Blender Grease Pencil: Combining 3D and 2D Animation

1. Introduction: Imagine if you could combine two D animation and three D animation using the same softer. Well, this is what you could do using blender GrizyPencil. Believe it or not, Blender is a free softer, and GrizzyPencil is its revolutionary tool that allows you to animate and draw two D elements on top of three D objects. In a fully three D space, this opens up a world of possibilities when it comes to creating different mixed styles. I am Gui George, a Brazilian motion designer and animator based in the UK, and I have always struggled to decide if I like more two D or three D animation. That's why grizyPencu is such a special tool for me because it allows me to draw frame by frame two D elements on top of the three D objects that I create using Blender. In this course, I will show you everything you need to know to get started using Blender grizzyPencil. We're going to create together helicopter that is the perfect mix between two D and three D. We will start by modeling the body of the helicopter, adding to it some very simple materials that we're going to create together. After that, the landing kid, the windows, and the rotor blades will be created and animated in two D using risi pencil. We will animate both using key frames and frame by frame. So I will show you how to use ony skin, which is very important when you're drawing frame by frame. At the end, we will parent the two D elements to the three D helicopter so you'll be able to animate everything as a whole, and then we're going to make the helicopter fly. I will also show you how to use some effects and how to prepare your file to render properly. If you are a beginner, you can still follow this class. But this is more for intermediate users because I'm going to go very quickly over the basic of blender, so it should be nice if you already know something about the software. Working with two D is very cool. Three D is amazing. But if you are able to combine both, well, this is real magic. So join me, and I promise we're going to have fun. 2. About the Project: Guys, welcome to this class. This video is just to explain how the class is organized, so you're gonna know exactly what to expect here. You're gonna have four different parts in this course. Part one, it's going to be a very, very quick and basic overview of blender in case you never seen the softer. Then we're going to model the helicopter and create some materials to add to it. If you already used to blender and you already know the three D part of the software, you might want to skip this part. In Part two, we're going to start talking about greasy pescil and I'm going to run you through the basics of the two. You're going to see how to draw, how to modify our brushes, how to erase it, how to change colors, how to control the placement of your drawing in the three D space, all the basic stuff. Part three is when we're going to take everything we learn and apply to the helicopter we created before. So we're going to draw on top of the helicopter all the elements we want. We're going to animate the rotor blades, and we would also animate a reflex going through the windows of the helicopter. We're going to use different animation techniques. Part four is all about setting up the render, and it's very, very important because there are some tricky details that you have to pay attention in order to render your project properly. Okay, that's it. So let's get ready for a blender. 3. Quick Blender Overview: Okay, guys, this is the blender first screen. I just going to go through very quickly some very basic stuff just in case you're not very familiar with blender. You can still follow along in this course. First of all, by the full, we already have three objects in the scenes. We can select them both here in this list or click it directly on the object. This is a light, this is a camera, and this is our cube that is here by the full. To navigate the view part, I use the middle button of my mouse, so I can rotate around the main object. If I hold Shift, I pen the viewport and if I hold command or control, I can zoom in or out. I also have this gizmo here that takes me to whatever angle that I want my objects to be viewed from. If I click X, I'm going to see here it shows right orthographic view. Y Z, this is something that's going to be very important when using grizyPencil. I can also click and hold so I can easily rotate around the center of my viewport. Here on your left, we have the selection tool, and the stree buttons here move, rotate and scale are the tools I use to move my object. If I click here, I can move my cube here, rotate it, and here, I can scale it. All right. As I want to start from zero, I will delete every object from my scene. To do that, I can either press A, so I select. I can obviously click here, hold Shift and click the others to select all of them here in the collection panel, or I can simply click and drag, select then O and press X, which is the button to delete. Now we can start from zero. 4. Modeling the Helicopter: Okay, now let's start modeling the body of the helicopter. In 90% of the cases, we always start a model with a cube. To add a cube to the viewport, I go add, mesh, and I add a cube. By the fall, the blender is in this object mode that you can see here. But to edit the model that we have here, we have to go to the edit mode. Here we are. The first thing that you need to know is that those three buttons here determines if you're selecting the vertex, the edge, or the face of the object. I have a vertex selected, I can select the vertex of my object. Obviously, holding shift, I can select more than one and with the tools here, you can move them and modify the shape of the object. You can do that with edges and faces. As you can see, let's press common Z or Control Z until we get back to the original cube. I always scale up my cube a little bit. In order to have flexibility in modeling my cube, I have to add some new edges to it. The best way to do that is by using these two here called loop cut. Loop cut adds more geometry to the cube. This way, I have more points to work with. I will add some subdivision. Here, I have those options here that I could increase the number of cuts. In this case, I have two and I like also a cut here. Maybe two would be good as well. All. Now we have enough geometry to work with. From this moment, I can start selecting some faces. And move then. I start to create the shape of the helicopter. Remember, we can also select edges if we want. We can also scale up. Now, I'd like to extrude this part here. I have the tail of the helicopter. To do that, I use the extrude derision two or use the shot cut E. I can get more or less to the shape I want. Whenever I want, I can add new loop cuts to add some new geometry and keep modeling. And this is pretty much how I want my helicopter to look in this first moment. Now, you might notice that this is slightly too squared. To make it rounded, I add an effect called subdivision surface that's going to add more geometry and make every curve of this model smoother. To do that, I will come here in this icon where I can find the modifiers. Add modifiers, generate and I'll find subdivision surface in here. Look, what subdivision surface it does? It adds geometry, but it forces the curves of my model. I might lose some details here. That's why I have to add some loop cuts in the areas that I need more definition. Should be. Here, in my modifier settings, I can increase the subdivision the effect is going to make. If I increase the number in my level view part, it gets smoother and smooer. When I go back to my object mode, I can see my model, right click and select Shade Smooth. All right. This is how my model looks now. This is basically the model I'm going to use to add my greasy pencil elements and create this mix between three D and two D. A 5. Creating Materials: So, guys, I have polished a little bit my model and I added this detail here for the propeller. I also added this background, which is something very simple. Is a plane with a rounded edge here. Another thing that I did was naming the object. So I have the helicopter, like properly named in the background here. So let's add a very basic material here. To do that, let's select the helicopter and come to this icon here, materials. So now I click New to create a new material, and by the fo we have this white material. So let's name it helicopter one. To see what is going on with the material applied here, we're going to have to go to another visualization mode. Here we have four different ways to see the viewport. The first one is wireframe. The second one is the default that we don't see material, and we have the viewport shading, which is a simplified way to see the material work. The last one will be the one that will simulate the render. As we don't have any light, you're going to see that everything is gray. The one you want to use for this class is the viewport shading. The third one. The white material is somehow here, so let's change its color. Here in base color, here I can select the color. I use this color here. And down here, we have metallic. If I increase it, you're going to see adds a little bit of shining to it. That's what I want. And here we have a roughness. So if the roughness is zero, you can see the material is fully reflexive. And if it's one, it's pretty opaque. Let's go something in the middle like this should be fine. Now I'm going to add a second material. Let's come here again and click plus to add another empty slot for the material. In this empty slot, I can select either one material that was created before or create a new one. Now I would like to add a second color. Again, let's open surface and the second color will be a yellow. Let's add some metallic. I can click here preview to see what I'm doing and Roughness 0.5, that's right. But of course, I already have my first material applied here, so I don't see the new one. I would like this new one to be applied in specific part of the helicopter. I have to select the part where I want the color to be applied. So let's go back to edit mode, select face. Now I'm going to select the area where I want the color to be different. Which be this part here. It's important to say if I click this button here, the selection will consider the things in the other side. The object becomes kind of transparent. So by doing that, if I select this object here, it will select both sides of it. Another area that I would like the color to be applied is this stripe here, the bottom of the helicopter. I think it would be nice if the base is in a different color to apply this material, all I have to do is having it selected here and hit a sign. If I click a sign and I go back to my object mode, I can see that my helicopter has two different colors. The last thing I want to do is to add a color to the background. Let's select the background. I can come here in the material zero and change the color of it. This is the color I would like to have. 6. Grease Pencil: Getting Started: Now it's time for a grizzy pencil. The first thing I want to do is to change my viewport mode to the viewport shading so we don't get distracted by the mafurs on the screen. Now, we need to go to a mode here called draw mode. But when I open my modes, I don't see the draw mode here, which is the mode where we can draw with grizzy pencil. That's because in order to work with grizzy pencil, the first thing to do is to add the Griz pencil material. So let's go add grizzy pencil and we can add a blank object. We created the object G pencil here. I'll call it test for now. Now when I go to object mode, I can see my draw mode here. When I select the draw mode, you can see that I have drawings to on my left here. If you start drawing, you can see that you already doing two the drawings on the screen. Here, you can change the radio. If you increase it, the line gets thicker. You can also see this button on the right that activate the pressure of the pen. Then you can see that my line increases the thickness depending on the pressure I put on my pen. The strength is actually the opacity. If I reduce a little bit, my line gets more transparent. And of course, we also have the pressure here. So we can vary the opacity based on the pressure of the pen. You can also choose the cap, which is the ending of your line. And here we also have some interesting options. The most important is the smoothness. Right now it's zero. That's why my line is very rough. If I increase my smoothness to 1,000, for example, when I draw, you can see the difference of how smoother my line becomes. To erase my lines. I have here, the erase too. Now I can just erase it. But there would be other ways to erase and edit my drawings. You can see that if I change from draw to edit mode, we can see that those lines that I drew are actually points, and you can select and edit the same way you do with any other shape. And as this is the case, I can also, of course, right click and dissolve. This way, I delete the points. I can also use to edit my drawings, the scoped mode as we do when scopted. I could even make those lines smoother using the Smooth tool. That means everything that we draw with greasy pencil is this vector path that we can edit however we want the same way we would edit any other mesh. Now, I would like to go back to edit mode, press A to select and press X, so I will delete all the points. And let's go back to draw mode. 7. Grease Pencil: Changing Colors: Now, we already know how to draw using grizzyPencil. Now, let me show you other options that we have when drawing with grizzy pencil. And here on the right, you can see that I have some settings to modify colors and the brush I'm using. So if you click in this image here, you're going to see that you have predefined options of brush. You could also find it on the top left here. So you might find some interesting ones. Now, let's go out of this tape that we are right now, which is the two tab, and let's go back to material. And you can see that by the foll we have a black material here, so you can see here that we have a stroke and the base color is black. That's why when we draw, we just have a black line and no fill if we change the color, you can see that we are modifying the material black. That's why every line that I draw is changing colors as well. If I want another line with a different colors, I would have to create another material, click new, then I would change the color here. To orange, for example, with this new material selected, if I draw, I'll have a new line here in a different color. The same way, I can have a fill and obviously, I could have a different field color. Now, if I draw, I have a fill. I could use the eyedropper here to use the same color in case I want something that has the fill and they stroke the same color. 8. Grease Pencil: Tint: There is another very nice too that I would like to show you because it brings a lot of possibilities. I will draw a line. Of course, I have changed the color to blue. I'll make it black again, and with tint, I would be able to paint this line and to give it this color here that I can change by clicking and selecting. And I could potentially paint the line here. You can see that nothing happens. That's because what this tool does is to add the tint to the material of this object. That means you cannot see it being changed in this mode, which is the viewport shading. To actually see the changes, you have to go to the viewport shading, which is the next one. So you can see that the orange that I have added null is visible in my line. It's nice that this is allowing me to create like gradients if I want, and I could also decide if I like to affect only the stroke or also the fill. To show that, let me draw a line here. Now we have a black line and a dark blue feel. And now, if I select my tint, I can paint it. As you see, it's affecting the stroke and the fill. Come on Z, I could affect only the stroke. Or only the fill. But in this case, you can see that I cannot create shapes inside the fill because those colors need the meshing formation to do what we do here with gradients and they stroke. They stroke is composed by many different points, and the shapes is one single solid thing. If you'd like to create any gradients inside your fill, the best way is to change from solid to gradient and now you can play around with colors and change the location, rotation or scale to create the gradient with two colors of your choice. 9. Grease Pencil: Drawing Placement: Now that we already know how to draw, how to add color, we have to talk about the placement of the drawing when you draw the three d space. For that, we are going to talk about those two options here that work together and are very, very important for you to know the location of the drawing you're making. The menu here in the left is our stroke placement. That's the point where the line going to be placed when you draw on screen. For now, it's setting by default to the origin of the scene, which is the center of the world. To see that very clearly. I will click Y so I can see my back orthographic vial. And when I draw anything here, this line that I'm drawing is exactly in this red line here, which is 0.0 of my sin in the Y xs. The same way if I click X and do the same drawing again. Again, it's a line to the 0.0 on my X line. You can see the difference if I go now to three decursor. Three dcursor is this red and white circle in the center of this crane. I can change the position of my three de coursus with these two here, so I can just click and drag and I put it in another position. By the fat, the tree dcursor is in the same position of the origin. But now that I change the position of the tree dcursus, it's where my drawing will be placed. So right now, I tree decursor being here. And I draw now. You can see that this line is now aligning to the tre decursor not to the center of the word as this line I did before. And same happens if I click on X and draw here. You can see the difference between the alignment of this line and this line. This way, I can always control the point where I want my drawing to be placed. Another way to change my tree decursor position is clicking here, you can go to tree decursor and here you can change its location. To make it go back to the center, I can either put zero in all those parameters, and I can also use the shortcut Shift C. And now the tread cursor is back to the center. Let's go to Edit mode to delete all my drawings and go back to draw mode. The other very interesting and very useful options is surface. When you click surface, you can draw over an object. So if I draw here along my helicopter, can see by rotating the camera that my line is following the shape of the helicopter. The problem is the line is still very far away from the helicopter. That's why in the option surface, you can see offset if I change it to zero.005 and now I draw another line. You can see that the line is touching the helicopter. That's perfect if I want to draw some details on the helicopter. The last option is the stroke in case I want to continue drawing from a stroke that I did before. So here, if I keep drawing, my placement would always be the start or the end of the stroke that I drew before. But other than the placement, you can always choose the plane where your stroke will be drawn. If you select the view, you can always draw parallel to the view of your viewport. This is as if you had a camera in the position you're looking at and your drawing you'll always be parallel to that camera. So if I draw here, for example, and I rotate, you can see that the plane where this drawing is is facing the direction where my view used to be looking from. I can also choose these different planes to draw. For example, in front, regardless of my camera, my drawing will always be in this X Z plane. And of course, you can draw on the side or on top. The last drawing plane will be based on the cursor, let's erase everything, and you can see that this might be affected by the rotation of the tree decursor. So if I draw something like here and here, the drawing will be placed in the XY plane like this. But if I come here to the three cursor settings and change its rotation and I draw something, you're going to see that the plane changes, and it's in the rotation of the tree decursor. 10. Gtrease Pencil: Layers and Masks: There is one last thing that I would like to show you before we actually draw on our helicopter. Let's go back to draw mode. I'd like to show you this tab here. Data. That tab is exclusive to greasy pencil. Here you can see that I can organize my drawings in layers. That's very, very handy. Let's suppose that I make a drawing here this time I'd like this drawing to have a fill. For that, I want to go through my material surface and activate the fill, which is right now it is black, but it's transparent. I just click and increase Alpha, so I have a black shape like this. Going back to data and here I can create another layer. Let's name it just for us to be more organized. You can see that the draw is in black field and white line is empty now. Now I would like to draw in white line. To do that, I create another material kicking plus and new. This time, I just want this stroke and I want it to be white. Great. With the new material selected here, I go back to data and I make sure I'm in this layer. So now I make a white line like this. It's nice to see that if I use those arrows here, I can change the position of the layer. They can select which one is in front by changing the order here. But the other thing I like to show you is the possibility of creating masks. If my white line is selected, I can come here and mark this box masks and when I open it here, it's going to allow me to select which layer here I want to use as a mask. To do that, I plus plus, and it's already come up as the only other mask that I can select, which is black fiel. When I do that, you can see that the black field is masking, my white line. Here you can also invert the mask if you want. Tagging mask here would be the same of selecting this box here and you can see when I activate and this activated that, the masks respond to that. This is a great way to organize your layers and to make masks whenever you need it. 11. Drawing the Landing Skid: Okay. Now it's finally time to draw on our helicopter. For now, the first thing, I would like to hide the background because if I want to draw from the base of the helicopter like this, I don't want that background to be covering it. Let's go add greasy pencil and a blank material. I like to start by drawing the landing skid of the helicopter. I name the layer. I'll go to my draw mode and to draw this kid, I like to draw from the base of the helicopter, so I would click in the Z vision here, and I would draw. But you can see that my draw is actually overlapping the mesh. That's because the placement of my draw is in the tree dcursor and it is on top of the airplane. So let's come on Z. Let's go to the Y V. And let's change the Z location of the tree decursus in this menu here. Remember, if you don't see this menu, it might be hidden here. So let's change the Z location. It looks like a good position. Make sure the decoter is activated, and I also want to use the view drawing plane because it's going to draw in whatever plane my camera is at the moment. So now let's change the material for me to have the colors and the fill I want. I will come here in the material tab, and here I will select the color I want to use. I would like to have a fill, make sure the Alpha is completely opaque, and I use the eyedropper to select the same color of my stroke. As I'm going to draw a closed path. I'd also like to activate this button here. This is the auto merge. It's going to join the last point of my drawing to make sure it's going to be a closed path. And now, finally, let's go to the Z view. And I want also to make sure that my smooth is activated to help me draw a better shape. And finally, let's draw. All right. I really like the imperfection that greasy pencil allows me to have. I'd like for the front of my skid to bend a little bit. To do that, I go to Edit mode. Let me make sure I have my transparency Tuggle X ray activated here so I can select the points behind and I want to go to the Y view, and I select the points. All I need to do is rotate those points and of course, move them up. This is what I have with the tip slightly bend. But now I would like to go to data. And create another layer. This one will be called kid and this one we can call pulse for the lack of a better name. This time, I would want to use another material. Let's add a new material quick new. I still want to use the same color. Now going back to the draw mode and making sure I am in the pulse layer here, let's draw. As expected, look at the position where I placed the pole. It's not really attached to my skid. That's because the three dcursor is at the center, so the pole will be at the center. In this case, I prefer to change it manually. So let's go to edit mode. Let's select all those points here and move it. And at this view here, I can see exactly what I'm doing. If I would like to avoid selecting the kid here. That's why it's good to have different layers. I could simply block this kid, and now I could select and move only my pulse. Great. This is exactly how I would like it to be. Now we're missing another part, the other side of the helicopter. What I'd like to do is to use a mirror modifier. I can come here to modifier, and I can add that to grizzy pencil the same way I add to any other mesh. If I click Add modifier, you're going to probably find mirror. But now it's mirroring in the X axis, which is not exactly what we want. So we just select Y, and now we have this. Our helicopter now has a base. You can have an idea by seeing how it's going to look when the previous of the materials are activated. 12. Drawing the Windows: All right, guys, let's draw the windows now. For that, first thing, let's add a greens pencil material here. Let's name it windows. I'm going to come to draw mode in my material step to select the materials I want to use. And I select the material that has a field for me to show you something. Let's make sure we change the stroke placement to the surface because now we're going to draw over the three D mesh. And of course, we have to edit the offset. Otherwise, the stroke will be too far away from the mesh. So let's try a number like 0005 or something. And then I can test we can line and see how close it is from the airplane. I think it's fine. Come and Z. I want to show you that if we are using stroke and fill and we draw over a surface that has a curve. You see that the fill is kind of coming inside the mesh. This is a problem we always have if we try to use fill to draw over a mesh that is not flat. That's why I'm going to select instead of stroke and fill only stroke. And to draw the windows, we're going to do the following. Looks great. And now to have some fill here, I want to do that. I actually like the holes that it leaves because I think it gives the impression of really hand draw on top of the tree D. But obviously, if you'd like, you could fill up this space by drawing more, or you could even come here at data, and under stroke, you have the option to increase the thickness scale. You'd probably end up getting rid of holes if you don't want them. But in my case, I want to leave the holes. Let's keep drawing the windows. I'm drawing only half of the windows because I could use mirror later. So after doing that, I could come here in my modifiers and add a mirror. I have to make sure it's in the right angle and I have my helicopter windows draw like this. I could even consider reducing the thickness. So I have the spaces even more apparent. O 13. Drawing and Animating Rotor Blades: For this course, we're going to learn how to animate in two different ways. One is using keyframes and one is frame by frame, so you can see both approach. For now, we're going to draw and animate the blades using keyframes. As always, let's add the greasy pencil material, rename it, blades. Make sure we position the tree decursor because it's going to be our reference when drawing, making sure it's in the right place in both views. And then we go back to draw mode. I want to draw from the Z view like this and make sure the three D course is the stroke placement, and I'm okay with view. It could also be the top view. But as we are already in the Z view here, this is the plane we're going to draw at. I like first draw a circle, so I have this reference when drawing. So I just click and drag here. Hold out and shift, so it's going to be a perfect circle and growing from the center. I press Enter to apply the drawing. So now, as this circle is only a reference for me, I would like to come here in data and make sure this layer is properly named as a reference. And if I want, I can even reduce the opacity of it down here. And to create the actual drawing, I would add another layer here, and this will be actually the blade. Now let's make sure to select the material. I want to use stroke and fill, and using the draw too, this is more or less the shape I want my blade to have. So this is a blade in movement. Now I will go back to data so I can just hide my reference, and let's have a look at my drawing. Let's animate the rotation now. I will go to object mode, select my blade. Let me raise the bar here, which is my timeline, and here I can select the number of frames. Let's say that my animation going to have 2 seconds and 24 frames per second. That means we're going to have 48 frames. So I will animate from frame one to frame 48. To animate the rotation, I need to make sure the anchor point of my draw is in the right position. Right now, by the foe, it's in the center of the word, which is not what we want. So I'm going to go option origin. And here, I will change the position of my anchor point to position it in the right place. I also want to scale up my blade a little bit. To do that, remember to turn off origin here. This looks fine now. So the first key frame is already here. Let me go to items, so I will select which parameters I want to animate. In this case, I will just animate the z rotation. So I will just write click in the Z parameter and insert single key frame, and going to the last frame, I have to imagine how many rotations per second. It's going to be a pretty high number because it's very quick to make sure I always have a looping animation. I would write 360 and would multiply by the number of rotation. See if 100 will be enough to add another keyframe, a right click and insert single keyframe again. Let's play the animation, see how it's looking. We can try something slower, maybe 360 supplied by 80, and this time, replace single key frame. I like it. It's working well. The helicopter would also have a smaller blade at the tail. I don't want to draw it again, so let's duplicate this blade. I can select the blade, Control C, and Control V, so I could have the name. Blade tail. And I'll just move the blade to this position. But to avoid confusion, I would rather delete this animation here by clearing the key frames so I can reposition it. Scale down, and I animate again, but this time on the YXsOhGod. 14. Frame By Frame Animation with Grease Pencil: Now it's time to animate frame by frame with grizzy pencil. I like to animate a reflex going through those windows. I pause the animation, go back to the frame one here. And I would like to do a couple of things. The first one, I will apply the mirror I'm using for those windows. If I have the mirror, the reflex will be affected by the effect. So let's go here to modifier, come here and hit Apply. Now I'd like to go to a special layout exclusive to animating two D inside Blender. As you may know, every single one of those is a different layout of blender, and here I already have my two D animation. But in your case, you might have to click plus the animation to the animation, and then we're going to come to this layout. This looks a bit dark because there is no light here. We can solve that just by clicking this out here and this activating this N word. Looks better now. I'm already in the draw mode. I can now create the material I like to use. I can click Plus here and add a new material. I like this one to be white stroke and white fill. Now in data, I like to create another layer which would be called reflex. Now we are drawing on this layer with the white material. I like to make sure my stroke placement is at surface and using an offset similar to the one I was using before when I drew the windows. Here at the bottom, we have two timelines, but we might use the one at the top, and you can see that when I click Windows, I see here the semi layers I have in my data tab, and those are my key frames, and I'm drawing at the reflex layer. So now I can already draw something like this. It should be my reflex. Here, I can use the arrows to the left and to the right to navigate through the timeline. And now when I go to the frame two, I'd like to have activated this button here, the auto king. This would create key frames for me automatically when I draw a new frame. You can see that now if I do another drawing like this. The other one becomes green, so it disappears, and I have a new keyframe here in my timeline. Let's go to the frame three and keep drawing. And the same happens. Animating frame by frame with greasy pencil is as simple as that. Of course, if I'm still in this frame, I can cover some holes. And the very nice thing about that is that I also have control over my onion skin. For example, if I go to the frame two, I see both frames. The green is the one before, and the purple is the one after the one I'm selecting. And if you go to the type of data, and here at onion skin, you can select how many layers you want to show before and after. I add two, for example, and I can change the colors and the opacity of my onion skin. The same thing you can have in every animation software. Let's go ahead and keep drawing our reflex. So now if we hit play, you can see that we have something like this. To make sure these reflexes affect only the windows, as we saw before, we have to create a mask. So selecting reflex, we can tag masks here and select windows as the mask we are using. And now the reflex is only affecting the windows. 15. Noise Modifier and Parenting: Guys, it's pretty much it. I will just show you guys one effect that I love using and you would also animate the airplane going up and down a little bit. The effect I would like to show you going to be applied on the grease pencil materials. So let's start with this kit, and we're going to come here to modifier. Let's minimize the mirror that is still here, and let's add a little bit of noise. The noises and effects that create a random animation to the lines, so it feels more sketchy and alive. Can change the parameters here to make it softer, and you could also change the speed. Here at random nis, you can change the step. So that means the shape is going to change every four frames. So I usually add that to all my grizy pencil materials. So this is how it looks. Everything has noise. Cool, isn't it? Now, I would like to parent every grizzy pencil to my helicopter original mesh so we can add a little bit of animation to the whole thing. All I need to do is select everything and select the helicopter list. Right click parent and object. Now, I just see the helicopter and all my grizzy pencil are underneath it. But my animation still works as it was before. And now I go and animate the helicopter using key frames. Done. 16. Final Render Set Up: Finally, here we are. We have our final piece. As you can see, I added some details. But these classes is still very, very important because there are some very important things that you have to know when it gets to rendering your final piece. You'd be able to see my project, so you're going to have access to my lighting settings. First, I will show you some small things that I did. I created those clouds animated frame by frame, using the same technique I showed you when we were animating the reflex of the windows and you can see here in my two D animation layout that I used my onion skin to help me animate this cloud in a way that it looks. Then I just animated it going back. This is what we have. And you might have noticed that the color of the strokes is slightly different from what I originally drew. This is because you can get grizzy pencil lines to be or not to be affected by the lighting. What you can see right now is being affected by the light. This is an option that you can find in every grizzy pencil material that you have, and I can access them inside the helicopter here as they are grouped the windows, for example. If I go to my data, you're going to see this option here. Lights. That means this layer here will be affected by the light. If I turn it off, you can see how it changes the color of the reflex. So I will go to each one of my layers and turn off lights. Great. Now it's looking more the way I want. The last thing that is very important is the fact that if I render an image right now going to render render image, you're going to see that I can see the grizzy pncle drawing, even if they are behind the object, and it's looking different from what I can see in my viewport. To avoid that, there is an option here in your view layer right here and inside passes and data, I have to activate this Z. This would allow grizyPenc to identify the object that are behind something and they're going to take it in consideration n rendering. So now if I render image, it's looking good. So now we just need to come to output and select where I would like to save my animation and click Render Render Animation. And here we are. Here is the final render. As I often do, I add some adjustment in after effect in post production. Obviously, I rendered the PNG sequence, so I bring it here to make my final composition. I would also want to show you another example of something similar that I did that follows the same technique. As you can see, I have a little bit of the noise on the hair and on the lines. I did animate a reflex on the glasses as well and the eye blinking is frame by frame. This is just to inspire you to use this technique wherever and however you'd like and I really cannot wait to see what you guys are going to create. Thank you for sticking with me. I hope you learn something and see you in the next one. 17. Thank You!: Guys, thank you very, very much for taking this class. I want to let you know that I will be commenting on every single project you guys post here. So make sure you guys do that. If you created something, you'll be able to find the project files of this helicopter we created together in the resources section of this course. And obviously, I would appreciate if you could go there, review the course and tell me where you think, any comments so I can get better for the next one. Hope you like it and take care. See you. In the next one. I'll be there in all social media if you want to reach out. See you.