Green Spencil. One of them is camera mirror flip. This helps you flip your canvas very quickly. And it's useful for artists because it gives you a fresh view on your drawings. And you can even keep drawing while the canvas is flipped and do any edits to your art. And this arrow icon here tells you that your canvas is flipped. We can also rotate the canvas by doing control out middle mouse button. And this can be very useful when you are using a graphics tablet. And if you wish to reset the rotation, you keep the out and control pressed. And you do a simple middle mouse button click. Another useful feature is time line scrubbing. If you are doing animation, you will have a lot of key frames here. Usually you should move the playhead to navigate the time line. But time line scrubbing lets you do that here on the viewport just to Alts middle most button. And you can scrub without the need of going to the time line itself. The Adon allows us also to navigate and manage our layers just from the viewport by present the Y key. And now you get this layer navigator. You can select the active layer release. And now we can draw on this active layer. You can hide a layer or lock a layer. You can go outside and we are still pressing Y and change layer. And you see that the layer that's not active is faded now. And this red color here means that this layer is empty. And if you do while you are still holding Y, you can disable or enable auto inactive layers. Usually to do it you need to go under this arrow here or here in the layers panel and enable or disable auto lock inactive layers. This feature will lock any layer that is not active here. It's very easy to diabulate and enable it y and then disable again, and it is enabled again. And you see that the layer I hover on is unlocked and the others are locked automatically. These are just the most common or the most useful features maybe. 8. Prepare to draw: Before we start to draw, there are a few things that you may want to check. The first thing is the resolution. You go here under this output tab and you can see your resolution here. You can change it to whatever you want here, it's at full HD, the frame rates here, it's at 24 FPS, and this is what we want. But you can click on this and choose any of these or do custom and change to any frame rates you want. Here you may want to check your drawing plane. By default it is on the word origin and facing the front. There are some settings for changing the drawing plane placements in this dropdown and this one. And we will see these two later. Let's go back to camera view zero. You check also your active layer. And they're here because the active layer is the one that your strokes or your drawing will be put on. You change it either here or here, or using the Y key and choosing the active layer here. I will also rename this layer to Gram and change this one's name to lenses Enter, and then make my frame layer active. Again, you make sure also that you are choosing the right tool, in our case here, the drawing tool, the right brush here, because each brush here behaves differently. And the right material tube, because each brush needs a material to be able to operate, we can choose the material from this drop down or by using you on the view ports, we can change the active material, quickly escape or here under the material panel. And you see that each material has a different set of settings. The solid stroke has stroke enabled, fell disabled, We have a line type of line. The square stroke has a red color, has a line type of squares, and also has stroke enabled and fill disabled. The fill material have stroke disabled and fill enabled, and we can even draw fills with our draw tool, which is great. Then we have the dot stroke that uses a line type of dots, a black color, and of course, no fill. The difference between a material that uses dots or squares and the material that uses line can be shown. If we go to Edit mode tab, let's zoom in on these two strokes here. Let's change here to select Points. If the Nampad emulation is disabled, you can use the 12.3 keys on the top of the keyboard to change between these three modes. Let's choose point select. And if I select a point here and move it with G, grab it with. You see that every point is connected to the next one with a line. But here on the stroke that with drew using the air brush, If I do and move this, each point is separate from the others and there is a circle on it. We can select all these points by hovering the mouse pointer over it and doing L to select linked. And we can assign a new material. If you choose square stroke a sign, you see now that each point has a square on it. If you choose solid stroke A sign, now all the points are connected, used in lines. Let's try to change to render preview. And now you see that we have some glitches. And this is why it is important for some brushes to use a dot stroke type and for others to use a solid stroke. Let's go back to camera view. Sum out a little bit. Let's delete everything here. Let's do A to select everything and then X to delete. You can choose points or strokes because everything is selected and you can choose the solve. I usually do X and then D because the X is closer to D and it's easier. So D and everything is deleted. Now tab to get back to draw mode. And let's choose the air brush again. Here you see that the dot stroke is pinned, because it's a very important material to this brush to work properly. If we disable the pen and choose the solid stroke, now we have this is, so let's get it back to dot stroke and pin it again. And the brush we will use for our glasses is this one. The pen, this brush has no pressure sensitivity. It has a strength or opacity of one, and it should use the solid stroke. So let's choose the solid stroke and let's pin it here. Now we don't have to worry about the material changing even if we change the active material here or also if we switch to another brush that has a different material and then gets back. Sometimes if it's not pin, the material will change to that of the previous brush. You will also have to decide if you want to use lights or not to use lights. As we saw previously, we can disable use lights here under object properties and their visibility. And you will have to check this for every dispensile object that you add. You can also here under object Data properties in the layer panel, disable or enable use lights individually for each layer. So maybe you want to use light and you want to disable it only for some layers. The last thing you may want to check is your pressure sensitivity if you are using a graphic tablet, of course. And it may take some testing to adjust it depending on your model, et cetera. Let's choose a brush that uses pressure sensitivity. The air brush, for example, go here under Active Tool and workspace settings. These are the settings of our draw tool, since it is the one selected here. If you expand this brush settings, you get the radius or thickness of your brush. And pressure sensitivity is enabled here with this graph to adjust it. And the same for strength, not that sometimes opacity is named strength, and sometimes opacity in grease pencil and pressure sensitivity is also enabled. This graph says that the radius of your brush will start from zero and adds 100% dependent of the pressure. If you want to increase this, you go to the corner, you click and move it up here, it's about 50% when the pressure is lowest. It won't start from zero, but from 50% of the thickness that you set here. You can also click on this point and lower it. And you can even add points in the middle and play with your graph as you wish. You can do the same here too, if you want to reset your graph. You go to this arrow and click on Reset curve. 9. Draw glasses frame: Again, let's select our layer, and let's select our pen brush. Let's start drawing our frame. We can use F to increase the radius or the thickness of the brush. And we can also use shift to change the opacity of the brush. I want to keep it at one, it's just to escape. I could of course, use the circle tool, but I want my circle to be a little bit more natural. And to show you some editing techniques too, let's draw a circle. I want the circle to be mirrored to the other side. I go to the modifier panel. Here, I click on this icon and I add a mirror modifier. We have a lot of modifiers here and we won't touch at every one of them in this class here in the modifier, by default the Xs on which to mirror the circle is x. It means left and right, and this is what I want. I keep it like this. I will go to edit mode by doing tab in the Viewport. Let me select my circle. And it's not a real circle because it's open here so as to four fill to close the circle. And now to edit the circle easily we go here and enable curve editing. But before enabling go here, click and we change some settings here. First I'd like to disable adaptive resolution. I'd like to change the curve resolution to just 16. I think it's enough. I found that a good threshold with not so many points and not much distortions is 0.3 So we do enter and now we can enable curve editing. You see we've got here four points. Two edit our shape. If you had a lower threshold, we'll get more points, and with more points the editing is harder. You see that we can select just one point, and that is because we have stroke select mode here enabled. Let's select point select. And now we can select a single point you can move it with, you can also rotate it with. And we can also select the handles and move them with. Let's do some editing on the circle. You see that when we enable curve editing, the other mirror disappeared, but don't worry about it. It will appear again when we disable curve editing. Again, I think this is good. Let's disable curve editing. Let's select the whole circle by hovering over it and doing L. Or by selecting one point and doing control L. Then we can move it with and put it closer to its mirror. Maybe it needs a little bit more editing and I will do it in sculpt mode. Let's to control tab, put the cursor over Sculp mode and release control and tab. And now we have this brush selected, the push tool, we can increase the radius of the brush or the tool by doing, I think I will disable overlays to see my circle more clearly. And I want to just push the sport here a little bit. Don't worry about the mirror, it won't be edited, only the real circle will be sculpted. I think this is good. Let's go back to Edit mode tab again and enable overlays again, D. 10. Drawing temples: Now let's draw a temple. First, we go here and we add a new layer, and we name it temples. We make sure it is the active layer of course. And I want to change the canvas placements to be able to draw in three D space and draw the temple on another plane. First we select the point from which you want the temple to get out. I will change the three decursors place to this point. Here I do shift shift for snap and we will snap the three decursor to that point. Cursor to selected. Here is our cursor control tab, draw mode. And here we change the canvas sentence from origin to three decursor. Now it is on the three decursor, and looking to the front, we can change here to the side, for example, or the. We can also change to cursor. Now we can change the rotation of the canvas using the rotation of the three decursor. To change the rotation of the three decursor, you do n to get the side menu here and you go under view. And then three decursor, we change the rotation from here. I think we should change the y axis rotation. That is the axis going from front to back to make this canvas vertical. So let's change the rotation here. I don't want it to be exactly vertical, but a little bit inclined like this. I think this is good. Let's do end to height this menu again. Let's do three on the nam Pad to see our glasses from the side view. And we will start drawing the temples from this point where the three decursor is from here. And we draw something like this. Very nice. Let's check it. And these are our temples. Now let's go to Edit mode tab. Let's do three again. Let me select my temples. I can select one point and do control L. And I want to edit this shape a little bit, but instead of using curve editing this time, I'll go here under point smooth and we get this menu here that has collapsed. This is called the last operation menu, and it allows us to change the sittence of our operations after we've done the thing. So we can increase the repeat value here. To increase the smoothing like this, let's collapse it again. And now I want to make the temples a little bit thicker from this side than this side. To change thickness. In added mode, a very important shortcut is Alt. And you can change the thickness by moving your mouse Let's to escape and to change the thickness proportionally, we need to use a tool called Proportional Editing that you can click on here to enable it or do the shortcut on the viewport. To use it, we just select one point from the temple here, and then we do alts to change the thickness. And now we have the circle that we can increase or lower with the mouse wheel. I think this is good. Let's check it. Middle most button drag. And we have this now I want to add gradient here on the tip of the temples, back again to Draw Mode tab. And I will choose my Tint tool here. Then I have these colors here to change colors here. Or choose from this palette here. I will create a new palette by clicking on this icon. Add new palette, then rename it two glasses. And then I can edit my colors here. I want something close to pink but darker. Then I can add this color to my palette by clicking this plus button. Let's add more colors. Let's add a white color. You can also click on this color here and change the sentence from these sliders. Or enter a value here. Here I want to lower the saturation to have a white color. And I will add to my palette. Now we change the darkness here and create a black color. I will add the black color to, to my palette. Now I choose this color again with the tin tool selected. Let's move a little bit here. Let's increase the size of the, I don't know the brush. And we can color this part here and create a gradient. 11. Fill the lenses: It's time to fill the lenses. So we select our fill tool and you see here that solid stroke is selected. What's also great with gris means is that you can fill using a stroke material. But of course we will need a fill material and we will need to pin this material so that we don't accidentally change to a different material and get confused when some weird things happen. I want also to edit my material, so I go to the materials panel with the solid fill selected. Let's rename it to lens fill. And let's go here under Fill, and change the style from solid to gradient. And we can edit these colors. So I want one to be black and the other one I want it to be the color we used here on the temples. So here we can have our palettes, but there are some tricks to copy this color to here. Let's select our Tin tool just to get our color from here. So you can either go here over the color and do E on the keyboard to summon the eye dropper and get the color from here by left clicking. Or you can, Let's change the color again. Go here and do control C to copy the color. And go back here and do control V. Another way to do it, let's change the color again, Go here, left click, and drag the color on the other color. Depending on what you are doing, you may find that one of these methods is the best for your use. Now let's go to camera. You select our pill tool again and try to fill one click. And then on the second click it works and it seems to look fine. But if we get out of camera view, you see that we got a very weird result. That's because we forgot to change our plane back to its original placement on which we drew the frames. Let's do control Z to undo this. And then go up and change back to origin. And here, change back to front, back again to camera view. And again we do click and the second click to film, but why do we need a second click? Let's do control Z again and select our pen tool again. Let's draw this shape. And then I'll draw a different shape like this one. Now I select my fill tool again and try to fill the shape. So the first click will get nothing. But if I move my mouse wheel, I will get these lines here and these are helpers to fill the gaps. Now if I left click again, I can fill this shape even though it is open from this side. And then if I try to fill this one and use the mouse wheel, you see that the lines are almost parallel and don't cross, so it's harder to fill this shape with this method. So let's do escape. And there is another method to fill gaps and advance. I think, yes, gap closure mode, I change from extent to radius. And now if I try to fill this gap, I will increase the size of these circles with my mouse wheel, and when I get this line, I can left click again. Let's do control Z, Control Z. So this is how we fill your gaps. If you have gaps in your drawings. Let's do control Z control Z to delete these shapes. Since I don't have gaps in my shape, I can disable gap closer by going again here and untaken in this check box visual escape. And now I can fill with just one click. So we have this and you see that we have a gap inside the fill because of the temples. What's good is that we drew the temples on a different layer and you see that I made a mistake. And I was selecting the temples layer when I filled my lenses. Let's took control Z. And let's select my lenses layer so that the fill goes here, not here. Then I should hide my temples layer. Let's go back to camera view zero. Let's try to fill again. One click and the lens is filled. But this is not the orientation I want of my ingredient. I will do Tab and go to Edit mode. I will do Y. And then to lock in active layers so that I can select my fill easily. You don't need to select the whole fill, only one point from it. And then you go to this tool here, transform fill. And this tool has three molds here on top, so this one is rotate. And now if I left click and move my mouse, I can rotate the fill. We have also scale. If I move the mouse, I will scale the fill. It's not very visible because I guess the edge of the fill is outside of the visible area. Let's translate now to move the gradient to a different location. Now I can rotate again. Then I do scale again and scale this gradient to make it larger. Then translate again and move it up. Let's go out of camera view. We can enable our temples. Now let's disable overlays D. I'll go to my lenses layer and decrease the opacity. We have this look. 12. Draw the bridge: You may have noticed that although the arms or the temples of the glasses are behind the glasses, they still show in front of the frame and the lenses. This is because of a sitting under strokes, it's called stroke depth order. Here it's on two D layers molds, that means that the layer on top will show on top of the other layers. If you draw a stroke, a recent stroke inside a layer, it will show also on top of the older strokes. So if you go down again and we change to three D location, now everything close to the camera will show in front of anything behind it. But you see that we have some problems here. The first thing is this glitching between the fill and the stroke of the frame. And that's because they are on the same plane and they are fighting for which of them should show in front. The second issue is that the transparency of my fill is no longer working. That's why it is almost always better to use the two D layers mode. When you are working on a two D or 2.5 D drawing or animation. What we need to do is to move the temples layer behind the other layers. I want also my lenses to be in front of the frame to get this effect here, the edge of the lens on top of the stroke. This is about stroke depth order. Something that you need to be aware of when you are making your future creations. Now let's not forget that we drew only half our glasses, even if we can see the full thing. So let's go to our modifiers panel. And we need to apply our mirror modifier so that the other half becomes real. Let's try to disable it first. So now we see on the half, let's try to apply it. We had this arrow and do apply and we get this error. Modifiers cannot be applied in paint, sculpt, or edit mode. This message means that modifiers can only be applied in object mode. Let's get through object mode control tab, object mode, let me enable overlays again, D and we have our glasses selected. I think we don't need the canvas anymore, it is distracting. Let's disable it. And let's go again to our mirror modifier and do apply. And now I want to draw the bridge between the frames. Let's go to Camera View. Let's go to Draw Mode Control tab. And let's select the Arc tool from here. Zoom in a little bit and you see that we have a film material on our Arc. So let's disable the pin. And let's select our solid stroke. Maybe pin it again. Let's try to go to the fill. It looks like a bug to me. The field tool should still have a film material pinned here. That's really weird. So let's remove the pin anyway. And we have solid stroke here. Why? Let's select our frame layer, release Y, and let's draw our arc here. Just left click and drag. Release your mouse button. And now we have these points that we can addit further, These edge points and this blue point that we can move and change the arc direction. If you want to change the thickness of your arc, you can do and change the thickness by moving your mouse. Then left click when you are satisfied. And then middle mouse button or enter to apply your arc. Now I want to go to edit mode and I want to make this arc thicker in the middle. Let's select a point in the middle. Let's use proportional editing. It's enabled here. With this point selected, we do alt S and use the mouse wheel to decrease the size of the circle, and you see that it is still affecting the frame strokes. Let's do escape, and let's go here, under this arrow. And we choose here connected. Only now only the strokes that have points selected will be affected by proportional. Let's do again Alt. And now we don't have to worry about our frame being affected. Left click again. Now I want to give it a color just like our temples. Again, camera view. Let's go to vertex paint more this time. Control tab, hover over vertex paint release control tab. And now we can choose our color from here. You see that this is the default palette to choose our new palettes. We click here and we choose glasses. We select our color. We can increase the size of this brush by doing, just do a quick left click here. Maybe another one, Va. 13. Draw reflections: Now I want to draw some reflections. Let's go back to camera view. Let's add a new layer y, and you see these plus signs here. If you click here, you'll add the layer above the lenses layer. If you click here, you can add a layer above the temps layer or under the temples layer. This is our new layer. Let's make it active and let's release Y. Let's go to draw mode. Let's select our draw to. Thankfully, our solid stroke is still pinned here. And this time we won't use the material color, but we will use color attributes. What's great about material colors is start, if I want to change my frame color, now I just select my material, go here under stroke and change the stroke color. Now I have a completely different color without having to edit anything or draw anything from scratch to escape. But if you use a lot of colors in your drawings, you won't be able to create multitudes of materials with different colors. This is where we can use instead color attributes with our materials. And this is similar to what classic drawing softwares use. Let's click on this color here and change to white. Let's increase the size of the brush. Let's draw some strokes here. I want to draw something like this. Let's decrease the size of the brush and draw another line and another one. Now I want to go to Edit Mode tab. The transform field tool is still selected. Let's select our selection tool. Let's disable proportional editing and let's enable overlays. I want to select this stroke and I want to enable curve editing to create more zigzags here. Let's delete this point here or dissolve it by doing x D. You see there is a line under D here, D. I want to move this point here, and then I can extend my line. So you can draw inside edit mode, and that's why edit mode is very powerful. If you do E, you will extend this point and you will create a new line. Then again, extend again, and again. I will do the same here, G. Let's move this point a little bit. I can rotate it with r little bits and then to extend again again again, The reflection will only show inside the frames. But you will see later why we need all these extended stroke here. Let's select this one now. It's hard to select it. Maybe with a box select. Yes, let's move this point up here and then this one here. Let's do L to select everything. And I think I will change its thickness a little bit at now. Select this one. Let's try to box select it again. Move this one here. I think I will dissolve this 0.2 x D. Select this points. Move it up. How over to select both points and maybe increase the thickness This time alt increases just a little bit. Now let's select this coy. Again, hover over it, and I think I will decrease thickness alt. Now we can go out of curve editing mode. And I want to select all these strokes and since the other layers or the active layers are locked, I can do just a, anything in the other layers is not selected, shift to duplicate. Maybe I can rotate them a little bit shift again. Let's rotate it a little bit. Shift again again, rotate just a little bit. I think this is enough. You may add another one. Now let's do the opposite shift again. And now you see that these strukes are on the same plane of our frame, but I want to create a parallex effect. For that, I will need to move these strokes a little bit forward. I do a to select everything. Let's move in three space here. I want to move them halfway between the frame and the camera. I will do and Y to restrain the movement on the front to back axis. And move them a little bit here I can do three to be more precise and see where it is in the middle. Of course, it doesn't have to be exactly in the middle Y. And move it a little bit more. Back to camera view. I think I will resize my strokes because they are closer to the camera. They look bigger. I do to resize them and I think this is good. I want all three of these lines to show inside this frame. Maybe move a little bit. Maybe I should have added another column from here. Let's select these three. While each of these three has some points selected, I can do controlled L to select the whole of the and then shift the end again and be sure you are in camera view because the camera view is looking at the front or on front view. When you do this by doing one on the keyboard here, you will be safe. And you will know that you are moving your strokes in this flat plane. If you are on different plane and you move your stroke like this, it will move out of the plane. As you can see here. Make sure you are either in camera view if your camera is face and front, or on the front view. Let's rotate these strokes again, little bits and move them with back to camera view. Now, how to hide everything of these strokes and keep only the parts that show on the lenses. For that, we go to our layers panel. Let's rename our Reflections Layer Enter. And let's hit this dot here to add a mask or to mask this layer here. Under masks, we will choose the layer that will mask our reflections. That will be, of course, our lenses layer. You hit this plus button and you choose lenses. Now all you can see are the parts inside our lenses. If you want the opposite effect, that is to mask the parts that are inside and show the parts outside, you go here and invert your mask. Now all we have to do is to decrease the opacity of our reflections. Here we do this disable overlays. Again, let's go out of camera view and you see that we have the school parallex effect. You see also why we extended the lines so that when we rotate the glasses, we don't get to the edge very quickly. We still could have extended them more. But I think it can have a cool effect if your animation is fast enough and the reflections disappear quickly. Also, if you get closer, you see that at some point the reflections disappear. And that also is a cool effect. That's because at some point the strokes now, since they are in front of the lenses, are behind the camera or your point of view. 14. Draw the background: Before I start drawing my background, I want to change the resolution to a square format. I will copy this value here, control C and pasted here control V unter. Now we have a square frame, and I want to get it a little bit closer to the glasses. So I will select my camera, and I am in object mode, of course. And I will move my camera, let me enable overlays again on the y axis, going front to back again, zero and do to move the camera Y to restrain it on the Y axis and move it a little bit closer. Then I will create a new objects. Shift a grease pencil blank object and name its background. Enter. Go to Draw mode, and I want to go here to the tool settings and here to download and import texture brush pack. So this is an extra free brush pack made by Mattias Mendiola. It's also a great asset to have for any Grespencil user and this option here comes with the green pencil tools add on that we enabled earlier. So if you have it disabled, you won't get this feature. Let's left click on it. This is the easiest way. Let's go here and expand this. And now we get all these extra brushes with a click of a button. We will start by drawing the sky, and for that we will use a basic brush, the air brush. We will use color attributes and we will choose a color, a bluish color for the sky. I will add the color to my palette. I think I will increase the size of the brush a little bit. I will draw the sky with the mouse. If you have a graphic tablets, this will work much better. These gaps here you can fill either by painting like this or you can go to sculpt mold. You can use not the strength, this controls opacity, but the thickness. And you can increase the size of this brush. Let's do D to hide all these lines and see better where there are gaps. You can, for example, click here and make the strokes a little bit thicker. In the spots where we click, thicker means that some gaps will be closed. Let's go back to draw mode now. Let's make a darker blue for the C. Let's add the S color to the paletto. Maybe we should hide the glasses. I will add something like this and draw the C. We can also play with this in Sculpt mode. Again, we can use another method to sculpt. Let's select Stroke Select Here, let's enable overlays again. Now we can do Alt and select the strokes of the C. This, of course, needs to be enabled With that, sculpting will only affect the selected strokes. We can also do Alt shift to add to the selection. Now we can use the push tool. Let's disable overlays. Again, we can make this arc here look better. Maybe pull the edges here. We can also try to fill these gaps using the thickness tool. You see when you zoom, the brush size doesn't change. Instead of changing the size of the brush, for example, instead of making it smaller, you can zoom. And automatically the brush size will be smaller relative to pure work. Now we are working with the thickness brush tool and it is only affecting the strokes that are selected even if we can't see them because overlays is disabled back again to draw mode and this time I want to draw the sand. I will select a new brush, this one texture oil two. Let's change the color to something more sandy. Let's add it to the palette. And I want to increase my brush size a little bit. And the maximum using F is 500 pixels, But we can increase further here. Let's type in 800. And I don't want to paint my sand on top of the C. So I will do control Z and I will enable this button here. Draw strokes on back, so now I can paint my sand behind the C. Seems that I forgot to check my layers. I just started drawing without checking or creating layers. But this is a good chance to see how we can fix things that we didn't do. Right. At first, I will create a new layer and I want to have a layer for the sky and another one for the ground or the beach and the sea. I will name one sky and the other one beach. Let's add a capital letter here and all the drawings are in the beach layer, so I can go here. Let's enable overlays. Let's go to edit mold. I will try to select all the strokes of the sky. To move them to the sky layer. So I will box select. We don't need to select everything, but we can do control L and we do M, M for move. And move these points or these strokes to the sky layer. If you miss some of the strokes, you can select them again and move them again to that layer. Now the sky is in front of the beach. Just move this layer down. Now I will add some magic to this simple drawing using the Tin tool. Let's select it. Let's go here over the color and do summon the eye dropper. I won't just pick colors from here, but I will click and drag to create an intermediate color here. Let's decrease the size of the brush. With this a little darker color, I will see that I accidentally painted the C, so I'll do control Z and do Y. And to lock in active layers, keep the sky layer active and release Y. And now I can use the Tin tool on the edges of my sky. I can use that trick again and click and drag. And now I create another intermediate color. Again, try to do this. I think it's starting to look good. We can do this multiple times and adjust our ingredient. We are creating an ingredient here. Let's select this initial color of the sky and get a little bit closer to a greenish color. And create a circle here in the place in which we want to add the sun. Then again and D here and a little bit of gradient, it starts to look like a painting like this. Maybe make it a little bit darker on the edges. Again, like this. And try to make it like this, We are only working with the mouse. Imagine what we could do with the graphics tablet. Now we do the same between the sea and the sand and create a gradient on the sea. Let's do y and select our beach layer. Now again, move like this and created this nice purplish color. Let's zoom in, and let's again E again. And we blend our colors and we get this really nice effect. Now we are almost drawing wet sand here. Don't worry if it doesn't look good at first. Just keep trying and it gets better. Maybe decreased the size. Let's try to do straight lines. I think this is good. And then let's add my sun back to the draw tool. Let's select this brush here. Sketch one, I think. Choose a yellow color for the sun. Maybe increase the size of the brush. Let me do y to check if I am on the sky layer and the sun, it disappeared because draw strokes on back is still enabled. Disable it. Do control Z to erase the sun behind and create a new one. Let's add some rays. It seems I drew it on the wrong layer. That's weird. Tab again to edit Spot Able Overlays. Select my son. No, it's not selected because I'm on the wrong layer and the other layer is locked to the beach layer. Select my son M. Move it to the sky layer. Why? And unhide my sky layer. Back to draw mode. Let's check again why we can go out from here and fade the active layer. So yes, we should be good And back to the beach layer now. And we change the color. We keep the same brush white and we draw some waves. I only wish that these waves closer to the camera are thicker than the ones behind. And we can do that in sculp modes, to sculp modes. But now how can we sculpt the waves without affecting the sea? There are several options to filter strokes and materials and layers, Use them. This menu here. But there is another simple method. By going here to the material spanel, you see that we have more materials than before. Now graphite two is used by the material of the waves and the sun, and Olio two is used by the sand. If I hide graphites, I will hide the sun and the waves. So we can edit this material without affecting the other materials by just locking these. So we click on one of them and drag on other rests, and now they are locked and they can't be sculpted. I will use the thickness tool and make this wave. Am I on the wrong layer? No, we just have selection enabled. So let's disable it and this is too much. You can use the edge of the brush if you want lighter influence, we click repeatedly and make the sky thicker, We do the same here. You can do control to invert the effect of the brush. Either this or you change here from plus to minus, again, make the sky a little bit thicker and shift middle most button, move here, control and make these ones thinner. I want to make these also a little bit shorter so I use the push tool and push them a little bit like this. Then again the thickness tool and make them thinner. We can also decrease the strength that we have less influence on the strokes. Let's make the sky even thicker, disable overlays, and I think it looks much better. Of course, you can create any background you want and even the glasses, you can create a different shape of glasses in the project you are creating. When you finish sculpting, don't forget to unlock your materials again, because you may get some weird issues and you have no clue what's happening, and it's just some materials locked here. Now we can go back to object mode. We can unhide our glasses. Let's enable overlays. Again, I want to move my background back in three D space so that it's not overlapping with my glasses. G, Y, to restrain it on the y axis. Then back to camera view since it's further from the camera, it looks smaller from this point of view are resize it using S. And there is a little problem with that. Its origin point is not on the center of the object and that's because we didn't put our three decursor back to the origin of the world. Let's to shift S and move the selection to the cursor. That's the place it was on initially. Hover over this and release shift S. This is another example of how to fix something that we made wrong. First we need to put the cursor back to its original point shift and cursor to world origin. Now with this object selected, we do a right click and we do set origin origin to three decursor. Now since the three decursor is on the word origin, our origin point of our object is also on the word origin. If we rotate the object, it will rotate on this center point or origin point. If we resize, it will also resize on that point. Let's again move it back, G, Y, and move it here, back to Camera View S to resize Sable Overlays. 15. Animate!: Let's go back to camera view and we'll add some animation. The first thing I will change the duration of the animation from 250 frames to just 60 frames. Let me enable overlays. And let's go to the modifiers panel, and this time we will add a noise modifier. This is a very popular modifier and an easy way to add animation to your scenes. If we play this, see that we get a noisy animation and the background already looks cool with the default settings, I want to decrease the position here so that the placement of the points doesn't change too much. Then we can play with the strength to, it means the opacity of the strokes here. In addition to the change in position, there is a change in opacity. And we can play with the thickness to here, the thickness will get up and down randomly. I will decrease these values, maybe put the opacity one to zero. And we can also increase the noise scale. And the more you increase this, the more frequent the changes will be. We get like a wave effect. And those waves seem to get smaller when we increase this and larger when we decrease this. You see here at zero, it seems that the whole stroke is getting randomized instead of individual points. Let's keep it halfway here. And here we have the randomized check box. If you uncheck it, the noise won't be animated anymore. If you expand this, we have two modes here. We will use steps, and we have a step of four. And that means the noise will change every four frames. And we can decrease this. And now we have the noise changing every single frame. Let's put it back to four and stop the animation. And get back to frame one by doing shift right arrow. That's the easiest parts animate in the background. And now we will animate the glasses. For this, we need to have auto key in here enabled, so that blender creates key frames automatically. Then I like to have in my settings under Edit preferences animation, I like to have only insert available checked here, so that blender only inserts key frames if there is already a similar key frame or a key frame of that type inserted. And this helps reduce the clutter so that blender doesn't create unnecessary key frames. I will save my preferences here. And then let's swim in by using the Most Wheel. Let's do the dot on the Nam pad to focus on our playhead. And you see here that we are in the P sheets in the green pencil mode, and I want to change this to the Dop sheet mode. Greenpencil mode will only show us our grepencil key frames. It means the key frames related to our drawing. But the P sheet will show us all kinds of keyframes, including the changing of location or rotation, et cetera, of our Gredpencil object. The key frames we will do in object mode with the glasses selected here in frame one, I want to rotate my glasses a little bit. Let me do R x to rotate it on the x axis, and then R z to rotated on the vertical axis and have the slick here. I want to move them a little bit to the site. And X to restrain it on this axis here. Now we did transform our glasses, but we didn't insert key frames, we will do for insert. And as you saw, we only changed the location of the glasses. We moved it on the x axis and changed its rotation. We didn't touch the scale, so we will add key frames for location and rotation. Here is left click, and now we have new key frames here. Glasses, action object transform, You can expand this. And you see that we have three key frames here, The R for location and three key frames for rotation. I want to hide the sidebar here we do n. I want to go to frame 16. Here, I will transform my glasses further. First I want a close up to this lens here. I will move the glasses closer to the camera. And Y to move it on the Y, Xs. Let's rotate it on the X axis or X, and then on the z, x, R, Z like this. Maybe also on the Y axis, Y. And you can rotate it like this and move this lens here to the center. Let's put the cursor here and do the dots on the Namphad. You see that we new key frames here and here. We see why insert only available is useful because it created only the key frames that we already had in frame one and didn't add key frames for scale. Let's check our animation from frame one to frame 16. I want now to copy these key frames from frame one to the end, but not to frame 60. I will go one frame after our animation ends. I will select the points here, besides object transforms, to select all these keyframes under it. Shift D, duplicate these frames to the end of my animation. Now if I play again. I already have my loop. To make it look a little bit better, I will add a shaking at the end. Let's start from Frame 52. Here I will do insert again, and insert agangee frames for location and rotation. Now there is no change at all, but we did a blocking in this spot. So that when we animate in one of these frames, slender will add an interplation from this frame to here, and not from this frame to here. Let's go to Frame 55. Let's rotate the glasses. Since we are facing front, you can just do R and it will automatically rotate the glasses on the Y axis, we just rotate like this. And then again to frame 58 and R and rotates to the other side. Let's check this now. Now I want to add animation to the temples to make them close and open. But I don't want this animation to interfere how to disable this animation without deleting it. You may have noticed that here we have something called glasses action. If you click here and open the drop down, we can switch to another mode called Action Editor. This animation that we created was added to an action that was automatically called Glasses. Action. We can rename it something like glasses, port enter. Click on this icon to enable fake user. And that means that Blender won't delete this action even if it's not used by any of the objects in our scene. Now we can remove this action from our glasses object by hitting this X button. And here you see that our key frames disappear. Now we go back to frame one shift white arrow, and I still have my glasses selected. I will reset their transformation, so I do alt R and alt G, and now the glasses are back to their original position, and I can go to edit mode. I will enable overlays again and we will start to do a different kind of animation using green pencil frames and interpolation. Let's first change back mode to Grepencil, and here are our Grepencil frames back. I will choose my temple layer, and I will go to frame 27 and duplicate this ski frame to frame 27. Or I can do control C, control V, and it will be pasted in frame 27. Then I will go to frame 52, and again do control V to past the ski frame. Again, somewhere in the middle I will close the temples, make sure also that auto kin is enabled. So that Blender adds a new keyframe here and not just alter the previous keyframe. It's good also that we have auto lock layers enabled so that we don't mess with the other layers accidentally. Now I will zoom in and try to select the first point of my temple here. Then I will do shift and move the cursor to selected. And then here's an advanced trick for you. You see here transform pivot point. It means the point from which a stroke will pivot. If select this temple, hover over it, and do L and rotate. It rotates from the end here of this dashed line, but we can change this to three decursor. Now, it will use the location of the three decursor as the origin point for rotation. Let's to escape and to close the temples. I guess I will do seven to look at my glasses from the top. Since we are facing the top, we can just do, or we don't need to hit Z next. And close the temple. Then let's choose the first point of the other temple. Again, shift to snap the cursor on selected, hover over it and then again rotate R and we have this. Let's change the angle. I think I will lower it a little bit. Is to one to face it or zero R again. And rotate it like this. Now it is rotating on the Y axis. Because we are facing the Y axis, maybe like this. Should have done it for the other temple before we changed the cursor's location again, shift cursor to selected L R and rotated like this. Can use your right and left arrow. On frame 40 we have this, and on Frame 41 we have this. Now we can go between these two key frames, and you can either go to grease pencil, interpolate sequence, or if you are in draw mode control tab. Draw mode, you go to draw interpolate sequence. Or in any of these two modes, you can do the shortcut shift control. Back to edit mode so the temple is later selected. We are between these two frames. We go here on the viewports, we do control shift E, we have some settings here. You can choose to affect all layers or only the active layer. In flip mode, you can choose to always flip the strokes. In this case, I guess no flip is the best option. Let's collapse this menu and check our animation. And it seems to be fine. Now we go between these two frames and again on the viewpoint, and we do control shift E. And now it should use the same settings that we used before. So this is something to be aware of, that your last seance will be applied again to further interpolations. Let's check this animation from a different angle. It's not perfect from this angle because the temples seem to get shorter before they get to the original size again. But from this angle it doesn't look bad. Now we can again switch to the action editor here. Let's go back to camera view. And let's go here on this icon and bring our action back glasses back forth. You see we have an F in front. It means fake user and it means it is a protected action, and that's why it has the shield here. Now let's try our full animation space bar with the noise of the background. With the animation of the glasses back and forth and with the temples opening and closing. A very quick and satisfying animation, wasn't it? 16. Add visual effects: Let's go back to object mode by hitting this icon here. Let's select our background and we'll add some visual effects that we can find under this tab here. And I want to add a glow effect or the background, know that you can't see the visual effects unless you are here. In Render preview, the mode is luminous. The threshold means how light the colors should be to have a glue added to them. Maybe here is good and you see that it is pixelated. And to have less pixelation, you can increase the samples here. I will increase this to 16. This is, I think, where a grease pencil tools feature is useful. I can go here and click on this button. This is the real size that will be rendered. So if you can see pixelation on this size here, you see we can see squares here. It means that you need to increase the samples though. Again, 16, it seems to look fine. I'll change the sculor. I'll just play with the hue, maybe to something yellowish. I will change the blend mode to add and let's play with the threshold again. And also with the opacity I can disable and enable my glow effect from here. Of course, you can play and experiment with these settings as you want. Maybe change the blend mode, change the color here, the threshold, and see what works better for you. Then I will select my glasses. I will add a rim effect and see that we have this yellow color here on the edges. Go here and expand blur and change to 300 pixels. You need to change it in both x and y. If you don't want more blur on one axis and less on the other, then I guess I will change the samples two to something higher. Let's to eight and I will play with the offset a little bit. The Y means up and down, and the X means left and right. I will get it higher and maybe changed to X offset two. I think this looks good. And now I will add a blur effect. I want my glasses to be blurred when they come near the camera, and then gets back on focus when they come here. Or maybe at this point here, I will go to frame 16, where they are closest to the camera. And go to the size here. And do I to insert key frames for the size. You see that we have two new key frames, X size blur and Y size blur. Let's go somewhere here. You can click on one, keep your left mouse button down and drag down. And then release your mouse button. And now I can type zero enter. And it will change for both fields here. And a key frame was added automatically because I have autokin still enabled. Then I can go somewhere here and copy these two key frames. Let's try control C, control V. It worked for only one. Okay, let's do it again. Control C, control V. Let's test the animation again. Yes, it blurs when it's claws and then gets back on focus. Sir, is that, I guess we are finished. Congratulations. You created your first animation in Blender. 17. Add sound: Now I want to add some sound, and for that we should open a new panel. We go here and we change here to video sequencer. And here we can add video clips or audio clips. Let's stop the animation shifts left arrow to go to frame one. And I have a sound that I want to add. I go to Add Sound and choose this file here, Project Sound It is originally called Crews made by John Delay. It is a free sound that I cut and slowed down for this project. It is included with the resources files at sound strip and we have our sound strip added. We can zoom in and out with the mouse wheel again, if you want to increase the size of this strip here, you can do control and click your middle mouse button. And you can move on the Y axis to increase the size vertically, or on the X axis to increase the size horizontally. Now we lost our strip, so we middle click and move and we get it back. If you want to see a wave form here, you can go either to the sidebar and under strip you choose display waveform again, or you go here under overlays and here under waveform display, you choose wave forms on this way they are displayed for all the audio strips that you add. You can move your strip also using sometimes when you import a strip, it won't be imported in frame one or there is another useful shortcut. It shifts S and shift S will snap any strip to the placement of the playhead, Shift S and La. Now we can play and we did it. We have our first animation with Sound 18. Render animation: Here we come to the last step that is the rendering of our animation. To do that, we need to go here to the output panel and we need to go under output. Here we choose a place and name for our animated file. Let's name our file glasses. I want also to add a file extension, p por, except you won't have to do that if you keep this checked file extension. But I will end check it and keep the one I added manually. Then under file format, we have here PNG and this is recommended for heavy scenes. If you have a scene with a lot of objects and drawings and maybe three D objects and animations, Blender or your computer may crash during the rendering process. And if you save your frames as PNG files, you won't have to render the frames that were already done before the crash. But for this scene, it doesn't put any heavy load on your computer. So we will change from PNG to FF MPG video under encoden we change here to MPG four, and under audio we choose for audio codec AAC, you may keep this sentence as they are. You may increase or lower the bit rate here. And we can go also here under Render under Color Management. So these are the settings that ensured that we had accurate colors when we were drawing and picking colors, et cetera. But now since we finished and we want to render, you can play with these settings and change how your colors look. For example, under look, you can increase the contrast. Choose here, high contrast for example. And you can't play with any of these filmic or whatever. I would put them back to the default seens. And now we can go to the rendering panel and we can either render one frame of our animation, one single image, by doing two L, you see that our image popped in a new window. You can save this image by going to Image safe, but I don't like these pop up windows. So I will close it and go to Edit Preferences interface. And here under temporary editors render, I change from new window to image editor. I save my preferences, close this window, and now if I choose another frame and do 12, it will render the image inside this image editor. To render your animation, you just do control 12. It starts rendering, you see the playhead move in here here rendering each frame and here the time for rendering every frame, et cetera. It seems that it finished. Now we can check our rendered file, here it is, with the name we set and the extension, and we can play it in our video player and roll off again. Congratulations. 19. Outro: What next?: Congratulations, you fit it. You touched at most of the areas related to green spencil and made your first artwork. Now you are comfortable using blender. It's no longer that intimidating Three D beast, but a valuable versatile tool at your disposal. But this of course, is not the end of your learning journey. Check the resources list I provided to go deeper and learn more about any aspect depending on your needs and art style. Follow me on Skillshare, Youtube and X to be notified about upcoming videos or classes. Of course, I'm looking forward to see your finished projects and assist you during the process, Pi.