Transcripts
2. Resources and Materials: Hi, my name is Esther Nariyoshi. I am a US based
illustrator and I love to animate and I will be your
instructor for this class. I know many of you who come to class are new to animation
or illustration. That's exactly why I have designed this class to
be beginner friendly. You will need zero
drawing skills or animation skills to
learn everything in this class because
everything we will be working on is based
on geometric shapes. All of those shapes
will be provided for in the class resource area. By enrolling in this class, you will have access to the
procreate Dreams template. And you will also
have all the shapes that we will need in PNG form as well as
in procreate form. You will also have
a workbook that you can work through
on each page. There is plenty of space for
you to write your notes on, and I will also list
key points that we cover in this
specific lesson. At the very top of the page, I hope you're ready to dive in because that's exactly
what we're going to do.
3. Lesson 1 Group Hug | Basic Concepts in Procreate Dreams: The first exercise we're going to cover is called group hug. This is a final product. I'm just going to show you
real quick how it looks like. As you can see, we have
four different dots, Circles coming
from four corners. Let me just slow down and they all meet in a center
to give each other a hug, then go back to their
original position. This is a looping animation, which means that you can keep
watching and you will not be able to see like
a jump in animation. This is the exercise
I'm going to walk you through
inside this lesson. When you have a
animation in mind, it's always helpful
to plan it out in your mind or on paper over here. If we animate our project according to the sequence
of the timeline, we would start out
at the corners, at the four corners,
then align everything to the middle as another
turning point. And then for the second
section of the animation, we move everything
back to their corners. Again, this is one approach, but at this point of release
inside per create dreams, the alignment tool is
not quite there yet. I know in my mind
that this point when everything meet in the middle is going
to be very difficult. Because I'm going to spend
minutes, if not more, just to make sure everything
is aligned pixel perfect. We're going to find a work
around for this issue. Instead of animating based
on how time line progresses, we're going to start out our
animation from the middle. We're going to add a key frame. If you don't know
what key frame is, it's basically a turning
point of an animation. It could be a change of color, change of position or rotation angle, and
things like that. In our exercise, we're going
to start from the middle of the timeline and also
middle of the stage. And plant our key frames. And then we go back
to the beginning of animation for movements. And then we go to the end. Basically that is our game plan. Now I'm going to go
to the theater by tapping on this
icon on the left, right next to the
name of your project. Then I'm going to
find my template. You should be able to download the template after you
enroll in this class. Over here in our animation, we have a grid in the middle. This is just a visual
aid that helps us to figure out the relative
position of things. It will not be part of
the final animation. Right now, I am going to start animating at maybe 1.5
second around here. It doesn't have to
be super accurate. If you are able to download
the procreate file, you should be able
to have access to a bunch of geometric shapes that we're going to
use in this class. What I'm going to do
next is to import the circle onto the stage
so we can start animating. Use one finger to slide up
from the bottom of the ipad. Then because I have the
procreate already open, I can just drag this
up if you don't have it open and you can drag the icon of the
percreate original and then stack it next, I like to keep it on the left. Now we have the percreate
original app on the left and percreate drains on the right. I have the file open. Everything looks a bit messy because everything
is in the color of white. What I'm going to do is
to import a big circle, everything is named accordingly. So I'm going to just long hold the visibility toggle that I
only need to see the circle. You'll probably see the
grid in the middle as well. This grid has the same
size as the grid. We have the percredreams as well right now. I'm
going to import it. Just for the sake of my sanity, I'm going to give it
a different color. I'm just going to
select maybe this pink and then just drag it down. There you go. Now I'm ready
to drag this layer inside. Percadreams. The process
is pretty simple. Just pull out the layers
panel and find the layer. Then just drag and
drop to the stage. There you go. We have, we have a big.in the middle. I'm going to slide
it to the left. We have the procreate
dreams on full screen. This clupperboard icon is called Playhead because the playhead was in the middle when
I did the import. It only fills up the
playhead onwards, but I need to fill
the whole track. What I'm going to do, there are two things that you can do. One way is to just
hold the beginning. Maybe you'll see better when
I zoom up a little bit. Hold the beginning of the
track and then just drag it. There's another
way you can do it. It's a two step thing. You hold the entire track and
move it to the beginning. There you go, You see the
alignment on the left. Then you long hold this track. You can see the context menu. This little pop up, you just tap on
the fill duration and it will automatically
fill the whole track. This is pretty handy currently. The dot is on top. But I would like to
see my grid still. I'm going to just
long hold my grid, Ignore the pop up, and then move it
up that I can use the grid to reorient,
reposition my dot. At this point there's not really a line to the
center, that type of thing. You just have to do the best you can to keep it in the middle. Okay? Okay, this is great.
I'm going to start like that. Then we know that we have four
dots in the middle, right? Four circles. Oh, by the way, this is a good time
to adjust the size. If this circle seems to
be too big or small, you can adjust that by
just tapping on the stage. Then you see the red
dotted line bounding box. It disappears after
a few seconds. It's frustrating when you do demonstration, but here we go. I'm going to tap on it again and then just drag the
corner to resize it. By default, the reference or anchor is set to
be in the middle, which is really
convenient for our case. As you do more
complicated animation, say that if the dot is swinging based on a
different reference point, you can set that
reference point, which we'll talk about later on. Right now, this looks good. I am going to remember we have four circles coming from four corners and they
meet in the middle. We need three additional
copies to copy a entire track. You can just long hold to
prompt the context menu, Track Options, and Duplicate. We're going to do that a few times until we have four copies. Track, duplicate. Now we have four copies. There are some really
convenient gestures that you might want to
learn from the get go. If you're familiar
with procreate, you probably already
know the double finger to undo and triple
finger to redo. Then it's probably
intuitive for you to zoom in and out
with just two fingers. I also really love
for per create dreams in particular is
three finger actions. Use your three
fingers on timeline to scale the size of your track, the height of your track. If you want your tracks
to be bigger or smaller, you can just slide
it up and down. If you want to stretch
the view of the track, you can use your three finger
to slide left and right. Of course, you can also
use two finger to zoom, which is what I intuitively
do at this moment. After some work, we have four centered dots
in the middle. I'm going to give them
different colors. It's more interesting
to animate. I'm going to go to Draw mode, which is this squiggle icon. When you tap on it, you will see the interface turned into procreate interface
a little bit, I'm going to tap on the
color circle on the corner. Then I'm just going
to drag and drop. When I tap on one of the colors, you can just drag it. You won't see immediately because this is
not the top layer. Let's do this. Color
the top layer orange. Then the next one pink. Sometimes it doesn't
color immediately, so you have to do
it another time. But I don't think
this is a feature. All right. Dark
blue in the middle. Again, you don't really
see the color change because it's not
the very top layer. Last one, I'm going
to color it yellow. By the way, just like procreate, you can turn the visibility
of a layer on and off by just tapping on the check mark next
to the name of your track. There you go. Now we have four dots right
here in the middle. For those who chooses a
different color than mine, you might have contrast issues between your dots and the grid. To fix that, you can go to
the grid track and press it and tap on blend mode and then choose
a different blend mode. Usually multiply is my go to, but it seems like linear burn is on my side today. I'm
going to go with that. Now we have our four dots
aligned in the middle. Let's tell porcreate
dreams, this is, we want the position to be, which is by adding key frames. We're going to tap on the first dot first
we want to tap on the playhead icon and then move the first option,
move and scale. As you can see, as
soon as I tap on that, you will see this looks
like a crop tool icon. This is how the key frame of the move and
scale looks like. I'm going to do that for
the rest of the dots. Tap on the playhead
move, move and scale. You want to make sure? Let
me see might be better. I wish the divider between the stage and the
timeline can be moved as well. But unfortunately,
this is immovable. But you can see we
have the key frames planted on the same
vertical line. That means that this moment is going to happen
at the same time. Now we're free to move to the
beginning of the animation. The way I set up the
procreate dreams will automatically add another key frame
at the beginning. When you add any key
frames in the middle, we need to do some modification. Because the key frame
at the beginning had the same information as the keyframe
that we just added. But in our animation, we want every circle to start from their own
corners. This is pretty easy. I'm just going to tap on the
move and scale key frame. And you can see it's
already highlighting, in this case, I want my
circle to move diagonally. But if you want your movement to be strictly horizontal
or vertical, you can add another
finger on screen. When you move, maybe start
moving first and then add a screen and you will see these different highlight
to help you move. To give you some a visual aid, I'm going to double
finger tap to undo. And then just move my
circle to the corner, make sure it's completely, make sure there's no overlap between the circle
and the stage. Otherwise, you will see
like this one weird pixel. Then let's move on to the
next color. This is pink. There's another advantage of coloring your things
differently because you can just tell you're working
on the pink one right now. Even though if they need to be at the same color at the end, you can always recolor them
back to the same color. But just giving yourself a bit of visual difference
really helps. I'm going to tap on my key frame and then move
the pink to the corner. Same thing for the
blue and yellow. If I just play this section of the animation by tapping
on the play button, you can see something
is taking shape. Right currently we have
everything come to the middle and then just stay there
because we haven't done any key frame planting
after the middle point. Let's go to the end of the animation and
do the same thing. You can even actually, in my sample animation, I have everybody go to their own corner after
they meet in the middle. And you don't really have to do that to make things seamless, because the beginning frame and the end frame has
no circle on it. They're a seamless, what
I'm trying to say is that your circle
don't have to go to the same spot they came from. You can move them around, tap on the key frame, and then just move them. This pink can go here, this blue can go to
a different spot. All right, let's
give it a watch. It looks okay. Let's do a few things to make the
animation a little smoother. One of the things
that I like to do is to add easing
into the animation. Right now, everything's
moving at an even speed. If you really look closely, you can see the one
on the right has slightly more smooth movement that usually makes
things more interesting. I want to navigate around
my timeline to make sure I have landed on the spot where
I can see all four colors. I can choose a background color that works well
with these colors. I'm going to tap on
the time code at the lower left hand corner of the stage, of the backstage. Actually, the stage
behind the stage is the backstage to tap
on background color. I want something, I want it to be dark but not
like pitch black. This might be a good time to use my pencil instead
of my hand. Okay. I'm going to go with this brownish color and then
just tap outside anywhere. At this point, I don't
really need the grid. I can just turn it off by
tapping on the check mark here. Then we can preview
our animation. By the way, if you want to view only one section
of your animation, instead of the whole time line, you can just zoom
out three finger and just stretch out the timeline and you're only
seeing parts of it. If you want to see
the whole thing, you can do double finger pinch super quick that will
fit everything back in. As you can see, here
is our animation. As you can see at
the last point, there's a bit of jump, but the jump happened
outside of the frame. It's not like you will
not be able to see it. If you pay attention to our sample animation
at the beginning, you notice that
there's a bit of color changing when the circles
interact with each other. That because I have used a
different blending mode, let's go to part where the
overlap started to happen. This is a good point. I'm going to just zoom out so
you can see better. You can long hold on the track that you want
to change the blend mode to prompt the context menu and then tap on the blend mode. And you can change it
to whatever you want. You can circle, you can cycle through different ones just
by sliding it up and down. Color dodge seems to be fine. You can use different ones
for different tracks. This one, whenever you
apply the blend mode, it's going to apply to
the entire track but the entire content of
this footage. Blend mode. Okay, keep going to the
blue part. This looks nice. If you pay attention
to the middle. I'm just zooming in here. That is the color that
we're going to see when everything is
centered in the middle. I want to pay attention to the nugget just right
here in the middle. It doesn't really affect anything when you
change the blend mode of the last track because it has nobody else to blend with. I'm just going to
switch out the colors. Switch out the blend
mode of the top layers. I like it to be like
a white ish color to brighten up the scene a bit. You can spend hours doing this. This is fun. Yeah,
this is good enough. You can test it out. Double finger pinch, nice. Okay, I'm happy with this. You can also manually
move the playhead. As you can see, they meet in the middle and
rest a little bit. Give each other a group
hug and then go back to a different
corner of the world. I just love this by the way. If you really love one particular frame
of your animation, you can export just that
frame as a still image. You can just tap on the
name of your animation. You can just tap on
the current frame and it will allow you to save it onto your ipad or cloud or whatever
location you choose. I'm going to tap on Done. Yeah, that is our
first animation. Congratulations, I will see
you in the next lesson.
4. Lesson 2 Ghosties | Motion Trail in Procreate Dreams: In this lesson,
we're going to learn the steps to create
this animation. As you can see,
the ball comes in. Okay, I'm just going to manually play by scrubbing the playhead. The first circle comes
in and then bounce to a different wall until the first circle exit
out of the frame. And it seems like the
rest of the circles are following the exact
trail of the first one. That's why I named
this animation ghosts. These seems like colorful ghosts that just follows the first one. Now we understand the basic
movements of this animation. Let's get started.
First, I want to grab the animation template and this is what it
looks like inside. Then I want to import one of the circles to the procreate dreams from procreate original. Again, I'm going to use
one finger slide up from the bottom. This is photos. I'm going to grab the procreate and just stack it side by side. I have the procreate on the left and Percy
Dreams on the right. I'm going to find the
big circle and then just drag that layer and drop it as soon as it's imported. I'm just going to slide
the divider to the left. I only have the Percy Dreams. I'm going to move the grid to
the top so I can see again, I can change the blend mode of the grid by long
hold the grid track, then blend mode maybe multiply. All right, this is a visual aid. The grid is just a visual
aid that I created to help you have a general understanding
of your positioning. This time I actually
don't need to center because at the
beginning of the animation, the dot start from the outside. I'm going to resize
it to a smaller size. It has more space
to bounce around, tap on your circle, and then just size it down. Okay, And then I will
move it outside. If you want to change the
color of your circle, you can go to draw mode, which is the squiggle icon on the right hand and
then find your colors. I'm going to go to palettes. Maybe choose this dark blue
and then just drag and drop. You may take a couple tries. At this point, I think
it's not a feature. All right, that's move this
outside. I'm going to tap on. Done. We're exiting
outside of the draw mode. So now we can animate
for this animation, we have circles bouncing around. Instead of animating every
one of them individually, I am going to only
animate once and then offset each one of them to give you the
illusion of trailing. Okay, now we're
ready to animate. I'm going to start out by moving my circle
outside the frame. And then define that position
by tapping on the playhead. And then move, move, and scale. Now we have a seed planted, and this is a key frame. The next step, maybe a little bit before reaching 1 second, I'm going to add
another position. As you can see, it snaps back. That is because I don't have a keyframe
over here defined. I just tap on the
key frame track that will allow me to
define the position. I'm going to add another one. It's going to bounce
one more time, it's roughly 45 degree
bounce in here. One last one, if you have a key frame
that looks like this, instead of having
the white highlight, it looks like a
darker shade of red. It's just ping. It's not a real key frame. When you tap elsewhere, you see that the key frame
is not really there. Only when you tap on
it, it turns white. That is a real key frame. Then I'm going to move outside. Now, I can't preview
the animation. The general movement is great, but it looks a little unnatural because the movement from
A two B is very linear. There's no slowing down or
speeding up like a real ball. Also, I notice that
I'm going to turn off the visibility of
the grid for a moment, so I can see the boundary
a little bit better. It's weird that it doesn't
really touch the boundary. I'm going to fix that first
to bring your time line here. Actually, first you want
to tap on the key frame. And then zoom in just
with two finger to make sure it's touching. There you go. Then go
to the next key frame. If you know the absolute
position of your key frame, you can put in the numbers. In this case, I'm
just eyeballing. It's okay if you don't
know the number, then I'm going to move
it down a little bit. All right, let's give
it another preview. If you want the
whole stage to fit, you can just quick pinch
with two fingers like that. There you go. I'm going to add
a bit of easing, which is the natural movement of speeding up before
it hits a wall. It slows down, which we
covered in the first lesson. I'm just going to hold a empty space on the track
and set all easings, ease in and out. You can see the slowing
down and speeding up. To me it feels like this section just
happens really fast. I want to slow it down by
stretching out this section. It's really just moving this key frame to the right
to give it more time. I'm going to move the
subsequent key frames as well, and then just preview it. Okay, it's much better if
you haven't caught it. What I did is to hold one
key frame and then move it. If you have the
keyframe selected, it actually turns into a rounded corner square,
looks like that. And you can move it around
to change its position. All right, this looks great. Since we got the
main animation down, I'm going to add little
trailings of the ghosts. I'm long hold this blue ball. Track, then Track options duplicate, Track
option duplicate. I want to mention that there are two duplicate button or
taps on the context menu. That's why I'm always
going here first and then realize that I need
to really duplicate the entire track instead
of just one footage. Normally, if you just by tapping on this on the upper
right hand corner of the context menu, you will actually duplicate only that footage right after
it ended on the same track. That's not really what we need. I'm going to double finger do and hold it Track
option and duplicate. This is the duplicate we want. Now I want to give each circle a different color that makes the animation
more interesting. When the position
separation happens, I'm going to tap on
the squiggle icon here and then tap on the color, maybe this one as you
can see on the track, you can see the preview has changed now tape on
the third color. Actually, I'm going
to drop it here. And another one,
maybe the screen. Now, if I play a section
of the animation, you don't really
see the difference. That is because every, all the tracks have the
same movement information, they have the same key frame happening at the
exact same time. I'm going to change
that by offsetting the timing of the
three layers below. You just need to hold the track. And then move it
to however long. Then move the last
one the furthest. You can already see
the separation. The first key frame of the
blue kicks in first and then the first key frame
of the green kicks in the last right. Now if we hit preview, we have the trailing
motion going on, which is pretty neat, but we have a problem at the
end. Let me just zoom in. When you go to the
last possible frame, you will see that three of the circles didn't make
it all the way out. There's a bit of yellow and the orange and the green
are still inside the frame. That is because our
last key frame of these three circles didn't make it before the
animation ended. In this case, I'm going
to grab the last one, last key frame and then
just move it in that these circles have time to
exit outside of the frame. That gives us a
different problem. For example, these keyframes
are too close to each other, that's going to make the
last movement super fast. If I zoom out to see
the entire animation, you can see the movement may be a little rushed at the end. Depending on how you
set up your key frames, you can pretty much just hold your key frame and then
move them to the middle. The more time it has
between keyframes, the slower the change
is going to happen. Real, Just keep an
eye on those things. Don't be discouraged
if this process takes you quite a few
minutes to nail down. But once you find that timing that you're looking
for, it's quite rewarding. I'm going to do a
couple more things. One is to find a frame like this that has
all four colors on screen. And I am going to change
the background color just because white is flat. Maybe something dark
like this, warm black. There you go. Okay, let's
see, this looks good. Also, while they are
still overlapping, I like to change the blend mode. The overlapped area
looks more interesting. I'm going to start with the blue one long hold blend mode, maybe something lighter. Okay, here is where the
yellow and orange overlaps, so I'm going to change
the blend mode of the yellow to something else. Oh, this is nice. Then last but not least, I'm going to change the
blend mode of the orange. Whoops, I lost it. Stewed again. Long, hold the orange
and then just. Okay, I'm going to
stay with linear burn. Okay, let's give it
another preview. This looks great. All right, so this is
our second animation. I hope you are having loads of fun and I will see you
in the next lesson.
5. Lesson 3 Deck of Cards | Creative Grouping in Procreate Dreams: I hope your hands
are warmed up and are ready to build more
animation with me. In this lesson, we're going
to build something like this. Let's watch it a couple times. Basically, we have a deck of cards sliding
in from the left, bounced a little bit, and
exiting out from the right. And one of the cards has
some patterns on it. Now we understand
the gist of things. Let's head over to our template. Here we are, inside the appropriate dreams
template of this class. As always, we have the grid on its own track that will help us understand the
spatial relationships. I'm going to get started by changing the background color. I'm going to tap
on the time code and then tap on
background color. Maybe I'm going to go far, somewhere between red and
orange, angry orange color. And then just tap anywhere
on screen to exit. The next step I'm going
to do is to import a rectangle from procreate
to procreate dreams. You might be asking,
why don't you just draw directly on
procreate dreams? Technically you can, but because procreate
dreams is designed for animation of the capability in procreate doesn't really
carry over to the dreams. For example, when you
tape on the draw mode, when you draw something, say you want to draw a rectangle. It will snap when you
add a second finger, but in procreate original, when you add a second
finger is going to snap the corners into
place to give you a perfect rectangle
which is not available, at least at this
time of release. Procreate dreams, that's why I am going to import
all my shapes. At this point, my work
flow is to finish drawing, procreate, and
import everything. I'm going to slide up to deck the procreate next
to Procreate Dreams. For the import I already have the layer
highlighted is called rectangle. I'm just going to use
my finger to drag and drop either to the stage
or to the time line. Then just close
out the procreate. Then I'm going to extend this drawing to cover
the whole track. Pick up one edge by holding,
you see the highlight. And then just extend it
until the beginning. I'm going to position
it a little bit, maybe like around covering maybe two thirds of the screen. I notice that my grid is
underneath the drawing, so I'm just going to hold
the grid and then move it up on the timeline.
There you go. Just like this animation that we have worked
on previously. Instead of animating
everything individually, I am going to animate one time and then just
offset the position, as well as timing for
the subsequent carts. I'm going to get started
by giving it a color. I'm going to tap on
the squiggle icon, maybe choose a different, stronger shade of red. Right now I have
parts of the shape outside parts of the
shape on the stage. If I just drag procreate dream is going to factor that
into consideration. Only covers the part that
is overlapping the stage. Technically you can
just do two drops, but when you move it around, sometimes there's
like this really weird line that's created. Again, I don't think
this is a feature. A work around would be to move your shape completely
outside of the stage. When you color it, make sure it's selected on timeline
and then just drop it. There you go. Then you
can animate from there. Type on Done on the upper right hand corner
to exit out of the Dram mode. Just like this animation on screen that we have
worked on before. Instead of animating from the beginning of the
timeline until the end, we're going to set a key
frame in the middle. Because we know that at some point in the
middle of the timeline, we want this rectangle to sit
up straight. Pretty much. I'm going to tap on the playhead and type on
move, move, and scale. As you can see, we have planted a keyframe right
here in the middle. Then we can move over to the beginning to
finish our rotation. At the beginning
of the animation, the rectangle is pretty much rotated 90
degrees to the left. But before I do any more
work on percreate dreams, I want to explain to you
the concept of anchor. Here we are with a
deck of posted notes. When you have the rotation
reference point in the middle, the anchor, the rotation is
going to look like this. But when the rotation anchor
is at a different spot, the rotation looks
very different. This is what we want
to do for our case, because by default, the rotation center is
right in the middle. But our animation requires our rotation to
be in the corner. Let's set the rotation point. First I'm going to
tap on our rectangle. You can see the four
highlighted corner. Then maybe it's
easier if I do this. You see this little white
circle with three dots. Just tap on it to add anchor. Like I said, by default, the anchor is in the middle of the subject and then you just want to move it to
the corner for our case. Then with this
keyframe selected, as you can see,
when it's selected, the icon turns white. Tap on any corner and then grab onto this little curve to
rotate out of the screen. That's our first
point to the end, we have another rotation point. Actually it might be helpful if I just play what we have so far. This dark red rotates to the center stage
and stays there. Now we want to tell
procreate dreams that we want it to rotate outside. I'm going to tap
on the last frame, tap on the playhead move, move and scale, then grab any corner and then
just start rotating. Now we can play again, we have the general
movement done, but it looks really
robotic actually, because the movement is linear. If you have practiced
previously, you would remember
that we have used easing to make the
transition smoother. I'm going to hold
T space between key frames and then set all
easings then ease in and out. This will make the
movement more buttery, Slows down before stops
and then speeds up slowly. I've noticed one
thing that when, when my rectangle it out, actually I'm going to
leave it that way. I was going to say when it out this part shows maybe my original design was to
cover the whole thing. What you could do
is to just scale it up so that this area
would not be empty. But I think this is not bad.
I'm going to go with it. There you go. That's
our general movement. I want to call your attention to the movement in the
middle when it slides in, currently slows down to
zero before it goes again. If you recall our
sample animation, it actually bounced a
little bit in the middle. I think this is more
realistic and makes more interesting
animation when you have more nuanced movement. It's actually not hard to do. In Percy dreams, what
I'm going to do is to make our rectangle
overshoot a little bit then. Back to the upright position
before heading out. What I'm going to do is
to add another key frame. When I tap on the empty
space on the keyframe track, it gives me a non highlighted
version of this keyframe. It's pretty much asking,
do you mean here? And then when you tap on
it, it will turn white. Means yeah, here, when
you tap on it again, you should be able
to have access to all these numbers right now, it's telling me that the
rotation angle is 0.5 around 0.5 What I'm going to do is to make it go over
to the other side. Probably negative one. Let's try that negative. There you go. Let's play a bit. Overshoots a little bit
and then comes back again. This is much better, maybe. Let me just turn
the grid off so you can see a little bit better.
I'm going to play again. There you go. Now we have the basic movements done
for our first card. Let's build another one. I'm going to pause this
for second and hold the track in Context Menu, Track Options and Duplicate. I'm going to make modifications for the
layer or the top track. First I'm going to give
it a different color. We've talked about how
you can use drag and drop in the draw
mode to color it, but up until this point, we already have the
position set and it's hard to drag it outside of the stage and then
color it and bring it back without messing up the
coordinates of the movement. I'm going to show you
another way to color. First I'm going to
find my playhead, and then on tap on filter. The last option in the live filters
category is called HSB, which stands for Hue Saturation. And brightness, just tap on it. Then you can play with the
sliders to change colors. I'm going to maybe go
with something lighter. Okay, I'm going to go with this. As you can see, there's a bit of color changing happening. That is because at any point
when you add a key frame, automatically procreate dreams
add another key frame at the very beginning of the timeline to remember the
original color or movements, whatever key frames that
you have worked on. So in this case,
procured dreams, remember the dark
red that we had at the beginning? All right. If I'm just like scrubbing
along the timeline, you can see the color change. Even though the majority of the changes happen
outside of the frame. You can still see the color changing progression
on the track. It's really simple to fix. You just need to hold the beginning key frame
and then delete key frame. With that said, you can
see the entire track, at least on the HSB track, only has one key frame. That means that this color
is going to stay the same, is going to listen to
only that key frame. Now when we play the animation, it's going to show this one
color coming in and out. We know that we have
two rectangles, but we're only seeing one. That's because they are
completely overlapping. On everything possible. They are black twins. I'm going to separate them
a little bit by offsetting the light pink one
to a later time. When I do that, I also
want to go to the tail of the animation to make
sure nothing get cut. In this case, we
have one key frame that needs to be brought in, that we finish the
animation that we intended before the
whole animation ends. Now we can see a
bit of separation, but still, while everything
is in the middle, they're still covering
each other a little bit. If you remember our
sample animation, there's a bit of
spatial offset as well. In addition to time offset, I'm going to, so
the top pink card. A little bit to the left, so it's not blocking the
movements of the dark red. However, if you recall, we have already planted
a bunch of movements. We have at least four key
frames on the movements track. When we scooch it
over to the left, we have to change the
x value when you, let's try tapping on this one. You can see the x
value and y value. When we scooch this
entire thing over, we have to change the x value
of every single key frame. Four, doesn't sound too bad, but there's a lot of
math you need to do. Maybe like 200 pixels and you have to do the
deduction every single time. If you have, I don't know, like ten key frames. That can be really tedious. I would not bring
this up unless I have a work around. Let's
talk about that. The workaround is, I really love it when
I thought of this, basically we're creating a
ghosting twin for our track. I'm just going to long hold and track options and duplicate. Right now, these two tracks are exactly the same in timing, movements, key
frames, everything. And then we're going
to group them into one group and
animate that group. Instead, I'm going to tap
on the timeline edit, which looks like two pieces of toast on top of each other. This will turn our pencil into a light saber that will
allow us to select. Just select these two. Then we are going to
Long Hold and the group. Now you zoom in to the
name of the group. You can see there is a right
arrow when you tap on it. It shows us the
content visually, there is no difference when
you play the animation. There's no difference
whatsoever, because we know the two members of the group are
exactly the same. But by grouping, it gives us an opportunity to
animate the group. We can even just go to a point
and then tap on the group. Actually, I need to exit
out of the timeline at it to be able to have the
bounding box tap on the group. And then just manually
scooch it over. Just like that. If you want your movement to be strictly
horizontal or vertical, you can add a second finger. When you're moving,
tap on it with a bounding box and then
just tap on screen. As you can see, there's
like red hair line horizontally and
vertically to give you guidance. This is fine with me. It is that simple. With this
creative grouping technique, our goal is accomplished. Let's take another look. Both decks. Slides
in from the left and then bounce a little bit and exiting out to the right. Well, I accidentally
undid what I have done. I'm going to redo it by tapping
three finger on screen. There you go. By the way, procreate can remember
infinite steps to set that up, you tap on the name of the project and
then go to Preference. Then in History tab, you can change the
stored undo steps. Right now I have it set 1,000 but you can technically
set it as infinity. I'm going to tap down here. The last thing I want
to do before wrapping this up is to add some
patterns to our top card. I'm going to expand that group. Then I want to create a
clipping mask on top. I want to make sure I can see the entire boundary
of the rectangle. Then I want to create
a track by tapping on the top track and then
plus sign and then track. So I have empty
track by default. Now we have a new track added to the timeline. Just tap on it. Then we're going to draw mode. To add our drawing, I'm going to choose
Go with white. And then just freehand, I'm only paying attention
to the boundary of my animation because I would not be able to
see what comes out. Anyways. Just want to make
sure I have covered the edge, but not by too much. You don't even have
to cover the entirety of the card because this
is a clipping mask. Another way to do it is to animate the pattern
together with the card, which is not my intention
for this example. Tap done on the upper
right hand corner. Your little drawing looks really lonely on
this giant track. I'm going to fill this entire
track with this drawing. I'm going to hold this one frame and move it to the
very beginning until I see the
highlight that shows me that is the very beginning. And then hold this tiny frame and fill duration when
I play right now, it's going to show me that this drawing covers the
entirety of the animation. Now I'm going to make this
drawing into a clipping mask. If you don't know what
clipping mask is, it's basically there
are two layers. The top layer is in charge of shapes and
patterns and colors, and the bottom layer
is in charge of shape. Right now, I'm going
to my drawing layer. Let me actually zoom in
so we can see better. I'm going to hold this track then mask, hand clipping, mask. Pay attention to what happens
here on the stage data. It's only showing
the overlapped area. The top layer is in charge
of patterns and colors. In the bottom layer is
in charge of shape, which only the overlapped
area shows when we play. Now I just undid
what I have done, so I'm going to redo
by three finger tap. If I play right now, there's one area that's a
little problematic. Well, actually that's fine. You just want to make sure
the diagonal lines cover all the parts of the pink
square, it's perfect. Like I said before, if you want the pattern to move
with your object, you would want to have
a separate track. And animate them as
a group together. Yeah, that's how we
animate a deck of cards. My homework to you is to add another card on
top of this group, so that you get a chance to revisit some of the key
techniques that we have covered. And I will see you
in the next lesson.
6. Lesson 4 Animated Quilt | Frame by Frame Animation: I hope you're having lots of fun animating in
Procreate Dreams. In this lesson, we're going
to do this animation. Let's head over to our template. Here we are inside
Procreate Dreams template. For this class, I'm
going to change the background color for
my first step on the code. And then background color, change it to like
this electric boo. The next thing I'm
going to do is to import the procreate shape. To procreate dreams,
in this case, we're going to have a
diamond in the middle. I'm going to slide one
finger up from the bottom and find procreate and stack it next to the
procreate dreams. Here we are inside Procreate, I'm going to pull out
the layers menu so I can see all the
different layers. I'm going to find
the diamond and just dragon drop either to
the stage or the time line. If you do any rotation, this is a good time to do it because when you
do it later on, it might mess up with
your key frames. If you want to adjust the
scale of the imported file, you can tap on the shape and then just grab the corner to
adjust the scale. And then tap on any
corner again to see the little curve
to do rotation, which we have covered
previously in the exercise. I'm going to double
finger tap to undo because this is the
perfect size that I in already. If fits perfectly, I'm going to start
animating from here. I noticed the grid
is under the shape, so I'm going to move it up. Just hold it and
then move it up. Here we go. If you want to make the grid a little lighter
than the current color, you can change the opacity
by just tapping on the grid. And then tap on the
playhead filter opacity, and then you can dial it down. You notice that when you add
a key frame of any kind, procreate Dreams add another
key frame at the beginning. This is the full opacity, which was the original state. You can just delete
this first keyframe. The entire track will only
listen to this keyframe. Let's go back to our sample real quick to take another look. This happens way too fast. I'm going to slow it down by manually scrubbing
through the timeline. I'm just holding the playhead. Initially we have some
very gentle outline of the pink grain or the grain texture that grows until it covers
the entire diamond, and then you start shrinking
from the outer edges. Maybe somewhere in the middle,
it completely disappears. And the color, another shade of the grain texture comes in in the same manner and
then dissipates. And then we go back to
the original state. This is what we're
going to work out. Let's go back to our file. I'm just going to find
our file over here. We have two tracks currently. Top point is the grid. The second one is the white diamond without anything on it. I'm going to create
a empty track first. On top of this grid, you can just tap
on the plus sign and then hit track
automatically. You should be able to
have an empty track. We want to start at
the very beginning. The first frame,
we're going to use something that we haven't
really utilized before. Tap on the draw mode. I'm going to go to
a different color. I think the first one
in the sample was pink. That is close enough. Here we go. Then I want
to pick out a brush. You can choose any of the brushes that came
with procreate dreams. I have imported my own brushes. I have an entire
set that is grainy. I'm going to use this. Feel
free to choose anything else. We're just here to learn the
concept with the playhead. At the beginning, I'm
going to start drawing, remember the first frame, we can just faintly see
the grain texture outside. Don't worry if the
thing falls outside. The diamond boundary
because you can always just change it to
a clipping mask. It will clip out the
non overlapped area. Then from here, you can see this tiny line in between
the stage and the time line. If you just drag it down, this will allow you
to enter full screen. Then you will see this playbook which is like how
animation started. You have like a physical
playbook that you can draw each frame and
then just flip through. It's called Flip
book, we have that. At this point, I do want
to turn on onion skin. Just tap on the string of numbers on the lower
left hand corner, then show onion skin. You want to tap on
it onion skin to change the color to something
that is appropriate. I only want to see maybe one frame backwards and
one frame forwards. It's not showing a bunch
of frames that make things look really cloudy and then just tap outside
and start drawing. It doesn't show
anything because this is the literally the
only frame that we have. Just tap on the next
frame on your foot book. You can faintly see the previous frame as like a lighter version
of it, by the way, you can change the
onion skin opacity to something stronger if you really want to see the frames, well, I'm going to make it stronger because it's easier for you
to follow along. I'm going to draw
my second frame. It's going to be a
little bit closer. I want to round this corner
a little bit because I know eventually this diamond, which is 90 degree square, is going to be a circle. I want the corners to be
progressively rounder and under next frame go even closer at any time. If you
want to erase with the same brush that
you're using for drawing, just select your brush and
then long hold the eraser. It will sink the same
brush onto the eraser. You can erase with the
grain texture as well. The edges look natural, then move on to the next frame. Currently, our file is
set 12 frames per second. Currently we have how many
frames? We have three frames. I'm aiming to finish
it with 12 frames. Maybe six frames to
cover the whole thing, and then another six frames to like make the border
shrink back to zero. You can always add
additional frames or delete frames as you want. If you mess up the frame number, it's not a deal breaker, it's a bit oval. So I'm going to erase a little bit and then
keep going from here. This is frame five, I think. Yeah, actually this is
frame six. You know what? I'm just going to
do seven plus five, instead of dividing
it evenly visually, it's just going to
look like it comes in slower and it goes out
a little bit quicker. It's really helpful to
have the grid right now because I notice that my circle
is tilting a little bit. I'm going to raise a little bit to bring
it back to focus. Then for this frame, I'm covering everything,
but not every single pixel, because otherwise
you will not be able to see the texture. Don't worry if it goes
outside of the boundary. We can figure that
part out at the end. All right, so now I'm
going to start erasing. Actually, I'm going to go out
a little bit just to give you a preview on the
timeline. Tap on, done. Then we actually
have six frames. I guess I need to
work on my math. Perfect. It goes from the
outside, slowly closing in. This is great. What
I'm going to do is to duplicate this frame. In the past, we have
duplicated the track, which will create
another track on top. But right now we're
duplicating the frame. Just long hold the last frame
and then hit Duplicate. It will give us the same frame. Then from here we can work
on erasing the frame. We're doing deduction
from this point. I'm not going to use full
screen because I want to have a better view and counting of my frames since I need
to work on my math. There you go. I'm slowly a the outer part of our grain texture again to finger tap, to undo, and then
hold this frame and then create a duplicate and then just highlight
the duplicate. To work on this one, we're pretty much erasing
our pink green texture, but as you notice, I intentionally left
some pixels outside. We still have some
visual texture instead of like really
clean disappearance. Come here. All right, let's preview what
we have so far. If you only want to preview
one section of the animation, you just use two finger to zoom until you see all the
frames you want to see. Right now, it's a little crowded because we can still
see the jaggedy edges. I'm going to clean
this up a little bit by tapping on the toasty toast, the two pieces of toast on the right, it's timeline added. This will allow us to
select multiple content, then hold any of these
content in the selection. Hit group. Now we have
everybody inside one group. You can delete this empty track. You really want to make sure nothing else lives
on this track, because if you delete the track, the entire thing goes away. Now, just like previously, how we have created
the clipping mask, I'm just going to long
hold this group to prompt the context menu
Mask Clipping Mask. This will pretty much trim off all the edges that falls
outside of the diamond. You can see there are
dotted lines that indicates that this is a clipping mask of the layer
below or the track below. When we preview this,
it's a lot cleaner. Three finger slide on your
time line to stretch it out. Let's just see, this
part looks great. With the first round
of animation done, we're ready to add
a second color. You can replicate
the same process by drawing from scratch, by using even a
different brush and color to add more
visual interest to it. I'm going to show you
different way to do that, which is duplicating
long hold and duplicate. I'm going to give it
a bit of visual break after the pink grain
texture disappears. There are a couple frames that is just nothing
happens during the frame. It's almost like taking a
breath. Taking a deep breath. It doesn't seem too obvious on the screen because
everything happens so fast. Depending on how fast you
want your animation to move, you can play with the timing, you can make the rest
a little bit longer. Even then over here I'm
going to add rotation to it, because right now everything
is exactly the same. I'm going to just shuffle it a little bit by
adding rotation. Tap on the playhead
move and scale, Then tap on the key
frame to add a rotation. Because this is a diamond shape, we're just going to rotate based on 90 degree multiples
of 90 degree. We moved up a little
bit, which is okay. Okay, snaps back. Because there's no key frame. I'm going to go back to this exact point to
move my key frame. I'm going to delete the
first key frame because I don't want things to
rotate while it's in motion. Right now it's rotating
between these two key frames. I just want the whole thing to rotate once and
then stay that way. You don't see the
motion of rotation, you just see the
result of rotation. Let's take a look in this way to two parts of the animation
doesn't look identical. I can also recolor
it by tapping on the playhead filter
HSB to change the hue. Who I love this color again, I'm going to delete
the first keyframe by holding and then
delete key frame. In that way there's no color changing between
these two key frames. It will just be one
color the entire time. When your key frame track
only has one key frame, everything listens to
only that keyframe. So this is going to be super
interesting. Here we go. Now we have our animated quote. I will see you in
the next lesson.
7. Lesson 5 Tango | Applying Multiple Keyframe Tracks in Procreate Dreams: Welcome to a new lesson. I hope you are super
inspired and maybe already have 50 key frames of
experience under your belt. In this lesson, we're going
to do this animation. This is hands down,
one of my favorite. Let me just slow down for you. At the beginning
of the animation, there are two circles
waiting outside. And then slowly they move
in while changing colors. They stay in this position
for a little bit, then they move back to
their initial position. There's a lot going on. Even though it looks
pretty simple, let me just zoom in and play a couple more times so we
can take a closer look. There's also like confetti grainy snowy
texture on top of that. All right, now we
understand our goal. Let's get into our template
and start building. Here we are inside
our animation. I'm going to start
out by importing our circle shape from procreate. Just grab procrete and drag and drop it
next to Procreate. Dreams already have
the right file open and I want to find my layer inside the layers
panel and then just drag and drop it either to the
stage or to the time line. Then I'm going to
close the procreate. Right now I have it partially
covering the time line. I'm just going to drag the left edge until it
fills up the whole thing. Then I will along hold
the grid to move it up. And then maybe even change the blend mode so
I can see better. Right now, the blend mode is DC, which stands for darker color. It's not very helpful because
it's dodging the orange. I'm going to go for multiply. This will allow us to
see through everything. As you can tell, this is
not right in the middle. It's okay because our animation is like the circle
will not be dad. On, on the center, I'm going to make a duplicate of
the first track, the circle track long hold until you see the context menu, Track Options and
Duplicate immediately, I'm going to give it
a different color. Tap on the squiggle to draw, then just drag and drop
a different color. Now we can tell it apart. I'm going to get out of this
draw mode because it will not allow me to select tap done on the
upper right hand corner. Then now you can tap on any
shape to move it around. I'm just going to
move it horizontally. Roughly the edge,
the left edge of the blue circle touches the
one of the line in the grid. They are roughly in the middle. Then I'm going to change
the blend mode so we get to see the third color
when they overlap. Long hold the top
track, blend mode. Yeah, multiply. Sounds good. I'm going to go for that.
From this point on, I don't really need the grid for this particular animation, so I'm going to turn it off. It's not in a way, this is a key moment
for our animation. If you'll recall, these two
circles actually stay in this position for a few
frames before they move out. I'm going to pretty much ask procreate dreams to remember this position by
giving it a key frame. Tap on the playhead,
move and move and scale. Same for the second circle, playhead move and scale. Make sure these two key
frames are aligned. Then I'm going to
add another one, just a few frames after that. When you first tap on it, it's not highlighted,
it's asking is it here? And then you tap it again. Yes, it's here. There you go. These two frames right here
are identical, functionally. We're asking procreate dreams to hold them in position
between these two frames. Then we can actually go to the beginning to define
our very first frame. In this case, I'm
going to move this outside just on the
shape, and start moving. You can turn the snapping on by holding a second
finger on screen. That's our frame here. Then I'm going to do the same thing for
the orange as well. Then let's go to the
tail and LR time line to add a key frame. The blue one goes out. The orange one also
goes out to the left. The blue one goes
out to the right. Now we can preview
our animation. Stay in the middle for a few frames and
then they separate. Just like what
we've done before. To smooth out the animation, I'm going to add as to
the move and scale track. Hold the empty space
between key frames, set all easing in and out. Same thing for the other circle set all easing in and out. You can see the movement
is a lot more creamier. There is a slow progression,
instead of linear. I'm going to give the background
color a bit of accent, tap on the time
code on the left, tap on background color. Just like a tiny bit
off white maybe. Okay, good. I'm going to leave it that way. Now we're going to
add some more action to our scene by changing colors. I'm going to just anywhere
on either one of the circle, the type on Playhead filter, and then HSB, which stands for hue saturation
and brightness. Then from there I'm
going to change colors. Maybe this purple,
yeah, this looks good. Slightly warmer than the
green, than the blue. I'm going to stay there and
then add another key frame O. This is nice. You can't add as many key
frames as you want. The drawback is that it's a bit hard to see when
things are off screen. You can't really tell
the true color of this because it's dimmed.
But that's okay. I'm just going to
play a little bit O, that is very nice. Now, I'm going to move on to the other circle
to change colors. Tap on the playhead anywhere
on the timeline filter, HSB. Then on the same track, just tap at a different spot
until it's highlighted. Then another one. At this point, they don't have to
align the color. The alignment of color doesn't matter as much in
this animation. Then I'm going to
add one last one. There you go. Let's play again on the preview
of the track. You can tell at any time
what color is the circle. Just like what we can do for adding easing
to our movements. You can also add easings to
any other key frame tracks. I'm going to long hold on the HSB key frame track and
then add easing functionally. This is going to make the
color changing softer instead of linear
easing in and out. It's pretty subtle,
but it really makes a difference When you pay attention to little
details like this. We already have two
independent variables on our animation. I'm going to add a third one
by adding noise to the scam. I'm going to tap on either
one of the circles. Actually, I'm going to go to somewhere in the
middle of the timeline. I can see both circles
clearly tap on the playhead, then filter noise. Initially, nothing is going on. You can increase it. Let me just zoom in so you
can see better. Icon for noise looks like this, which is pretty appropriate. You can play with different tabs and sliders for
things like this. It's a lot easier if you learn visually rather than me explaining to you what
those words mean. Okay, I'm going to go with that. Let's take a look at our
setting for the noise. We're going to do something very similar to the first key frame, roughly it's around here. Then we're going to
add another one. Actually what we can just move this one all
the way to the end. We only have two key
frames for the noise. You can still tell the
movements which is really neat. Again, in the grand scheme of
things, it's pretty subtle. Tap on playhead filter Noise. Again, I'm just going to move the second
noise key frame to the end and then maybe even increase the amount for
the first key frame. Let's play. There you go. I just love the texture
with the noise. All right, we have three
independent animation going on. We have movements, color, as well as noise. The next thing I'm
going to do is to add some snow to the scene. They're like the confetti noise that we see in the
sample animation. It's very similar to the animated quilt
that we have done. We're going to draw
the texture manually. I'm going to create a new track, tap on the top circle, and then plus and then track. This will give us a
new fresh empty track on top. Let's start drawing. I'm going to go into draw mode. Actually, I'm going to
do it in full screen. We have the access
of the flip book. We can move it around by holding onto this little tab icon. Not really icon,
this tab handle. To move it around, I'm going to make the color a
little more prominent. You can see more
contrast for the brush. I'm going to choose
one of my own brushes. In the gentle
speckles brush pack, it's this one called
Gentle Speckles Wild Card. The reason why it's
called Wild Card is because it changes color
just ever so slightly. If you zoom in super close, you can see the color
we have chosen is pink. But inside these speckles, there are different
shades of pink. It just gives us more depth. That is our first stroke. I'm going to go to the next one, just do a very simple one. I'm going to keep
going like this until maybe we have six
or seven frames. It's really therapeutic. If you want to do
more, go crazy. All right? I'm
going to hit done. Over here on our time line, you can see that we
have eight frames. I'm going to group
them into one group. Tap on the time line at it
icon and just draw through it. Then long hold one of
the frames and then hit group and then delete
the track underneath. What we're going
to do is to keep replicating this until it
fills up the entire timeline. Hold this group and duplicate and hold the second
one until it fills out. It doesn't matter if it
doesn't make it perfectly. For example, the fifth
group got cut in half. That's okay because you won't be able to
tell the difference, everything gets so similar. I'm going to select
all of these group again and make one big group. This is a double group. Now we have this
entire noise texture contained in one group. Then I want to delete
this empty track. The reason why I
want to have this contained in one group is because I'm going to
change the blend mode. I can do it like 50 times
for each individual frame, or I can group everything all at once and do it only once. When I long hold
it, I can tap on blend mode and just cycle
through different options. I'm going to zoom in to see
the interaction of color. It's really nice,
this is really cool. The texture on the outside looks pink and overlapped area looks green. This
is really cute. And then you can keep going
until the end and then decide whichever you
want to stay at. I'm going to go with
divide because I like the highlighting action
that is going on here. Now let's preview our animation. A. All right, I
hope you had fun. This is our animation
for dancing circles. I will see you in
the next lesson.
8. Lesson 6 Dreamy Noise | Blur and Noise Effects in Procreate Dreams: We have done a lot of hard work, and I'm going to slow
down a bit in this lesson to make this dreamy,
easy, relaxing animation. It's super simple, probably
the easiest of all. Let's head over to the
template for this animation. We actually don't
need the grid at all, I'm just going to turn it off. I'm going to create a
new T for my drawing. If you remember, all the
different color blocks are drawings. I'm going to go
to the draw mode, even just do full screen so
I can see the flip book. But we're only going
to make one frame. Just pick your favorite color and use your favorite
brush. Start drawing. The only thing to
remember is to cover a larger area than you
think is necessary. Here is the size of our stage. I'm going to go further because when you move things around, you don't want the
empty space to show. You can make your brush
bigger to be more efficient and then just
build your colors gradually. Technically, you can create
more layers by tapping on the layers panel here
to add more layers. But for this piece of animation, one layer is what I need. I'm just going to go around
and just keep on drawing. You can vary the brush size
to create different looks. Okay, Like this. Maybe I want to add some
thinner strips in the middle. There's no right or
wrong way to do it. All these colors are going to be like blurred into
a colorful blob. It's really, really
hard to mess up. You can even add on top of the original color,
just one layer. If you have taken any of
my illustration class, you know that I really advocate for having as many
layers as possible. For illustration, it's
really rare for me to draw everything on one layer. Okay, I'm going to stop
here. I can do this forever. Press Done to exit
out of the draw mode. Now we're done with coloring. As you can see, the
colored area is almost like four times
as large as the stage. I'm going to hit done. Then we have this one tiny
frame on our time line. What I'm going to do next
is to use form mode. Technically, you can just keep planting the different
key frames for movement, but in this case, we just
want things to move around. There's no particular timing that we need to
keep in mind for. I'm just going to hit
this circle to record. As soon as you tap on it, it will turn into this
rectangle or actually square on the upper
left hand corner. It has a blinking circle, indicates that it's
ready when you are. I'm just going to use either finger or my
pen to move it around. As soon as my finger or
pen touches the screen, it will start recording. You will see the timeline
will be quickly filled up. I'm just going to move
very slowly around. All right? As you can see, we already have our key
frames automatically. Add it. Let's play. It's
looking great so far. If you want to fine
tune the movement, you can just two finger
tap on screen to undo and then tap on your
original frame while the perform mode is still
active and you change the movement. There you go. You can also change
the playback mode. Right now it's looping. When you tap on the
name of your project, it goes to timeline. You can change to loop or
ping pong or just one shot. I'm going to go to ping Pong. Because I know my last frame doesn't really match
my first frame. When I do Ping palm, the jump looks smaller. There you go, a little better. When the key frames
are too close, you can also spread them apart. The movement is not
very sudden in between these key frames. All right? This is the general
look and feel. I'm going to add a couple
of things on top of that. First, I'm going to get
out of this perform mode. Tap on the den, then tap
on the playhead icon. First thing I'm
going to do is to add blur to the whole scene. Tap on filter and
then gosh and blur. Then you can just
increase the blur amount. You can add different
blurring amount to the track if you want the
level of blur to change. If you want to stay only
at one blurry level, you can just delete
the first key frame. It will stay
consistent throughout, which is the case for me. I'm going to let the blur
stay at the same level, but animate the noise
tap anywhere on the drawing and then on
the playhead filter noise, I'm going to animate the noise. I'm going to zoom in a little
bit so you can see better. Because the noise is really subtle and you want
it to be that way. I'm going to increase the
amount you can really play around to see what's your favorite noise level
or pattern of noise. Okay, this looks great. I'm going to state here. And then, and then just move the second noise
key frame to the end. Maybe even adjust the
first key frame to a stronger value because each type of keyframes are
independent from each other. You can keep adding
onto this list. You can make it rotate
or change the scale, or do whatever ballet on stage. You can add all kinds
of animation on top of each other to achieve whatever
creative goal you have. But basically that's how I made this streaming
noise animation. And I will see you
in the next lesson.
9. Lesson 7 Snowball | Cell Animation in Procreate Dreams: Welcome to a new lesson. In this lesson, we're going to build this animation together. We have a few things going
on at the beginning. We have this snowball
that is rolling down. We have this hill that is slightly growing
upward to the right. Then eventually, our
snowball fell off of the screen and then
came back up from the other side until this whole orange color
covers the whole scene. Then eventually,
after a few frames, this orange like blanket start moving up itself as well with
a bit of shading texture. Then that's the end
of our animation. Let's watch it a couple times. All right, now that we have a general idea of how the
animation is going to look, let's head over to our template. Here we are, inside
our template. The first thing I noticed is
that our template is three second long and our previous animation
sample is 2 seconds. To change the duration, you can tap on the name of your file and then
go to Properties. Then type on the duration, and then you can type in the new time that
you're thinking. For us, we want it to be 2
seconds and then hit Done. Now we have a 2 seconds
active time frame. The first thing
I'm going to do is to change the background color. I'm going to pick
something that is dark. As long as your color contrasts well with the color of your
blanket, that should be fine. I'm going to go
with something like this and then tap outside. This animation is
actually really similar to the animated quilt
that we have worked on. We're going to start drawing
by creating a new track. Tap on the sign on the
right and then hit Track. I'm going to move the grid above so we can see
it the whole time. Then I will head
over to draw mode, tap on the squiggle, and then pick a color that
I want for the blanket. I'm going to go with this orange color and then pick a brush. In this case, I really like this native brush that
is called Blackburn. That is under, I
believe, drawing, If you scroll down, you should be able to
see drawing or painting. I like these two folders that has tons of really
cute texture brushes. I'm going to go with
this brush, tap on it, and tap anywhere outside
to exit the library. I want to make sure
the playhead is at the very first frame
before I start drawing, I'm just going to draw
a tiny corner and then move to the next
frame if you want. You can go full screen
to access the flip book. I'm going to zoom
out just a tiny bit. In this case, I think
it will also be really helpful to have your
onion skin turned on. The onion skin will tell you where the before
and after frame rests. Just tap on the timeline
and show onion skin. This is my first frame, as you can see, because I
don't have a after frame. It doesn't show the frame after. That. Makes sense, right? Tap on the second frame
and just keep on drawing. Each frame is slightly higher
than the previous one. In this case, I do want
to keep my brush nice and big so I can preserve
these texture as I paint. If you want to go back to any frames to add
any frame in between, for example, this
one went too fast. If I want to add
another frame in here, I just need to tap on
the before frame and then tap on the plus
icon to add a new frame, I'm going to double
finger tap to undo and then just
keep on going. I think I would like this
animation to be a bit choppier. Moving fast is the way to go. And this will probably be one of the last frames before this orange color
covers the whole scene. Okay, I'm going to tap done on the upper right
hand corner to take a look. Okay, it looks good. It looks like there's
one area that I missed. So I'm going to go back
in to color this area. Remember in the
sample animation, the orange color
holds a few frames. I'm going to extend
this frame to maybe the length of four frames
for four or five frames. Before I start
moving this blanket, I'm going to actually go
to full screen again. Then find an empty frame. Start pulling the blanket from this direction to this
direction diagonally. And here is one last bit. Okay, let's exit out and
see what it looks like. Okay, the timing seems good. Then the next thing
I'm going to do is to add the white grain texture, like snow highlights, to my
orange color or blanket. I'm just going to
call it blanket. There are two different
ways to do it. The first way is to
add individual frames above your frames and set
them as a clipping mask. In that case, you have
to do it as many times, as many frames that you have. In this case, it's
about ten frames. We have to do it ten times. I'm going to show you
something a bit easier. Tap on the sign to
create a new track. What I will do is to just
draw frame by frame, just the highlight portion. And then group this whole track and turn it into one giant
clipping mask as a track. Instead of doing
it individually, I will do it one time only. Tap on your squiggle and choose a different
color, maybe this white. Then I will use my greeny brush, which is what I imported
from my own collection. I love making brushes. Maybe I'll go with this.
If you want to import your own brush from procreate to procreate dreams,
it's really simple. Just make sure you have two programs stacked
side by side. Then just go to your brush
library from procreate. If you want to import
individual brush, just hold that one brush
and drag it to the stage. Like how we import the shape. If you want to import
the whole set, you want to the whole set
and drop it to the stage. The key is to drop
it to the stage, because if you drop
it to the library, it will not stick the newly
imported individual brushes live inside this
imported folder. If you import the whole set, they will live at the bottom
of your brush library. I'm just going to close it. Oops, there you go. Let's start drawing
our high lights. I'm going to go back to make
sure I have the right brush. This one is a bit too light
so I'm going to go to grainy. Okay, this is better. Look at this frame.
I already have some texture on it and I
want to clear these out. You can either erase
it or you can go to the flip book and tap on
it and hit clear frame. Now we have a clean frame. Let's start drawing, so don't worry if it draws
outside the boundary. This is intentional
because it's going to be a clipping mask eventually. Okay, at this frame, everything got covered, so we
don't need any highlights. Let's hit Done, and go
back to our timeline. You can see the bottom
one is the orange blanket and the top track frames
are the highlights. I'm going to tap on the
timeline edit to select all of these frames and then just long hold one of these options
and then hit Group. Then I'm going to
tap on my time line. Add it again to make sure this
group is not highlighted. And then I can bring out
the context menu over here. We want to turn this
into a clipping mask, but we have empty track underneath it we
want to get rid of, because we want the highlight to be clipped to the orange,
not the empty track. Long, press the empty
track, Delete track. Then we can long hold our group and then
mask clipping mask. Let's play this section
of the animation. You can see only the
overlapped area shows up. That's the magic of
the clipping mask. Then we can go to the other
side of the animation, especially this frame
where we can start adding the shading again. Go to drawing mode and
pick a different color, maybe a darker shade
of the orange or red. Then select your brush. You can go with a
different texture. I'm just going to go
with the same one I'm going to start
drawing from here. It's easier if we go to the
foot book because we can just tap on the next frames and navigate between
frames easily. I'm just going to
follow the edges of this orange until
it's completely gone. Hit done. Let's do
another preview. Okay, looks good timing wise. Now I'm going to turn this one, the shading group,
into a clipping mask. Time line, edit, Select
them all and group them. Then in this case, I do want to move this one
directly above the object. I want to use it for
clipping mask on hold. It doesn't show the entire list because I still have
it highlighted. I'm going to tap
on the timeline. Edit holds clipping
mask in this way, we'll have it nice and clean. Okay, this is really neat. The next thing we're
going to do is to add our tiny snowball
to the seam. I was going to create a new, but it seems like we
already have one here. I'm just going to take
advantage of that. You can draw any
shape natively here. But I'm going to import our
snowball from the percreate. Just sliding up and stack. Percreate next to
Percreate dreams. And find my layer to just drag and drop that
layer onto the scene. I want to make
sure at this point my playhead is at the
beginning of my timeline. Then this is the initial
position I lost. Okay, here over here, this white track is my snowball. I'm going to make sure
I'm on frame one, Then I'm going to ask
procreate dreams to remember this position
by giving it a keyframe. Tap on the playhead, move and move and scale. Here we go, we have a tiny key frame and then
we move on to the next one. Add a key frame and
then move it slightly. Notice that our sample animation has shading for our little ball, but I'm going to do that last, add another key frame. That is next frame. We'll have it moving down a bit. Just keep adding one
frame at a time. It looks like our ball is
ball to exit. There you go. It's completely out. Now our snowball is
outside of our frame. The next frame maybe still has a chance to make a
tiny appearance here, then it will be completely
out by this frame. I'm just going to add a
frame to key frame to make sure he stays out. Let's play. Okay, looks great. This is slightly different
than our sample animation, because our ball only
made it through the scene one time before rolling
completely off the screen. If you want your ball
to come back again, like the sample animation, I would start out with
a much smaller ball. I will make the movement a lot quicker, rolling
down the hill. And then you would have time
to come back again and roll down again before the orange
covers the whole scene. Now I'm going to add
shading to our ball. Make sure you have a empty track above Tap on plus and track. Here we go. I'm going
to start drawing. This time I'm going to use
light blue for shading. Make sure I have the
same texture brush and then tap outside
and start shading. I will group these four frames into one group and
delete the empty track. You really want to make sure the empty track is fully empty. Sometimes there's
still things on it, especially if your
timeline is busy, Then I want to, I selected by tapping on the timeline to make sure
it's not highlighted again. And then mask clapping, mask. Okay, it looks good to me. All right, now let's preview
the entire animation. Actually, it's a bit distracting
because it stays here. We actually don't really need it after that because it's not going to make it
all the way back. You can just tap on the playhead and then at it and then split. You can just delete
the second half. Delete content.
Let's preview again. Nice. Here is our little
snowball annuation. I hope you've had fun working on it and I will see you
in the next lesson.
10. Lesson 8 Magic Door | Animate A Group in Procreate Dreams: Welcome to a new lesson. In this lesson, we're going to build a magic door together. Imagine the store is
connected to space. Whatever that comes in from the left will disappear into
the space to the right. As you can see, if we
slow down the animation, not only these circles are
moving in from left to right, they're also spinning
around themselves as well. Now that we have a general idea of how this animation
is going to work, let's head over to our template. Here we are, inside the
procreate dreams template. The first thing we're
going to do is to import a couple of shapes that we
will need for our animation. I'm going to stack, procreate next two
procreate dreams, then access my layers to find the magic door layer
to drop it to the stage. Same for the big circle. Then I'm going to turn
off the procreate. Notice that these two shapes are bigger than what we need. I'm going to resize them now. It's better to resize
them when you have zero keyframes on your timeline. Otherwise, you might
accidentally add the scaling and the rotation
as part of the animation. Just tap on the
shape and resize it. Same thing for the door as well. It's really hard to
see because it's the same color as
the background. I'm going to recolor
it to something darker. There you go. Tap done. Once you're
done recoloring, I will rotate the door as well. Tap on the shape and
then the corner and grab that little curl to rotate. You can add a second finger on screen to turn on the snapping. I'm going to position the door
to the right a little bit. Actually going to make
the circle a bit smaller. Oops, there you go. The next thing I'm
going to do is to add a smaller circle on
top of the big one. I'm going to create a
duplicate first long hold in the Context menu, Track Options and Duplicate. Tap on the top circle
to recolor it. Just drop it. Then I'm going to tap to
it so I can rescale it. Now this is a good size and I'm going to
position it to the left, judging from the
sample animation. I know these circles
will be moving together. I'm going to select them
and group them together. Tap on the time line
at it and then select both tracks and long
hold to group them. Then I'm going to delete the
empty tracks created after the grouping action that our
timeline is not cluttered. Now they're inside a group, we can start
animating this group. Go to the beginning
of the timeline and tap on the playhead. And add a keyframe to remember
the initial position, move and move and scale. Right now, the
position obviously is not where we want
when you move it. It's going to override the
information we have right now. Then go to maybe 23
or three quarters of the way to add
another key frame, this keyframe at
this point of time. I'm going to move this
circle across the screen, outside to the
right when we play. Right now, it is the basic movement of
moving across the screen. If you remember the
sample animation, not only the pair would be
moving across the screen, you will also rotate
around itself. If you tap on the
first key frame, you can see the last
parameter says rotate. It says zero. That's
our initial position. If you tap on the second key frame and
you can change that number, I'm going to set it as maybe 400 and see how fast it looks. Now we can play again. It's pretty nice if we
scrub through slowly, you can see the rotation. Then I'm going to long hold
the space to set all easings, both the rotation and the movement will
look a bit softer. Ease in and out. Just like the ghost animation
that we have worked on. Instead of animating
four individual groups, we're going to animate only
once and create duplicates. And then just offset the
duplicates on the time line. Now we have the first
group animated. Let's create duplicate
track options. Duplicate a few times until we have four
identical groups. If we play right now, nothing seems to have changed. That is because
these four groups share the same information
on everything. We're going to offset the
groups on the timeline. Whenever you do the
timeline offset, you just want to make
sure all your key frames are included in the
active timeline, which is the case for us. I'm going to recolor
for the next step. Navigate on your time line to make sure you can see the circle that you're
going to recolor. The bottom one is the first
circle or the first pair. The next one would
be the second. I'm just going to go
to draw and then pick a second color and then
just drag and drop it. Right now I know these two
circles are in one group. I'm going to expand
that group to make sure I only recolored orange part, the second circle. And then just drag and drop. And then expand the third
one to work our way through it third one, maybe this green. Nice. Then here
goes our last one. I'm going to just dragon
drop onto the circle. As you can see, the contrast
is not super obvious. I'm going to actually apply blend modes on
top of this as well. I'm going to long hold my group and then go to blend mode. To cycle through the
different way to blend, you can reposition your stage so that you can
preview it better. Blend mode. This makes it
more visually interesting. For example, if I go with this, let's pick a color that's
a little more obvious. For example, this one
I'm going to hit done. Before this last pair enters
the space, it looks brown. But when it starts to
intersect with the magic door, it changes to blue. That's the power of
the blend modes. Now we can preview
what we have so far. Let me turn off the grid
real quick so it's not in a way, okay, nice. Now we have a problem, because our magic door is supposed to
be connected to the space. When things go in, you don't really see them
again once they exit out. We have a little problem
here to solve this problem. The easiest way would be to
create another track on top. And then just draw with the background color that top track would be
blocking our view. Let me show you real quick, Let's go to the very
top track that we have. And then hit this plus sign
to add a new track on top. What we want is to sample
the background color. Actually, before I do
that, I'm going to change the background color
because it's too plain, not onion skin, the
background color. Just a little bit of color. I'm going to change it
to something that is off white, then tap outside. Then I will just sample
this color by long holding anywhere to
sample the color. What I'm going to do
is to find a frame where the circle is
exiting out the door. Then on this empty track, I will select a brush that have similar
texture as the door. I'm going to go
with maybe drawing. And then Blackburn,
this evolve looks better then I will
just color on top. It looks like I'm
raising the pair, but actually I'm just painting the same
background color on top. When I was designing
this animation, I thought of many solutions
including creating clipping masks and layer masks. And turns out I'm overthinking. The easiest way is to just
create a block To block it, you know that from
previous exercises, whenever we draw it only
fills up one frame. But in this case, we
want this frame to stay. I'm going to move this frame till the beginning
of the timeline. And then long hold this frame
and tap on fill duration. They will fill up the whole
time when we play right now, it gives us the
effect that we want. Perfect, that's our magic door. I hope you enjoyed working
with me on this animation, and I will see you
in the next lesson.
11. Lesson 9 Trio | Advanced Clipping Masks and Blend Modes in Procreate Dreams: Welcome to a new lesson. In this lesson, we're going to build this animation together. It seems like there's a lot of things going on.
Let's slow down. Initially we have three squares
rolling in to the scene. Then they stay a little
bit until they run away, either upward or downward, Before the animation
start again, let's watch it a
couple more times. All right, now that
you understand the general idea
of our animation, let's head over to our template. Here we are, inside the Procreate Dreams
template for the class. The first thing I'm
going to do is to change the background to something
that is off white. Just tap on the time code, background color,
something slightly warmer. Then I'm going to import the
shapes that we will need. Slide up to stack Procreate. Next two procreate dreams, I will be needing a couple
circles and one square. Then this small square, you can just drag and
drop it to the stage. You should be very
familiar with it by now. This little vertical bar
can be really slippery. Now we have the procreate
dreams in full screen. I will turn off the circles for now because I will be
focusing on only the squares. For the first phase
of the animation, I'll give it a different color. It's contrasting well, maybe this dark blue and then
just dragon drop it. I'm going to position
it to the middle. Tap on it, make sure you see the bounding box and I
will put it to the middle. I will need a couple
more duplicates of this square track
options and duplicate. If you want the movement
to be strictly horizontal, just hold a second finger. When you move it will
turn on the snapping, Just like the group
hug animation we worked on at the
beginning of the class. Instead of animating from the
beginning of the timeline, we're going to animate
from the middle. Because we want procreate dreams to remember this position. Tap on the timeline. Playhead, move and
move and scale to add a key frame, move and scale. Then with that done, we're going to go
to the beginning to define the initial position. In this case, it should
be outside of the screen. Just tap on the key
frame and make sure it's highlighted and then
exit out of the screen. Same for all three. Then I'm actually going to go to a few frames after the middle frame to add
a identical key frame. It might feel weird, but what I'm really doing here
is to ask procreate to do nothing positionally from
frame two to frame three. Nothing happens visually. It looks like those squares
stays in the middle. Then I'm going to move
them out of the frame. Tap on the track, and then
tap it again to highlight it. Then the third one, which is the middle square, I'm going to move it down. It's more interesting now we should have the
basic movements done. They come into the middle
and then they move away. Let's add easing to
the movement tracks. Set all usings to
use in and out. Another thing I want to do
is to add some rotation, at least for the
part when they come in on the first frame. As you can see, the last
parameter says rotate. You can define a
different number. I'm going to go with maybe 360, then same for a
different square, 36360. All right, when I
play right now, you can see the
rotation happening. Do you can add a different rotation number
for the last frame as well? They're rotating as
they leave the stage. 360 seems fine. Okay, so now it looks like our squares are ready
and in position. Let's move on to
our little circles. I'm going to turn
the grid off for now because we won't
be needing it. I will also turn the
visibility on for our circles. We have a couple over here. Let's work with
it one at a time. First, I'm going to give it a different color so we don't
have trouble seeing them. Maybe this pink dragon drop. And then, and I'll color
the second one as well. Maybe yellow. Okay, great. Right now there are
just one static shape throughout this animation. I'm going to move it around
by using the perform, I will actually dim the yellow
circle for now so we can focus on the pink one. Eventually, this
pink circle is going to be a clipping mask
for the squares. Whenever the circle overlaps
with any of those squares, it shows the area where the circle does not
overlap with the squares. It just does not show. From this point on, I'm going to see the squares as one group. I'm going to tap on
the timeline edit to select all three
tracks to group them. After each grouping,
you will see MT tracks. I like to delete them right away because the number of the tracks are limited
in procreate dreams. I don't want to empty track
to take up the resource. Now I have all the squares
grouped under one group. Next step, I'm going to move
the circle above the group, because this circle is going
to be a clipping mask. Clipping masks always sit
above their main parent. I'm going to tap on the perform mode and
go to the beginning of the timeline to just
drag this circle around. Because this is going
to be a clipping mask, I want this circle to remain on top of these
squares as much as I can. Then with that recorded, I'm going to turn this officially turn the circle officially into a clipping mask. Just tap on mask
and clipping mask. If I hit play right now, you can get a glimpse of the circle when it
overlaps with the group. Then for the exact same process, I'm going to add another circle. Remember we import
it two circles. I'm going to turn the
second one on and maybe even change it to a bigger size. It's more interesting
then move it above each parent track can
have multiple clipping masks. I'm going to move this
yellow circle around. Go to the beginning
of the time line. Hit Perform and
then start moving. Okay, then after the
movements are recorded, long hold that yellow circle and then tap on mask clipping mask. You can hit play to preview. Now you can see both circles. I'm going to make it
even more interesting by changing the blend mode
of the yellow circle. That when the yellow circle and the pink circle intersect, going to give it even
a different color, a third color just
cycle through the list. Okay, looks good. You can fine tune by dragging to a different moment when
all three colors overlap. And then you can change the blend mode to
fine the colors. Actually, I like this orange. Whoa, okay, let's go with this. Alright, perfect. So that is our animation
for this lesson. I hope you had fun, and I will see you in
the next lesson.
12. Lesson 10 Infinite Layers | Seamless Animation in Procreate Dreams: Welcome to a new lesson. In this lesson, we're going to build this animation together. Let's slow down to see
what's going on here. At the beginning
of the animation, we have one set of triangles. They open up like a set of
doors revealing a second set. Then they also open up revealing a third set which shares the
same color as the first set. When we loop this animation, it just seems like we have
infinite amount of layers. Now that you understand the
logic of this animation, let's head over to our template. Here we are, inside
our template. The first thing I'm
going to do is to shrink the time
line to 2 seconds. Just tap on your
name of the file. And then properties, and then duration and
set it as 2 seconds. Now we're going to work with
a much shorter time line. For the next step, I'm going to import the shapes that
I will be needing. Stack your next to
Percreate dreams, I'm going to need a small
circle as well as the triangle. I'm dragon dropping onto
the stage right now. They're white on white. I'm going to change
the background color. Just tap on the time code
and then background color. I will not be able to see the background in the animation. Just pick something
that contrasts well with the white. I'm
going to go with this. Before I do anything, I'm going to recolor
the triangle. Pull it outside of
the frame so that you can go to draw and then just drag and drop
your color in one go. I'm going to go with this pink. I know that I will need
another triangle shape. I'll just long press and then track options
and duplicate. I'll color the top one, maybe this orange color. Just drag and drop.
Okay, there you go. Then I can go back
to the timeline. I'm going to tap done on the
upper right hand corner. I'm going to focus on the circles first
because they stay in the same position for the
duration of animation. I'm just going to take care of them first and not
think about it later. Make duplicates long hold track options duplicate
until you have four. And then just position them to four different corners roughly showing the same amount. Then I will group them together by tapping
on the time line. Edit. Select all four and group. I will just delete
the empty tracks that are created after
the grouping action. I will move this group up to the very top because I know that they will
be sitting up there. Next, I'm going to
move this grid up. I will be able to see
it as I move my shapes. I'm going to move this triangle to cover one side of the
screen of the frame. I want to make sure it's
touching these two points. Then I'm going to go
with this pink one. I will need to turn
it 90 degrees, grab one of the corners, and then turn the snapping on by holding one
finger on screen. All right, this is good. I'm going to group
them together. Tap on the time line at group select and group
I will make duplicates. I know that I need three
sets of triangles. I'm going to do it
a couple of times. Make sure you un highlight
the time line at it. You can see the
full context menu. Tap on Track options. You do that a couple
of times until you have three sets of triangles. And I'm going to delete
this empty track over here. I know the first and the third
set share the same color. I'm just going to change the
color of the second set. Tap on the playhead anywhere, filter HSB, and then just
change colors based on that. I'm just looking
at the preview on the timeline to
determine the color. If you want to see it
closer or more clear, you can untoggle the
visibility of the first set. You will be able to see the
color change much better. Okay? Maybe something like this. Okay, then I'm going to delete the first automatically
generated keyframe so that there's only
one HSB keyframe on this entire track. Then I will turn the
first group back on. Before I animate, I'm going to turn the second
group 90 degrees. Now I can see this second group, select it and grab the corner and then
just turn 90 degrees. It will likely not align
right in the middle because initially
this compound shape was not aligned to the frame. Just look at the grid to make sure it's intersecting
with these two points. Now we're ready to
add some motion. I will not be needing the grid for the rest
of the animation, so I'm just going
to turn it off. Now I'm going to expand the
first group to animate. I know this is the
exact initial position. I'm going to add a key frame there to ask procreate
dreams to remember that move and scale for both
triangles, move and scale. I'm moving a bit fast in
this lesson because I know that a lot of the steps we have already
covered previously, maybe a little over halfway, I'm going to add
another key frame on this keyframe
for both triangles, they will be moving
completely outside. This is out and highlight
this second key frame. And then add easing, long hold on the empty space. Set easings, ease in and out. All right, if we play
right now we have the first opening
motion which is great. And then we can close our
first group, collapse it. They only take up to one track. Then we will be working
on our second track. Let's find the moment when they completely when the first set of triangles are
outside of our site, that's when the second
set begin to open. They still look like they have the same
color as the first set. That is because the recoloring happens in this one key frame, Instead of changing
the original color, I'm going to tap on
playhead and add move and scale for one of the triangles I'm working
on, the second G. This is the sandwich, this is the cheese
between the buns. The second set of
triangles move and scale. Then I want them to stay this way and then open up
maybe a few frames later. For the second set of triangles, we have three key frames. The first two key frames
are exactly the same. What we're asking procreate
dreams to do is to keep it same all the way until we
say yes, you can change now. Now we're going to
add the change, select the triangle
that you're working on to move it away. This is the third key frame. Okay, now we have
the opening motion done for the second group. Again, I will be adding easings. All right, let's
see what we got. All right, this is
our infinite layers. You can change the speed of the opening motion by changing the distance
between keyframes. And that may take
a bit of tweaking, but pretty much this is our
infinite layers animation. I hope you had fun and I
will see you in a bit.
13. Lesson 11 Space Vacuum | Frame by Frame Animation by Procreate Dreams v2: Welcome to a new lesson. In this lesson,
we're going to build a space vacuum together
that works like this. At the beginning
of our animation, we have a pile of
snow on the left, and our vacuum on the right. Slowly but surely our
snow starts to grow and stretch and eventually gets sucked in into the vacuum and
disappear into the space. Notice that towards the
end of the animation, we also have a new pile of
snow forming on the left. When we loop this animation,
it looks seamless. Now we understand
the general logic of this animation.
Let's get to work. Here we are inside our template. I'm going to shrink the timeline first by tapping on
the name of my file. And then go to properties and
then duration to 1 second. Because we have 12
frames per second, and we're going to draw
frame by frame animation, each additional
second is 12 frames. We only need 1 second to
finish our animation. I'm just going to reflect
that tap done on the corner. Now we only need to
work with 1 second. For the next step,
I'm going to change the background
color by tapping on the time code background color. I'm going to go with
something grayish blue. As long as this color contrasts
well with the color of the vacuum and the color of
the snow, you should be fine. Then I will import the
shape for my vacuum. Go to procreate,
and then just drag and drop it to the stage
or to the time line. I'm going to extend this vacuum throughout this time line. And I will drag it outside
to recolor it first, tap, draw, then go to a
color that is bright. Then I'm ready to
resize the vacuum. I'm going to make
it smaller first, and then I will use my
pencil to rotate it. Okay. And then move
it to the side. This is the general
position of the vacuum. Then I'm ready to draw my snow. I'm going to start out
by having a empty track. Tap on the plus sign. And then I know this track is going to live under the vacuum, because this track is going
to have the snow on it. And then you want to delete any empty trucks that you
are not going to use. Instead of drawing from
the very beginning, I want to just mark
my last frame first. I'm going to go to
draw mode and pick a color from my snow.
And choose a brush. I'm going to go with this
black burn brush that is under drawing because it's nice
and fluffy like the snow. Then I will just draw a tiny
bunny tail of the snow. That's the last frame that I will see for the
first pile of snow. And then I will start
drawing at the beginning. Because the drawing is not
going to be super detailed. I also need to see how am
I doing timeline wise. I'm going to not draw
in full screen mode. In general, you
want the belly of the snow to grow faster. We also want the height of the snow to shrink
as the time goes on. It gives us the illusion of the pile stretching
to the right. Whenever you're done
drawing one frame, just tap on the empty space next to move on to
the next frame. Our snow pile is growing
thinner and thinner. Then eventually you start to
see the tail of the pile. The tail starts to disappear. It's getting smaller and
smaller until the end. Actually, I want this to be. Tiny bit slower. I have the onion skin turned
on so I can always see and compare the current frame
and the previous frame. Okay, now let's take a look. I'm going to tap down to
exit out of the draw mode. All right, it looks good. And I also want to add the new pile of snow to
the scene. Tap on draw. Eventually you want this
new pile to grow about the same size as the
beginning of the animation. The changes are not too drastic. Okay, let's see
what's going on here. Tap done, and then
start playing. All right? It seems like
the snow is going well. I'm going to actually turn off the grid because I
won't be needing this. Then for the next step, I'm
going to animate the vacuum. When you activate
the perform mode, you also want to fine tune your motion filtering
tap on modify. In our case, we want our motion filtering to
be all the way down. In this way, when we perform
or shake our vacuum, it will register more movements. But if you have the
motion filtering turned all the way up, it's going to register less. Key frames also will make
your movements smoother, which is not what we want. We want it to be low. Now we have that activated. We have the timeline
at the beginning, we can start
recording our motion. By the way, I also change
the angle of the stage. It's just more natural
for my wrist to move. I'm just going to
do this. Then I will play the animation and
see what we have so far. Okay, not bad. If you look at the
move and scale track, we did not use every
single opportunity to make the movements. We can manually fill
these up and then just tap the position and then highlight it to manually move it to
a different spot. In this way we will make our vacuum appears
to be more powerful. Basically, it's going to have more movements
registration. Okay. Much better. Now we have our general
movements done. Let's add more
details to our scene. In this case, I'm going
to add more snow. I'm going to go to
the beginning of the timeline and
create a empty truck. And I will use this
track for snow. I will be drawing those in. You can choose a
color that is same as your snow pile and you can
also choose a creative color. Let's go with this
bright blue and see what we can create. I will pick a texture
brush that I imported. This is one of my own that
is called gentle speckles. This particular brush
is called Wild Card. I'm going to just draw
across the scene. As you can see, the reason it's called Wild Card is
because the color shifts. Even though you're just
using that one color, I'm going to use yellow
just to make it brighter. Make the contrast
exaggerated. There you go. Then just keep drawing. Since we only have 12
frames to work with, I'm just going to draw
all these 12 frames. But if you have more frames
than you're willing to draw, you can just draw maybe
five to eight frames. And then just group that
group and then duplicate it if you want, you can group this whole group and then
even change the blend modes. Let's see, change
it to linear burn. If we play our
animation right now, this is what we
have. Here we go. We have a space vacuum. I hope you have
enjoyed this process and I will meet you
in the last lesson.
14. Lesson 12 Threaded | Shading and Highlights in Procreate Dreams: Welcome to our last lesson. In this lesson, we
will be working on this animation together. I call this animation threaded. It's because this little
tiny blob that is threading and moving in
between those pink columns. If you look closely, you can also see some
nice soft shading that it's casting on
the lower columns. Structure wise, we
have four main tracks. The very top track are the
first and the third columns. Then we have the little
blob underneath it. Then under that we have a
track just for the shading. At the very bottom, we have the column number
two and number four. This is our animation. I will see you in the template. Here we are inside our
template one last time. I'm going to shrink the
timeline to 2 seconds. Go to the settings
and properties, then select 2 seconds. We will be working with a
much shorter time frame. Then I'm going to change
the background color to something darker, maybe something like this. Then I will be importing
the shapes from procreate. I will be needing
two things from it. The first one is the
layer called the stripes. The second one will
be the small circle. You can also hand draw the blob. It looks more natural, but I'm going to use the
circle for demonstration. Before I start moving
things around, I will change the color. First I'm just going to pull
my columns to the side. Then I will just
strike and drop. Okay. And done. And I can bring it back. I know that I will
need two sets of copy. I'm going to just
duplicate this T and then move the bottom one, the lower track, to the position of number two
and number four column. Actually, I'm going to
scooch over a little bit. The space looks even. All right. Much better. I know that I won't
be needing the grid. I will just turn it off. For the sake of clarity, I'm going to temporarily color my lower columns to
a different color. I'm just going to use filter
to add a HSB key frame. I will just delete this entire
keyframe track at the end, so the color will be
restored to the same color, maybe something even brighter. Okay, I will stop there and then delete the first key frame so the entire track
stays the same color. Now we will have the orange
column at the very top. And then we will
have the little blob as the second track in order. And then the third
will be the shading. At the very bottom, we have our column
number 2.4 actually. Now looking at the contrast, this yellow is not doing
very well against the white. I will have to tweak
that this is better. We want a color
that is not super dark because we will be adding the shading if
the color is too dark. When we add shading,
it's really hard to see. Okay, I'll stay with that orange on top, pink at the bottom. Now we can start creating our movements for the
little blob in the middle. This is our beginning position. You can even move it further. Then I'm going to add a
keyframe to remember that. I know this will be
also the position of the last frame because in order to make our
animation seamless, we have to match the
beginning and the end. Now we have those two
key frames secured. I will add a middle key frame. I'm going to make sure the
movement is horizontal. Add a second finger to
turn on the snapping. This is not doing too great. I just have to be very patient. There you go. This is
our second position. We have the blob moving from left to right and then
looping back again. Now we have our general
movements done. Let's start drawing the shading. I'm going to go to the
empty track we have created underneath
the little circle. And then go to draw mode. And then pick a color. I will choose a more
saturated version of this pink and start
drawing from here. Make sure you still
are in draw mode. Don't worry about
the parts that are exceeding the boundary of the pink column because we're going to make a
clipping mask later, that will not be an issue. You can extend the scale of the timeline by using three fingers sliding
on your timeline. It's only casting
shadow on the column. I do have the onion
skin turned on, so I can reference the size of the shadow on previous frames. Let me just go back.
Okay, it seems like we might need
a tiny shadow here. Then we transition to
column number four, and then just keep
drawing like that. Now we're halfway there. You might be helpful to change the color of our onion skin. Tap on the time cold
added onion skin, and choose something that is not currently the color
that we are using. Okay, Much better. Whenever you're
done, just tap on the next empty space to draw. Okay, now we're back
on column number two. Maybe four more to go. It's helpful to maintain a consistent shading by using
the same size of brush. So don't change your
brush halfway then. This is our resting frame. Before I hit replay, I'm going to select all my shading frames
and then group them together into one group. Delete the empty track below, I will make this
one clipping mask. Select the timeline at it
along hold the shading track, then mask clipping mask. In that way we do not
see the extra stuff. You can even play with
the blend modes again, to see if you get any other
interesting colors other than the original pink
that we have chosen. Well, I'm going to
stay with this. Now. We get to see
our little blobby casting shadows on our columns. Remember that we have
changed the pink columns to pink so that we can tell the difference
between different groups. Now I'm going to restore this
color back to its original. I'm going to press that HSB
key frame to delete it. From this point on, we can reconsider our blend
modes, choice, long hold blend mode, and we want to pick
a color that has a better contrast
with the layer below. Okay, this is better. I'm going to go
with that. You can change the opacity as well. Just tap on the timeline. Tap on Playhead filter opacity. And then you can
lower the opacity. If you want your shadow
to be a bit softer, I'm going to go with that and then delete the first key frame. There you go. Okay,
this is cool. You can add
interesting highlights above this little blob. I'm going to add a
empty track plus, and then I will be
drawing shadows, the column number one
and number three. I'm going to choose
a highlight color, use the same brush
and start drawing. Make sure you're in de, again, just draw some very
simple high light. It is actually the shading of the columns above
that is casting on this little actually, it
doesn't have that much. It should be something here. You want to go back and forth to check you have covered
all your bases. Okay. Again, I'm using the same brush and the same
size, it looks consistent. Go all the way until the
very end of the timeline. Then we're going to group our
new shadows into one group. Delete the empty track, and then create a clipping mask. Make sure you un highlight
the time line at it. When you do the clipping mask mask clipping mask,
there you go. Now we can see a faint
yellow highlight. You can also make the
highlight change color by creating a HSB filter. For example, it's green here, yellow at the beginning. And then you can
add another one. Well actually you do want it
to be yellow at the end to, So there you go. And then you can add
more options in between. Okay, if we play right
now, this is what we have. It's pretty fun, huh? All right, so this is our very
last animation. I hope you had fun.
Esther Nariyoshi, Published Illustrator based in the US
