Easy Surface Pattern Design Animations for Instagram with Procreate

1. Trailer: They say a picture tells 1,000 words. But a video can do it in 3 seconds, which is good because apparently, that's the average attention span we're dealing with these days on social media. I'm Rebecca Flaherty and I work from home here in Somerset UK. As a full time artist and content creator, I am more than just a little obsessed with surface pattern design and it's my favorite way to illustrate my ideas. I've licensed my designs to lots of different companies for all sorts of products, and I also still regularly upload to print on demand sites like Thread List and Spoon flour. I love sharing my surface pattern designs on Instagram and being part of the hashtag surface pattern design community there. Although our industry is a very visual one and therefore perfectly suited to an image sharing platform like Instagram. Over the last few years, there's been an atmosphere of frustration among us artists that the algorithm is favoring videos. And we are all more than just a little tired of those pointing at captions, videos that we all made in an attempt to keep up. The good news is there is an easier, and thankfully less cringe worthy way to create video content from your surface pattern designs. I bet that a lot of you are already designing your patterns in procreate. And you probably know that it has an animation interface. But maybe you think animation is too hard or it's boring, or it's just not the surface pattern design. Well, I'm here to change that. We're going to be using it to bring our surface pattern designs to life. I'm going to teach you three simple animation techniques that you can use on patterns you've already made. And then we'll turn them into reels for Instagram, the techniques are so simple it almost feels like cheating. There's no redrawing involved. Just a few simple settings can create movement and magic like this. As long as you're familiar with the very basics of procreate than this class is for you. You don't even need to know how to make patterns. These techniques will also work with non repeating illustrations too. I've got some ready made templates for you to use so you can get started straight away. The class is also packed with the usual extra tips and nod background information that I love to share to. There's something in here for all skill levels. I always love seeing your surface pattern design projects in the gallery and this time I'm even more excited to see them coming to life. Let's get started. 2. Class Project: Your project for this class is really simple. You're going to be following along with me to make your own animation using your own surface pattern designs. Or you can use the templates from the resources section. I'll show you how to save the final video as an MP four for exporting to Instagram. I'm also going to show you how to export it as a gift file, so you can upload it here to the project gallery. You can tackle just one of the projects or all three of you feeling adventurous. There will also be some ideas for developing your animations even further in the last video. If you need any help or get stuck at any point, give me a shot in the Discussions tab. I'm super excited to see what you come up with. 3. Project 1: Colour Animation | Setup: Okay, so let's jump in with our first animation. It's super easy and we don't even have to do any extra drawing. What I'm going to do is show off all the color changes for this cute pumpkin illustration or pattern that I have here. I've got four different color ways for this one. Step one is going to be to create the document that we're actually going to be doing the animating in up here. We're going to tap on this plus icon to start a new document. I've got a preset on here for an Instagram reel, which is what we're going to be animating for. If you don't have your own preset already on here, you can create a new one by tapping on the plus icon up here. The recommended size for an Instagram reel is a width of 1080 pixels and a height of 1920 pixels. I'm going to keep the DPI at 72 because it really doesn't need to be any bigger than that. I know smartphones these days have higher resolutions, More than 72 pixels per inch, but 72 is still going to look fine. It's nice to keep video sizes small. They're not taking up a ton of space on your phone, your hard drive, or your ipad. Let's go with 1080 by 1920 at 72 pixels per inch. You should also then have a nice lot of layers to work with. Even if you've got a smaller or an older ipad, the color profile should be RGB. Because this is just going to be for screens and the other settings on here you don't need to worry about once you have all those. You can also give your canvas a name so that you can find it again easily. An extra tip is to add an Emoji it looks, and it can also help you spot the preset you'd need much quicker on your list. If you're a visual memory person like me, we can put Instagram real click on Create, and this is the document we're going to be working in now. We've got that set up. I'm actually going to go back out into the gallery and we need to grab our color layers from our pattern file. I'm going to go into this one here. This is a pattern that I made in procreate and finished off in Photoshop with smart objects. I have a class on that. If you'd like to know more about actually making patterns, you can use any pattern for this project made however you normally make them. It doesn't even have to be a pattern. You can just use an illustration that you've recolored as well if you wanted to. The easiest thing to recolor is the background, which is what I've done on these tiles. I've still got the same main motifs and just recolored the background. You can also use a tile where you've recolored the motifs as well. What you will need to make this work is having all the motifs be in the exact same position on each tile. We don't want to have like this pumpkin here, be there in one tile, and then on the next tile have it offset. And slightly down here. You need to have all of these tiles be essentially duplicates of each other, but just in different colors. I've already got all these flattened as different layers up here. I'm just going to turn those off for a moment and turn on my pattern layers. If you're not at that stage where you've got those tiles up there, and you're at this stage where you've got your motifs in there, what you can do is go through and choose some different background colors. Let's just grab one from here. Doesn't necessarily look great or go well, but that's fine. What you need to do is swipe down with three fingers. Tap, copy all. Then you can go to the very top of the document. Swipe down again with three fingers. You get this menu pop up again and you can tap in Paste up there. Now we've got a flattened version of this color way. We can now hide this layer and we can choose a new color. I've got these pre chosen backgrounds down here which I've picked ahead of time. Let's enable this one swipe down with three fingers. We can tap copy all we can go up to the top, make sure we're on this top layer. Swipe down again with three fingers and tap paste. And then we've got a second flattened version of that colorway. I've already chosen these colors ahead of time, and I've already got these flattened up here in my tiles folder. Let's turn these on now, because we'll need those in just a second. Take as long as you need to choose your colors, it's good fun choosing different color ways if you haven't already got some chosen. Here's a top tip that's not essential, but will help your video look nicer. Try and choose colors that will all blend well into the next one. Here I'm using pinks and purples and oranges. I can go from orange to pink, purple to the other pink and then back into orange again without jumping too far around the color wheel. For example, if I was to try and go from this orange, peachy color here, straight into this dark purple. What we're going to do to transition between colors is to gradually change the opacity. And you can see if I bring this down, some of these areas where we're jumping from almost one side of the color wheel to the other. Purple and orange are almost opposite, where you've got everything mixed together like that. You can get some of these muddy color combinations. We will only be on these frames for parts of a second. It's definitely not a deal breaker, but it's a thing to bear in mind and might help you choose some cohesive colors. I'll explain more about this later, so don't stress too much about it on your first go. But as you're going through, try and pick color combinations that do all look cohesive and go together nicely. But as I said, don't stress too much about it on your first go to recap the process for making these layers. Once you've got back crank, swipe down with three fingers to copy all, then you go back up to your top layer, swipe down again, and then you can paste those in. Now I've got all of these layers up here. I've got four different patent tiles you can use as many as you like. Obviously, the more different colors you have, the more work you're going to have to do. I think for this animation, I recommend using at least three. Probably four, maybe five. I'm going to stick with four on this one. The easiest way to get these over into our other document is to make sure they're all showing. First we're going to swipe, right. Well, first of all we need to make sure we've just got this layer up here selected. If we have this one down here and then we swipe, right, we're going to select that layer as well. Make sure you tap on one of these layers. And then on the others swipe to the right, that's going to select all of those. Then what we can do is to drag these over here. Tap on the gallery, Tap onto our new document. And we can just drop those in there like that on our old ipad. That can take a while for those to come in, but that's still probably the quickest way to bring those files over here into your animation if your pattern document is already in procreate. If you already have made tiles like this, for example, saved in Cloud or Dropbox, you can bring them into this document by going to add and then inserting a file. That way what we want to have at this stage is our document that we're going to be animating in with all our tiles on separate layers like that. At this stage I am going to rename these with the names of the colors so that we can keep track of what is much more easily. The next stage is to fill the whole of the layer with our pattern. Let's hide all of the layers. We don't want to be showing at the moment. We've just got one patent tile showing. We're going to come up here to the arrow, tap on that to transform. Depending on the scale that you're looking at your pattern in, you may want to change the scale, as this shows on the screen, to make it bigger or smaller. If you want to change the scale, make any adjustments that you want to make. For example, if I want to make it bigger, it's maybe that size adjust the scale. And then we're going to come up here to our layers panel and we're going to duplicate this layer. Then up here we're going to tap to transform. And you want to make sure you have snapping on down here. You need to have magnetics and snapping both turned on and then distance and velocity up to the max. Then this one that we've duplicated, we can drag this up here, snap it to the edge of that one. And then I recommend zooming in and making sure whenever you transform and move patent tiles like this, it's a good idea to make sure that they're looking good, where the two edges meet and these two are okay. I do feel the need to go off on a little nerdy tangent now and talk about resizing artwork. Always bear in mind that once you start resizing patent tiles, and this goes for any software, not just procreate, it applies to Photoshop as well. You're going to be changing the amount of pixels in the design. The software is going to be using various interpolation and sampling methods to rebuild your tile at a different size. It doesn't know that this is a patent tile and that you would still, in fact, quite like the edge pixels to match up exactly with the ones on the other side. Thank you very much. Don't try and change the size too drastically. For example, making it super tiny like this, because then you're pushing it beyond what is realistic for the software to be able to achieve. It can't work miracles. You might also notice that your pattern isn't matching up anymore and you might also get gaps where the tiles join. I'm just going to see if I can replicate that. Now with this one. I'm going to resize this one down here. Then I am going to duplicate that layer. I've got magnetics and snapping turned back on there and snap it into place there. You'll see that even though we snapped it to the edge, we've got this gap that's coming in that is just simply down to the resizing and the interpolation, not because you did actually put the tile in the wrong place. If that's the case, you can actually fix these tiles. I'm going to pinch these two together. I'm going to duplicate them. Then I'm going to pinch these two together again, and you'll see that this gap is getting thinner and less translucent each time. There we go. Now we've not got that seam there at all. If that's happening, you can fix that by duplicating the layer a few times to make it opaque. Again, again, that's due to the interpolation and sampling methods that it's using. When you resize talking of interpolation methods, you might notice that I'm using nearest neighbor, which might surprise you since everyone loves telling us to use bicubic or bi linear. I think the reason that people say those are the best is because they do give the smoothest results, which for a lot of people is what they want. But let's look closer at some of my artwork here. The original version, I like to use these scruffy, textured brushes with these fuzzy edges, and I'm going to duplicate this layer. We will move this one and transform it with nearest neighbor first, we'll snap this to halfway. Then on this one here, we will use bicubic for this one. Snap this one to halfway again. Then we'll zoom in and you'll see on this one here, the top one that I transformed with nearest neighbor, I've still mostly got that nice, scruffy, textured edge there. If we hide that one and the one underneath that I transformed with nearest neighbor, it does give smoother results. You can't argue that, but I don't actually want these edges to be smooth. I want to keep that scruffy texture that I've got going on there even down to where I had my texture overlay on there that's been smooth down a lot more too. That is why I personally choose nearest neighbor. If I resize things, nearest neighbor is often shunned because of its jagged results. But that suits me perfectly, and it keeps these edges more how I intended them to look. Nearest neighbor is also the method which pixel artists use to keep their sprites as clean as they can when resizing. The bottom line is just try them out for yourself and use the one which keeps your artwork looking closest to how you originally intended it to look. I will also admit that it's not something that's hugely important for a fun project like this, because let's just undo these steps before I leave this document and we'll go back into our animation document. This tile is already getting sized. When I brought it in, I had nearest neighbor on for that. And as you can see, it has still smoothed. This right down. The width of this document is 1080, Whereas my original was 3,600 This is nearly four times smaller anyway, which is an example of not expecting it to perform miracles. It's not something to stress over, especially for this project, But I just thought it was something worth mentioning to give you a bit of background knowledge and learn the Y as well as the how. And if you've watched any of my classes before, you'll know I'm a big advocate for not transforming things at all. For high res artwork, it's fine for a sketch layer or a fun project like this, but not for final artwork. I personally think it's best to avoid transforming motifs in order to keep your artwork as high quality as possible. And if you need to draw a motif of a smaller size, just redraw it. Okay, nerd, talk over. Let's get back to animating. I'm actually going to keep these at the scale they are. I think this size is fine for this project. I'm probably going to need to bring this layer in again because I can't undo this. Now let's go out into my original document. Let's go into here. We can tap this pink layer, Tap copy, and then we can go back into here. Let's delete those. And then we can swipe down with three fingers and tap paste. And we can paste that back in there. Okay, transforming these around the canvas. You want to make sure you've got snapping turned on. As I said, I'm going to snap this to the top of the document, I'm going to duplicate it, and I'm going to snap it down to there and make sure there's no gap there which is looking good. And then we can pinch these two together. Then I'm just going to go through and do that with all of these other layers as well. Then when you've got all of your layers on there and you've renamed them so you can see what's what we're ready to move on to the next step. If you're using the template canvas that I provided, you can go ahead and just open that in procreate. And there will be some ready made color layers all in there for you. Now we've got our document all set up with these different color layers here. In the next lesson, we will look at how to start animating those. 4. Project 1: Colour Animation: The next thing you need to do is decide which order makes the most sense for these layers to go in. Here is an example. You might not want the orange transitioning into this purple because some of the colors aren't quite so good as I showed you before. Or if you've got, for example, a really dark color next to a really light color, when the capacity gets to 50% between the layers, you can end up with some muddy or gray colors. Admittedly, this one isn't too bad. But also, I don't think we don't have to have these two colors together. What we want to do is to make sure that we don't have these on layers next to each other. But also if you have this layer at the top, you don't want to have this one at the bottom. Because if these are two colors you don't want merging into each other. This animation is going to loop. When we get to the top, it's going to go back down to the bottom and loop again. You want to have them separated, not next to each other and also not one at the top and not one at the bottom. Mine will go from this light purple here into this peach, and then into the pink into dark purple, and then right back down into the light purple again. If you want to check how they're going to look going into each other, you just select the layer above and bring down the opacity. And you can slide back and forth, and you can see that those are going to work nicely. Then on this pink one, you can see that that's looking good. Then this peach into purple again. Because it is a peach into purple, we are muddy and gray a little bit in the middle, but it's not too much of an ugly color. I think we'll be okay with this one. Once you're happy with the order of your colors, the next thing that you want to do is turn on the Animation Assist interface. We're going to come up here to the spanner and under canvas, we are going to toggle on this one here, Animation Assist. And then we now have this tall bar down here at the bottom. You can see that's got some of our controls and settings on it. It's got a play icon down here on the left. We can tap play. It's turned all of our layers into frames, and if we tap on that, it's going to flash quickly through all of these. Well, that's a look in itself. If this is a look you wanted to go for, you could certainly export a video like this if you wanted to strobe effect animation. Let's just pause that for so we're not giving ourselves a headache. I think it's much nicer if we gradually fade from one color into the next one. We're going to do that by smoothing the transition. Gradually increasing the opacity on the layer above until we just have that one showing. And then work our way through that into the next color. While we're down here, let's just have a look at our settings and make sure that we've got them all in a good place to start from. At the moment, it's showing 15 frames per second, which is fine for this working stage. We do want to have it on a loop, but we may change and go and use ping pong as we're working to have a look at how things are working. We're going to keep the onion skin settings just as they are. You can keep that up on max and 60% Those are a good place to start from quick explanation of what onion skin frames are. If you think of an onion skin, it's slightly translucent and you can see through one into the next one. When you're animating, you want to have a translucent version of, at the very least, your frame before. And you'll frame after so that you know what you're working on, how it's matching up with what's coming next, and also with what has just been. You'll see it in action later in the second project. As we work through, we may go back and change some of these settings. But to start off with, I would just leave it the same as I have here. If we have a look up here in our layers, all of these different layers have been converted into frames down here. What we're going to be doing is duplicating each one of these enough times to change the opacity on the layer above by 10% each time to make it more visible. This one here is going to be our very first frame. Then as we move through these, you'll see it skips down here to the other frames. You can also use this down here to cycle between the different frames. This is our first one that we're going to start off with, and we want to see this at 100% capacity, which is just what we have here for the next frame. We want to duplicate this layer and see this plus 10% of this layer here. If we change this to 10% you might see that it hasn't actually done anything at the moment until we go onto the next frame. That's because each one of these layers is just one frame to get that. Plus that making one frame, we have to group these together. Now if I start on this one and I zoom in so you can see the color more clearly, we've got frame one here, which is our light purple at 100% Then in frame two, you can see the color change slightly there. And that's because we've got light purple underneath, plus 10% of the color above it. Then to get our next frame, our frame three, all we have to do is duplicate this one, tap into it, and on the peach, we can change the opacity up to 20% On this one down here, we've got our first layer at 100% our next layer with 10% peach, and then the next one with 20% peach. Now we can just work our way through duplicating the layer and increasing the peach or whichever layer you have above by 10% each time. Now we've got 30% duplicate it and bring this one up to 40% duplicate. And we can bring this one up to 50. Duplicate again, 60% and duplicate this one again. And 70% 80% bring this one up to 90. Lastly, we can bring this one up to 100. On this last frame, we can't actually see this purple at all. And we've just got 100% of the peach. What I'm going to do is hide these two layers above. If we look down here on our timeline, you should see a nice gradual change between the two colors. I'm going to tap on settings here and I'm going to change this to ping pong. And what that's going to do is going to make it play all the way to the end and then go back and play and reverse. Let's play this. Now we should see that ping ponging nicely in between the two color variations. We've got that nice, smooth transition. Now things you can do to have a play with this is to change the number of frames per second. At the moment it's 15 frames per second. Each one of these frames down here is showing on screen for one 15th of a second. We can make that slower. That's going to make the transitions more jagged because your eyes will be able to focus on each of those frames. Or we can increase it all the way up to the maximum of 60 frames per second. It will be transitioning so fast that your eyes won't actually be able to detect the transition between those frames because it's going so fast. But at this point, we're almost back into the realms of that flicker stroke effect we had when we didn't have any graduation between them. Going to leave this at 15, because I think that looks pretty good. It's a good compromise. You get to see the color change slowly, but it's also looks smooth. If you wanted, you could increase it to 24 frames per second. That can look good as well, but let's leave that for 15 as we're working. That's the basic how to, of this effect that we're doing. Which is duplicating the layer and increasing the opacity on the layer above each time. Let's pause that now and look at how to get on to the next part. We've got this layer which is 100% of the peach for this one. On the next frame on from this, it needs to be the peach plus 10% of the next color. We're going to duplicate just the color that we've just transitioned into, the peach. We'll duplicate this one. I'm going to drag this out and onto its own layer. At the moment, that is its own one frame, but we want it in with the pink. We need to group those together and make them one frame. We want 10% of the pink on this one. This frame here has 100% peach. Then this next frame on has the peach plus 10% of the pink. Then we just work through these exactly the same as before, duplicating it, and bringing the next layer up by 10% each time. Then on this last frame, we're up to 100% of our pink to go onto the next color. We duplicate this, bring it out as a main layer. Then we're going to group it with the purple. Then put 10% of the purple in above it. From there, we just carry on the same as we did with the other steps, duplicating and increasing the opacity of the layer above. Once we get to the last color we have up here, the next thing we would be doing is transitioning into the color that's all the way down here at the bottom. To make our loop on your bottom layer down here that's just got 100% and the one we started with, Tap copy on that it's easier than duplicating and dragging it all the way up here. Then at the very top swipe down with three fingers. And that will then paste that layer up there. We can then duplicate our last dark purple layer. Drag that out. And then one last thing to do is transition into this color. We want 10% of this new color, which is the one that we started with right down at the bottom, down here, here. Let's go back up to that layer. Let's group these two together. And then we're going to do another cycle of duplicating these and bringing the capacity up by 10% each time. Just like we did with all the other layers When you're working through it, don't stress too much about if you've got one layer that's 49% and then the next one's 51. It's not going to matter if 1% out with your 10% increases. When you get to this top layer of 90% don't duplicate this one again. You might think that you would bring it up to 100% from the next frame. But if you remember, we already have this color at 100% That's our very first frame that we started with down here. This last, when you get to your very last color, leave that at 90% because the next frame on from that will be the first frame at 100% this animation should now be done. You can see at the bottom here, we've got this lovely ombre like effect going on there. It's quite cool to look at. We can press play. When we press play, you can see it's seamlessly scrolling through all of the colors. This is actually still playing on ping pong can change it to loop, and you'll see it goes from that dark purple right into the light purple at the other end. That is technically ready to export now. But there's a few little tweaks we can do to this just to get it looking even better. What I think would be nice to do is to insert a frame hold when we get to one of these frames where we've got just one color at 100% insert frame hold, which means it's just going to pause on that color for a second or two before moving on with the animation. What we have to do is to find those frames. The first one is easy because it's the first frame. Tap on it and you'll see a little hold duration up here. You can bring that up. Let's try five frames to start off with. That's going to add in five frames Down here, you'll see it's got these little grade out frames down there. It hasn't actually made layers for those. It just knows to show this one and hold it for five frames. The next thing we need to do is find the next frame on from that where we've got 100% of our color in it. This one's 90, so it will be the one after tap on that there. Then set that duration to five frames for that one as well. Then we need to find our 100% pink, which is up here somewhere. This one. Bring the whole duration up on that one as well. Then lastly, we need to find our 100% dark purple. Let's see if we can find this one first time. Yep, tap on that one, then bring the whole duration up to that one. And then that's the last one, because when we get to the end, we will be holding at the beginning instead. Let's now play this and see how that's looking. I think I like that a lot better. Pausing for a second. Well actually it's not a few seconds, It's five, 15th of a second, one third of a second on each color. It still looks a lot. You could experiment with making those holds a bit longer if you wanted to. We could try adding a frame hold of ten frames on those. Once you've inserted them, it's a lot easier to find them because you can see where the grade out frames are and then you can just tap on the frame Before that, let's go through all these and let's try changing it to ten frame holds is just this last one to do what? The first one to do those all done, let's play that and see how that's looking. Now it's totally up to you to decide how many frames you want to hold it for on the colors. If you want to do it at all, have a play here and see what you like. You can then use this opportunity to adjust the frames per second. If you want, maybe try it at 24 frames per second. It's going to make that hold shorter. Because remember, it wasn't a specific time we said to hold it for, it was the amount of frames when we increase the frame rate, the actual length of time that it's held for is going to decrease. If you do adjust the frames per second, you may decide that you also want to adjust your frame holds to match up with that new setting. I think because I had just moved that frame hold up to ten, that that probably works quite well with this 24 frames per second. For this one, if you want to use the settings that I had, I had my frame hold at ten, and then this one is at 24 frames per second. In terms of exporting these onion skin settings don't make any difference. This is just what you would use whilst you're working. They won't have any effect on your final video. I think that this is now looking finished and I'm happy with this overall animation. It's now ready to export, which we will look at how to do in the next lesson. 5. Project 1: Colour Animation | Exporting: If you wanted to save this and share it to Instagram, you would go to your spanner up here, Tap Share. And we want to share it as an animated MP four. You've got the option to save it as max resolution or web ready resolution. Even with max resolution, you'll see this is only 332 kilobytes. Because we were careful to keep the file size small in the first place. We made it 72 pixels at actual size. If we make it ready, it's going to crunch that even smaller. But we want to keep this in the size that we made it because we made it at the correct size to start with. You can change the frames per second here if you wanted to, but we already set those how we wanted them in the animation screen. At this point, we can tap on export. And we want to save this either to camera roll or to your files. If you don't use Instagram on your ipad, you can save it to files and then download it on your phone from files. Let's now go into Instagram here because I have this installed on my ipad, so we can do this, you can tap on the plus icon there and your video will be down here. You can tap on that. Go into next, you'll see you have the option to share this as a real, just like you're used to doing with any other video you make in there, you'll see because we made this, Instagram is going to loop it endlessly for you as well. That is how you upload it to Instagram. Let's now have a look at how to save it as a gift for sharing in the project gallery. For uploading these to the gallery, what you can do actually, is export these as a gift for these ones. You'll see the file size is a lot higher. It's like 24 megabytes up there. If you leave it at max resolution to upload these to the gallery, definitely tap web ready and you'll see this is only now 3 megabytes, which is fine. Much more easy to handle and upload. You can leave all the other settings as they are for this one, that's going to be fine as it is just for uploading to the gallery. Again, as before, you can now tap on Export. Either save it to your camera roll or save it to your files. We can go over to Skillshare. We can click on Submit Project here. Then if you tap on the image icon down there, you can either choose from your files or your photos. Tap on your gift. And wait a second for that to upload. Just take a moment or two to appear. That is how you get your little video into the project gallery for everyone to be able to see. You can give it a title, write some notes in there if you want, and then you can tap on Publish if you want to put an image as a cover image. Let's just see if we can also put a gift for that one. Let's find that file again. Let's see if this works. Yep, it looks like you can also put a gift for a cover image as well. Then from that point, you can publish, and then we can all see your lovely animations. In the next video, we will look at adding some movement to our animations and pans. 6. Project 2: Adding Movement | Setup: Okay, let's get started on project two, which is going to be rotating elements of our pattern. In my case, I'm going to use these bats, but you could do it with flowers or anything really, that you can rotate from side to side to make it go on a little jiggly loop like that in this pattern here. I'm going to choose to make these bats, in my pattern rotate or oscillate side to side. You could also do it with flowers or just about any element in your pattern, which is easy to make it jiggle back and forth like this. The way you want to bring your pattern into the template we'll be using is you need to have a transparent layer like this. They need to not be attached to anything, otherwise you're going to have to go in and cut them out. Which gets a bit messy. Not impossible, but messy because these bats are mostly isolated and they've got this transparent background on them. I'm going to swipe down with three fingers to copy all. Then I'm going to come out into my gallery and I'm going to use the preset that we made in the last lesson. I'm going to go into this Instagram real. I'm going to swipe down with three fingers and I'm going to tap on Paste. Then also, let's change the background color so that we can see all the elements on that design. A bit better for this one. I don't want to make too much work for myself or for you. And you can see if I fill the whole screen with the pattern like this, I'm going to have quite a few bats to animate there. What I'm going to do with this one is I am going to make this one bigger and I'm going to make it that sort of size. So we've just got a few of these bats to do, and then I would only have to do these ones in the middle. Now you see these ones at the edge where they cut off at the side of the screen. You might think that we won't be able to animate those, because as soon as we start rotating them, we're going to get bits missing because they were cut off by the edge of the canvas. But I've got a trick to show you where we can actually go past the edges of the real size. By that I mean Instagram re size. I'm going to actually start by deleting this thing here. Deleting, not duplicating, We've still got that in our clipboard, you can paste in later. This first layer here, layer one, I'm going to grab a color, El, color is fine, and I'm going to fill the whole layer with that color. Then up here I'm going to go up to the spanner and I'm going to tap on canvas. And we're going to crop and resize our canvas. All we're going to do is to drag the canvas out, give us a bit of breathing room and a bit of space and margin around the edges of our actual canvas size. And then we can tap done. Now we've got this rectangle inside our canvas which is 1080 pixels by 1920. That's going to be our final canvas. Now I'm going to paste my pattern back in. Then I'm going to snap this to the top of the document. Let's duplicate that. Let's drag that down there. Hopefully we don't have any gaps or anything that doesn't look right. That looks okay. Let's pinch these together. These bats over the center of the canvas are the ones we're going to be animating. What we can do now is to move this bottom layer around and put it in the best place. It doesn't matter if it goes off center, it's not centered in the first place. I'm going to turn off snapping and magnetics. What we're going to do is we're going to move this around. Like up here, I don't have any of these bits showing by just a tiny bit. Because then I would have to animate that. I'm going to make sure I haven't got any point less tiny bits of motifs hanging over the edge that I don't want to have to animate. That looks good up at the top. We want to make sure we avoid that one on the right and that one at the bottom, that's looking okay. There we go. I'm going to leave that where it is. You can move this around with no fear of it going off center. It wasn't centered in the first place. That's just so that we know what area we're eventually going to crop to. Yet the position of this is only relevant to the bits that you either do or don't want to animate. Now that that step is done, what I'm going to do is add another layer in here. Basically, we're going to have some of the bats going left to right, starting off, turning that way and that way then some of the bats will start off turning that way and then going that way. Some will be clockwise, some will be anticlockwise On this layer here, I'm just going to grab any old color. Let's go for something that we can easily see. I'm just going to put a blob behind each bat so we can and keep track of what's, Let's make this nice and big. This is going to be one layer, the bats going anticlockwise. We'll have that one going the other way, then this one going that way. Then maybe that one. We'll do this one that, on that one. And then maybe that one there, maybe we'll do this one here. I'm going to have roughly half going one way. And then we can do this on the same layer. Actually, we don't need to add a layer, just grab another color that's going to stand out and then just put a blob behind the other bats. This is so that we know our green bats will all be going in one direction and our yellow bats will all be going in the other direction. And that is going to help us keep track of what is what. What we want to do is cut all the green bats, and then cut all of the yellow bats and have those on two separate layers. On this layer here, I'm going to use the select tool, you want to have this on freehand. Then all we're going to do is just trace around the bats and cut them out from this pattern layer view. It might be flowers or something else that you're going to be rotating, but make sure that you don't get any other parts of the pattern with it. Then when you've done one, you press Add, and then you can move on to the next motif, Tracing around this one and pressing Add down there on the bottom tool bar. In between each motif, once you have all of your a set of motifs all highlighted and selected, you can then swipe down with three fingers and we're going to tap on cut and paste. Now that's got all of those onto one separate layer, we can hide that for now. Then we'll go back to our main pattern layer, grab our selection tool again. Now we do the same thing, tracing around and cutting out all of your second set of motifs tracing around them and then tapping, add in between to move on to the next one. Then once you have all of those, swipe down with three fingers and tap, cut and paste, then we can hide those. Now that should be all. I can see that I've missed a bit here. Let's undo then. Get to the part where I have everything selected. Let's show you how to fix this. I'm at the part just before I cut and paste. We're going to long press on the Select tool again, I'm going to just draw around that bit there, tap, add. And that's added that to the selection as well. Then just like before we can cut and paste, that's now picked up that mistake in there. The next thing to do is tidy this document up, ready to do some animating. The first thing that I'm going to do is to group this rectangle down here. The bottom layer I'm going to swipe right on the layer above and the main pattern layer to select all of those. And we're going to group those because we want those all to be one layer. This is going to be our background layer as a way of selecting this frame. If we go into animation, we've got animation assist turned on. And because these two layers are hidden up there, you can't see them down here in the timeline. This one here, the layer with the main pattern, we want this to show all the way through. We'll get rid of those two layers. Eventually we want to show this layer of our pattern all the way through the video, through the animation. Let's tap on this down here. If you look at the bottom, we have the option to make this a background layer. We toggle that on. That's going to show this one frame in every single frame as well. And then which ever other frame is active, it will still show this background layer. This will be persistent through the whole animation. If you want to put a foreground in your layers, for example, if you want to put in your logo or watermark over the top. We can go to add insert a photo or something. If you could put your logo down here at the bottom subware, we can line that up later. Then if you tap this frame, you'll see you have the option to add foreground, then everything you add in between these two layers. If we just play through this, it's going to look pretty weird at the moment because we've only got these two frames. It's going to keep the background layer at the whole time. And it's also going to keep your logo, the foreground layer in there the whole time as well. Let's just hide that one for now, and we can use that later. All that we have to do now before we are ready to get starting animating is these two layers here with the bats on. We want to have those groups together so that they will be one frame. We'll always be working on either one or the other layer. Let's name these up so we know which one is which. I'm going to name this one yellow. And I'm going to name this one green. That's going to help us keep track of what we're doing. In the next lesson, we will get started on animating some movement into these bats. 7. Project 2: Adding Movement | Animating: So let's get started with these yellow bats. What we want to do in each frame is to move these round by a set amount of degrees, a couple of times this way, and then a set amount of degrees that way. And then we'll have that looping. Or we could also use ping pong for this one if we make it go that way. And then that way we can just have it ping pong between the two. To start off with, let's turn on ping pong style for this. Again, we can leave all these settings just as they are for no, this one here. This group is going to be our first frame with the bats in this neutral position, as they were from the pattern. Then in the next frame, we will start to add movement. Let's duplicate this group. Let's start work on this yellow bat layer here. We want to use our select still on free hand and we're just going to go through these one at a time, drawing around these, just like we did before. Then we're going to tap up here to transform. If I zoom in, it doesn't actually make it any bigger. Let's zoom in through the video. Instead, this green node here, if you tap that, you get to choose what angle you rotate it. Let's rotate this by five degrees. You'll see it all move there. You can see the onion skin effect there. Here we can see the previous frame. That's grade or translucent. We know it's moving from there to here. That's why I was talking about the onion skin effect. Once you've done that, you can on the transform. And we're going to do that for every single one of these bats on the yellow layer. We're going to draw random select them and then rotate them all by five degrees. Let's draw round this one tap to transform. And tap five, you'll see it move. And then you can tap on the arrow when you're done. That's all we have to do for this layer. Just work your way through your first set of whatever motifs you're animating. Rotating them all by five degrees. I'm just going to go ahead and whizz on through that. Then once you're done, have a quick look over all your motifs. You should be able to see that onion skin shadow behind them to know you've done them all. And then we're going to move on to the green bats, exactly the same. We're going to trace around these, select the bats to transform on the green node. And we're going to move it five degrees, but this time we're going to make it five degrees. It's going to go five degrees the other way. The yellow ones are going to be going anticlockwise. And then the green ones are going to be moving clockwise. And then exactly the same as we just did with all those other bats. Work your way through all of these green motifs, moving each one by minus five degrees. Once you've done all of those, you can see the onion skin shadow behind them to know that you've done them all. That is our first frame done. Now in our previous animation, we duplicated the frame to then work on the next one. But in the previous animation, we weren't doing any transforming or scaling, or rotating things in those, it was okay to duplicate. If we were to duplicate this again and move it on another five degrees, we would really start to see the image soften and blur as we rotate it. You can see, for example, like in this one, this one is my original. By doing just that one small transformation, that's what my edges look like. Now probably the best place to look up is there. You can see they're a lot more so than the original. If we were to transform this again, they would again become even more fuzzy and soft. What we're going to do is instead of duplicating the one we just worked on the whole time. Because if we did that, by the time we got to the end, it would just be a big fuzzy blob. We're always going to be working off this original bottom layer here. We're going to duplicate that one. Then bring that one up to the top, and we'll work on this one this time. Instead of rotating it five degrees, we're going to rotate it ten degrees. I'll just show you that. Now we'll go to the yellow layer. I'll just trace around this. This is going to give us the best quality image that we can have. We do ten degrees. You see we've got those nice steps. They're showing with the onion skin because we're always working off the original. We're only ever transforming it once. We're keeping the image distortion to the minimum. Now we're going to work our way through this layer. Again, rotating each one of these by ten degrees. I just realized I'm tracing round this really carefully. We haven't even got these petals on this layer. These bats are on their own. I don't know why I'm tracing around them so carefully. Literally, circles around these and then rotate them ten degrees? Yeah, once you've got all your bats or motifs on a separate layer, you don't have to be precise about tracing around them. I could have done these last two layers a whole lot quicker, but never mind. I'm not going to edit this part out. I'm not going to do a retake and pretend that I don't ever make silly weird mistakes like this because we're all human. And hopefully it'll make us all feel a lot better about ourselves. Anyway, when you've got your three little shadows showing on all of those, we're ready to move on to the green ones. These ones we do again by ten degrees, but minus ten. Work your way through all of the bats on this layer. Moving those by minus ten degrees, then when you can see all three shadows on the onion skin frames on those ones, you know that those are all done on that layer. Then for the last of the turns in this direction, we're going to go up to 15 degrees. We're going to duplicate this bottom layer. Again, drag that up to the top. This time with our yellow ones. We're going to move them by 15 degrees. Then just work your way through all of the bats on this layer, moving those all by 15 degrees in that direction. Then once you've done all those, we'll move on to the green ones. As I'm sure you can guess, these ones will be moving by -15 degrees. Then again, you can just whizz and work your way through all of those bats on this layer, moving them by -15 degrees. Now we've got one part of our animation done, where everything is going to rotate either this way or that way by 15 degrees. Now what we want to do is bring it back the other way. Now for this part, we actually can duplicate, because we're not going to transform anything any further. Because when we've got to this one, which is 15 degrees, the next step would be to have it back again there to ten degrees. We can actually just re, use the one behind it. Let's go to this one, which is then we've got 510.15 After 15 we want ten, we can use that one. What I'm going to do actually is let's label up the group. We've got this one at the bottom, we'll name as zero. Then we've got five. This is going to make it a lot easier to keep track of. Then we've got ten. Then this last one at the top is 15. What we want to do is go to our ten degrees group and duplicate that one, and drag that there above the 15. Then we want to go to our five degrees. Duplicate that one and drag that one up to the top. And then finally duplicate our zero and take that right up to the top there. And then we're back where we started. Let's give this a little play Now let's go down here. You can turn off these bits at the bottom so they're not distracting us on our settings. We'll go to ping pong and let's tap play and see what we have. That's already looking pretty cute there. They're just going that way and then back again. What I think would be nice is if we went that way to the middle and then over to this side as well, where we've got the yellow ones moving, I think positive 15 degrees and then back to zero. Let's have them go the other way up to -15 degrees. Let's just pause that for now. We are back to zero. Up here on our time line, what we want to do is duplicate this one. It's okay to duplicate from zero. Let's put our markers on so we can keep track of where we are. Let's rename this 15 even though it's not quite the same, five as the other one, because this is going to be. Everything's going to be moving in the opposite direction in this one to where it was in the first five group that we had. Our yellows are going to be minus five this time. Have we got the yellow layer selected? Yep. Let's tap these and we'll move these by minus five this time through all of those. Move them by minus five degrees. Then for our green ones, this time these are going to be moving in a positive direction. We can draw around those quickly. Tap on the green node and we'll move those five degrees if you find you're not sure whether you've done a but on a layer or not, because we've got so many onion skins, it's quite difficult to count them all. What you can do is go here to your timeline and if you flick between the two layers, you should see some movement in all of them. If you weren't sure if you had or hadn't rotated about, you'd see it standing still between these two frames. That's how to check if you're not sure. Once you get too many onion skins to easily count. Now we go back to zero and we'll duplicate this one. Drag that up there, and this one we'll call ten. Then all the yellow ones on this layer, we're going to rotate by minus ten degrees. Then onto our green ones we can select these. And these ones, you guessed, it will be moving by positive ten degrees. Then again, because it's getting busy here, let's just make sure we've got some movement between all of those there. There's nothing sitting still between frames there. So we're good then. Once you've checked that you've done everything you can, go back to your last zero layer. Duplicate that one and bring it up to the top. This last one will be 15 degrees. Our yellow ones are all going to be moving by -15 degrees this time. Then onto our green ones, and these are going to be moving by plus 15 degrees this time. I nearly said -15 Then as I was doing this one, I could see that it's not quite lining up properly. Going back to this one here, the frame before, I can see that what must have done is moved it the wrong way in this frame. How do we go back and fix things? When we spot we've gone wrong like this, what you need to do is narrow down and find the frame where you've gone wrong. It's this one here that I've gone wrong. Select the green one on this layer. We'll draw around it. And we will swipe down with three fingers. And we are just going to cut this one out. Then we can go back down to the zero layer on neutral one. Select the green bats on here, We can draw around this one. Swipe down with three fingers. We can tap copy. Then go back up to the group where we just cut it out from, which was the ten, I think this one swipe down with three fingers and we can paste that in there. Not going to merge it down just yet, because we will do the rotating first tap to transform up here. It was ten degrees, we needed to move this by for this layer. There we go, that's where it should have been. And now we can pinch that down and merge it with the other layer. Now we can just scroll and move through these other layers just to double check that it's moving as it's supposed to. That's now looking correct. That's how to fix any mistakes if you spot any as you've been going along. I'm going to show you another one here. There's this bit where I didn't quite cut it out carefully enough, I think. Let's draw around this guy with the select tool and just delete him completely. Then we can go back down to our zero layer. Find the zero guy from this one. Swipe down with three fingers copy. Go back up to the layer just above the layer we just cut it from. We can paste it in. Check on the group layer what it was supposed to be. It was 15 degrees, we can do that. Now he's in the right position as well, yet the more motifs you have, the more you are likely to make a mistake along the way. Just keep checking as you go to make sure that everything is looking how it should be. Probably the easiest way is, I guess, is to just play our video. It's not quite finished yet, but it's nearly there. Let's just play, it's on ping pong. And that seems to be looking okay, hang on. I can see something here. There's a bit cut off that one as well. Let's narrow down and find the frame. This one here, I think I must have got that in with another back when I was selecting. Let's cut this guy out. Swipe down, we can cut, go back down to our zero layer, then we can copy him from there. And paste it in. Yeah, you can move backwards and forwards between your animation frames, either on the layers or on the timeline. Or just every now and then. Give your video a play just to check that everything is looking how it should be. I'm going to collapse all of these layer groups. Now if you remember on the first cycle, we went 0510-15 and then we went back down to ten. We're going to do the same on this one. Going back the other way. Let's just pinch those down. Yeah, where we've gone up, we can go back the other way. We can duplicate this ten layer here. The swipe left tap duplicate and drag that to the top. Then we want this five layer, we can duplicate that one and bring it up there. Lastly, let's duplicate this zero layer and bring that up there. Now we should be able to hide these marker layers at bottom. Again, we're on ping pong. Let's play it and see how it looks playing on ping pong, that gives us a really cringe that I'm even saying this. It gives us almost like a floss type dance move, like they're doing it, wiggles one way than the other. Let's have a look and see what we get if we do this loop. I think because we went back down to zero here, it's looking a bit off. Let's try hiding this zero and then trying loop. Yeah, that looks a bit more smooth because we had two of the zero frames. Let's go back in and hide that because it does look a bit weird when it finishes on this five on the loop is then going to go back down to this at the bottom. If you want to loop it, I'd say that's a better way of doing it. Don't have the final on this layer here. I can notice it's doing something a bit weird, like more than rotating. He's having a little hop to the left there. Let's see if we can fix that. These ones are rotating, whereas he seems to be doing a little sidestep. Let's have a look and see if we can find out where that's going wrong. We can either use these frames at the bottom. It seems to be in this one here where it goes from rotating is also moving over to the side. Then possibly that's also messing up the one above. Let's try and drill down and find this frame. We're okay up until this one. And yet this one, he hops over to the side. Just double check that this one is fine. That one's fine. Then this one it moves. Let's go into this layer. We need to go down and put our markers back on so we know if he's team green or team yellow, we want to cut him out from the yellow layer. And then go back down to our zero neutral layer. Find him on that one and cut him out from that layer. Swipe down copy and then go up to just above where we cut him out from. Then we can paste him in there. Then we need to rotate him by 15 degrees, which I think was -15 Let's just check that that's playing correctly now. Yeah, that's moving much smoother and he's not doing his little sidestep anymore. Let's pause that and we can pinch to merge him down into the main group. Anytime you spot a mistake on here somewhere when you're playing it, drill down into the frames and figure out which frame it's on. You can then cut the mistake out from that frame, remove it, then go back to a zero frame, copy it, and paste it back into where you've taken it from. You can then rotate it by the appropriate amount of degrees for that frame. It matches up nicely with everything else. Now we can go down to the bottom layer and hide those two markers. Let's decide if we want to use Loop or ping pong for this. I think I prefer loop for this one frames per second. Let's try it at 24. That just looks a little too busy and crazy for me, that's maybe too slow. I think 15 does feel a little bit too fast. I think I might bring this down to 12. I think we can say This animation is now finished at this stage. In the next lesson, we will look at how to crop this back down into our 1080 by 1920 size for an Instagram reel. 8. Project 2: Adding Movement | Cropping: All that's left to do now is to crop this back down to our 1080 by 1920 size for Instagram. At this point, you won't be able to go back and change things so easily once we crop it. I recommend coming out into the gallery, duplicating this. Then work on a new one. So you've always got that one to go back to, because once you've cropped it, these pixels will be gone forever and you won't be able to get them back. Let's go up to our actions, and we're going to go to Canvas. And we're going to go back to crop and re on our settings. We want to type in 1080 by 1920, then we can tap done down here. Then you get to tap on this with your apple pencil. And you can drag this around and choose exactly where you want to crop where we had it. I want to make sure I'm not getting any of those animated bats in there on the canvas. We want to have this one here. I want to keep out. I need to make sure I avoid this one. We can drag that over to the right a little bit. Look around all the edges and make sure that you don't have any un animated parts showing in there. I think that's all of them. Careful not to resize it. You drag around from the middle? Yeah, move it around so you've got just the bits you want in there and then when that's in the right place, you can tap done. Now when we play this, these are all animating perfectly off the edges. If we come back into the layers here, we can probably delete those now because we've got those as a backup in our other copy, so we can just get rid of those. This one here is the background. If you want to go ahead and put your logo back in. Let's show this layer again. Maybe we will resize that, make it a bit smaller. Go up here to transform. Make that a bit smaller, and maybe center it as well. Let's turn snapping and magnetics on. And we can center that tap to select that. That's our foreground. Now I can play our video. And that is now ready to share and export for Instagram or Skillshare. Just to give you a quick refresher, if you want to save it for Instagram, you will want to share an animated MP, four max resolution. Double check your frames per second, and then you can save that to your camera or your files and then send over to your phone. If you want to save it for Skillshare, you can do that as an animated gift. Go to share tap on animated gift. This one you want to do web ready. So it's nice and small, we don't need to see it super high res, just the movement is all that we need to capture. And then we can export that to files. Then you can go back into Skillshare where we've still got this project. Open. Press Enter, choose another image from files. Find that one. There it is up there. Just give it a second to up load. That's how to add your second animation to the gallery. That's how to make something rotate using procreate animation. Other ways you could use this, we only went up to 15 degrees if you wanted to make something rotate completely. If you had fliers for example, and you wanted to make them rotate in a complete circle, you could maybe choose ten degree increments and just keep going all the way around until it's rotated all the way around Way you could loop it or you could duplicate the subsequent layers to make it rotate background again to the right. The other way you could do it with flowers, you could do it with animals, you could do it with any motif we could have done, Use the pumpkins to do this if we wanted to. There's lots of different ways you can use this rotate movement feature. I've got another animation here in procreate, this one down here, where I've got two types of movement going on. I've got the big flowers going backwards and forwards, the same as the bats in our previous project. At the same time, these smaller flowers are also rotating in a loop. If I show you this one as a way of combining movement, there's all kinds of different ways you can imagine this and ways you can use this rotating feature. In the next lesson, we'll look at adding some twinkling stars to our patterns. 9. Project 3 Twinkling Stars: Welcome back for project three. This one we're going to be adding some twinkling stars to this ghost pattern here. This is one I've brought in and I'm, it's on a transparent layer as you can see here. But you don't have to use a pattern with a transparent layer for this one, because we'll be putting the stars right over the top. This one does have a transparent background and I've got my background color underneath. If you're using the template that I've given you, which is this one here, this is the one that you'll be using. Again, this is 1080 by 1920 pixels. And I've already brought my pattern into this one. Same as we did in the other lessons for this animation, we're going to be adding some stars and making them softly twinkle on and off. What you need to do first is set up a brush we're going to use, come down to your default procreate brushes and find the airbrushing section. Just going to delete this one that I added there. We don't need that one right now. Find the hard airbrush right at the bottom. You can duplicate that one so that we're not messing up any real brushes and tap on the settings. What we want to do up here in the stroke path is bring the spacing on that right up so that we can draw some tiny uniform dots. Then on apple pencil, make sure pressure is not affecting the size because we want to be able to draw everything the same size. Once you've done that, you can tap done. Now you've got this dotty air brush here. We're going to choose our color, and we want to use white on the color wheel. We can double tap up there to snap to white. And let's just have a look and see what size this is. Massive. Let's bring that down a bit. I think these preset sizes is why I want to use there. This one I'm using is at 7% Basically what you want to do is just decide where some stars would look nice on this, on a layer above it. Let's add a layer above there. Let's set this bottom one as our background. Then on this layer up here, we're going to add some stars, just anywhere that you think the stars will look good. Obviously, the more stars you add in, the more work it's going to be. I'm not going to go too mad and put too many on here. Hopefully that's enough on there. Said, you can make this as busy as you want it to be or not. You put some more up there. Then at this point, we're going to hide the ghosts or your pattern layer at the bottom so we can see better what we're doing. What we're going to do is have two sets of stars. Some will be fully on while the others are fully off. We want to divide these up into two sets. I'm going to choose 1.2 just like we did with the green and yellow blobs underneath in our previous pattern. Just going to grab any old brush here and I'm going to number these up, either one or two. What you want to be trying to do is make these as spaced out. And I want to say random, but it's not random because we're choosing where to put them. But yeah, try to make it so that the stars look as random as possible with only two sets, it's not going to be completely possible to have clumps of two stars on the same layer next to each other. But here, you might not want to have three of the same number, so close to each other. This is just to help you break them up a bit. See here where I've got a 2.2 and 1.1 That might look a bit weird and not random enough. Let's swap these two around and make that one and this one or two. Just label these up and try and get them as spaced out as you can. Then we're ready to move on to cutting these out onto separate layers similar to how we were drawing the green and yellow circles on the other document. Now let's group these together so they're not messing around with our onion skinning. I'm going to turn this one off for now. And then on this layer here with the stars, Remember how we cut the bat site so that we had all the green bats on one layer and all the yellow bats on another. Well, we're going to do the same with this. Just making sure that we've got everything on the same layer. What I'm going to do is go through and cut out all of these two pressing ad in between using the select, same as we did with the other bats on the previous lesson. I think I've got everything there. I'm now going to swipe down with three fingers and I'm going to cut and paste those Now, hopefully that should just be all the ones left showing there. Just have a quick check. Okay, let's rename this one. Let's rename this 12 name, the layer below one. Then you should then be able to hide that ones and twos because we don't need that layer anymore. And then we can group these two layers of stars together and then deselect everything. I'm going to show you how to make these stars look a bit cute and sparkly and add a soft glow on them. I'm just going to work on one layer at a time. I'm going to add a layer above this one. I'm going to go back to the brush that we were using before. Just go up here to my recent. I'm going to make it slightly bigger. I'm going to draw a slightly bigger dot over the top. It needs to be the same color, also in white. I'm going to go around and draw a slightly bigger dot over the top of all of these, and then on this layer here with the bigger dots, we're going to go to our adjustments down here. We're going to tap Gaussian blur. If you swipe across with your apple pencil, you should see these will start to go nice and blurred and we get this cute little starlight effect. I've taken this up to 8% on this one. We can then merge that with what's underneath. And then we're going to do the same with our two, add a layer above. Then with our dot brush, let's just hide these, just add a dot over the top of all of these. Then we go up to our adjustments, choose Gaussian blur, and we'll bring that across to 8% as well. Then we can merge those two together. Now we've got these cute little glowing stars. Our first frame we're going to start with, we want, let's have our ones at 0% opacity fully off. Then our two, we will have at 100% opacity fully on. Then we're going to duplicate this layer. Let's bring this up to 10% let's bring this one down to 90% Then we can duplicate that layer again. Then what we're going to do is just keep either increasing or decreasing these by 10% each time. Duplicate this one, bring it down to 80, bring this up to 30, down to 70. As you can see here, it's already looking really cute, like where we've got some faint stars and some brighter ones. Duplicate this one, do 60.40 Then we get to this one, the halfway point where everything is at 50% Although on the preview here, you'll see they don't all quite look the same. And that's because of the onion skin where some of the frames below are being duplicated. That's why they don't quite look the same. They don't both look like they're 50% Then last one down to zero on this one and this one all the way up to 100. That is literally all we have to do for this. If we put these settings on ping pong and we press play, you'll see we've now got these really cute, softly glowing stars. Let's go down to our layers down here. Turn our background layer on, now we've got these cute sparkly stars. This is set to 24 frames per second. At the moment, I think you could play around with the settings. You could bring it down to like 12 or 13. If you go super high, it's going to look like those chasing stroke Christmas tree lights. I think 20 is probably quite a good setting. I think I'm going to keep mind set at 20. But absolutely choose how you want to have yours As harrowing Ben to leave mine. That is our third and final animation style. This one is especially suited to nighttime scenes with dark backgrounds, maybe Halloween scenes, but it will look cute with any flower animation or anything like that. The beauty of this one is that you can use any pattern or illustration. You don't have to have one that's transparent. You can bring anything in here. It could even be text or words. You could, I don't know, something like special offer or sale written and then have these stars sparkling around it. This is really easy animation to add to any piece of artwork. Once you've done this, you're ready to export this as an MP Four for Instagram or as a gift for skill Share. Just tap on share and you can then export it using the instructions from the previous videos. In the next video, we'll wrap things up and have a look at a few different examples of ways you can use these simple animation features to bring other surface pattern designs to life. 10. Next Steps: Well done for completing all the lessons. Thank you so much for taking this class. If you've always thought that animation in procreate was too difficult to get started with or maybe not for surface pattern designers. I hope this class has changed that. I also hope that you found it as much fun as I do. There's nothing more cute than seeing your little motifs come to life and dancing around. If you want to develop things further, you can try things like making elements rotate in different directions. You could add some eye movement to your characters or even have a go at panning around the pattern. These animations were all made in procreate with the assist interface. You're probably aware that Procreate Dreams is on its way. I was lucky enough to go to the Launch Wood Skillshare and see it in action. And I have no doubt we'll be able to do even more with our patterns in the very near future. The principles of this class will be a great jump. Enough point when we get the chance to have a go with it. Don't forget to upload your animations to the project gallery. Stopping by to look at them is always a welcome distraction during my working day. And don't forget, you can earn certificates for posting class projects now too, if you want any feedback, help, or advice, you can always reach me via the Discussions tab I try to look in once a week. And I'll always get back to you if you need an answer, if you want to see more from me. I have a Youtube channel with weekly tips and tutorials for procreate surface pattern design and all things related to that. If join challenges and community or you think, then you can keep up with those via my monthly newsletter and over on Instagram when you sign up for my newsletter. You'll also get access to my Freebie library, which has things like procreate palettes and brushes, mock ups and other templates in it. You can find all the links for those things either in the class resources sheet or by going to my Instagram at Becky Flaherty and following the links in my bio there. Most importantly though, don't forget to follow me here on skill share and thank you if you already are, because then you'll be the first to know whenever I publish a new class or if I have exciting news like a skillshare membership giveaway to share with you. If you've enjoyed the class, then please leave me a quick review. They help other students to know which classes are the good ones and they are always lovely for us teachers to read too. Thank you again. Stay creative and I will see you next time.