Transcripts
1. Class Trailer: Making stories come to live with something
really magical. But where do you start?
My name is Amanda. I'm a freelance motion
designer from the Midlands. In this course, I'll teach
you everything I know about the process of creating an illustrated
specter storyboard. Promotion was saying,
the process of creating a storyboard promotion designed might seem
really intimidating. But with a few simple steps, I guide you through the process, will go over different stages of the project or working
on a brief for Mr. gets. This class is for
everybody That's curious about motion design
industry or wants to go for this class is
meant to give you a confidence boost when
starting on your own. I hope to see you in class.
2. Research: Introducing the Brief: Welcome to the first
part, the research. In this part, I'll go over the brief and talk about what
we need to note and why. I'll also help you with file
management to get started. You ready. Let's get started. Let's introduce today's brief. Mr. Get. A fictional company
that's like setting well domination by
infiltrating the homes, millions of innocent
and oblivious people. To get. This animation
should make everyone that's still doesn't
have a good one to get as soon as possible. Sounds great, right? And probably safe. Mr. Care is a script prepared and needs and
illustrate storyboards, including his guest version
and some style frames. So let's get started.
3. Research: What you need to know: When starting your brief, it's important to find
out what you need to know what kind of assets the clients still needs to deliver. You can either do some
research online or having more extensive
talk with your client. What you need to know and why. Finding out who
is going to watch your animation can greatly
impact your style decisions. And even debating. Doing a bit of research about your demographic
and help you identify what they prefer and how they would
like to be addressed. Elderly people usually
don't do well with fast-paced animations and would benefit from slower timing. Given the information
time to land. Finding out why they want
an animation can make it easier for you to figure
out the call to action. Knowing where your
animation is going to be. Feud helps you decide the
right sizes and specifics. It also keeps you from
adjusting anything later on. When you scan the optional. Since I mostly use my own
calendar for planning and don't find it necessary to
add dates to all documents, since there can be many
adjustments in planning. And two, when
working for studios, they often use their own
time management software. Before starting, it's important to collect all
your brand assets. Can be colors, guides, bonds, elements and
visuals from your client. This way you can create
a cohesive style frame that fits the brand or
client you're working for.
4. Research: File Management: Welcome to the next lesson. In this lesson I'm going to
talk about file management. Having all your
resources and files in an organized place can save you a lot of time and maybe prevent some mental
breakdowns along the way. Because you can see
here the client map. I usually start with client
name and the project name. The project name is usually
the name of the animation. So let's dive in. You can see we have client
files, pref scripts, creative direction,
visual design, animation, and feedback. Depending on the project, the contents of this
map can change. I won't always write
your script or create the animation
for each storyboard. Sometimes even a creative
direction is skipped, especially when I create
animations that already have previous animation
and are part of a series. We'll start with client files. This is everything the
client sends to me. This can also include style guides and
video brand guides. I like to include fonts in here since it can be quite
annoying if you lose them. And the reef is a short summary of the project
including how long it's gonna take and some
basic information. The script, some script versions and possibly
translations. Creative direction. I usually start with sketching
some thumbnail sketches. These are the shots
bar InDesign document. I also include thumbnail
sketches in here. Then we have the mood board. We usually add some
images that I make myself from outside or from
the client that I received. I've put them in here if they're necessary for the mood board. But most of the time
I just use images from Pinterest and place
them in the mood board. Also. I think this is an
important one. Template. I put all my templates
from this year in here that I'm going to use
for the creative direction. This is the document
I sent to the client, and this is all the guides and style frame guides that
I've placed in here. We have Visual Design, illustrates storyboard
including the shelves, and again, some templates
that I might use. And here we can see animation, the project files
with After Effects, low host and sound
effects, voiceover. I won't go in depth with
the animation part because I'll only do the illustrated
part for this class. And lastly, the feedback. I include all the feedback I received from the
client in here, this can be central
e-mail or short summary. I ride during. This way I make sure
that I don't lose the feedback and stay
on top of my project. I've placed this map in
the resources so you can reuse it and adjust
it to your own needs. Your first assignment you can either choose to
go along with Mr. Gibbs or pick one of the other briefs I've
included in the resources. Let me know which brief you
picked and y don't forget to add some of your
personal goals to the brief TO next lesson.
5. Concepting: Creating a Moodboard: Welcome to the second part. Contracting. Concepting
means generating new ideas that can give the
project a sense of direction. That's why I call this
creative direction when sending documents
to the clients. Creative direction
can help you create a more meaningful connection between the story
and the audience. Setting up a few
basic guidelines about what should and
should not be included in the story or the
animation can really help uplift the project
to the next level. In this space,
I'll be going over wood-burning, finding
your inspiration, creating thumbnail sketches, a storyboard, and then enigmatic. So without further ado, let's begin with the first step of the creative direction. And that is finding inspiration
for your mood board. As you can see over here, I create a new
project folder and duplicate that one and
gave it the right name, and deleted the
folders that I am not going to use
during this project. And we'll start with
creative direction here. Abusive template and
create a depression once, since it can be changed. With adjustments
from the client. I usually start by
making a mood board, collecting some images online and placing them in this grid. I also write a short
description of the style or the things that
I would like to see in it. You can make that part
as detailed as you want. You can also add some
keywords to it and some colors that you think
would fit this style the best. Making a mood board pinterest
makes things really easy. Basically 11 place
for all your images. This is the board
that I created. I usually usually have ten
to 20 images for Moodboard. And then I'll use or find some reference
images like holding a cat or some color
images that I really like and add them to
the mood board along the way. Make sure you don't stay on
Pinterest too long because boards over a 100 images are not going to
help you anymore. It's addicting though. So I think that's the only
downside to Pinterest. When I'm done collecting
all these images, I add them to the creative
direction template. As you can see here. I'll use a clipping
mask to add them into this file to make sure
the grid stays intact. And that's basically it. You can create as many
concepts as you want. But I recommend one or two, since too many choices can
be a bit overwhelming. Your second assignment, we'll
start with the moodboard. Collect some images online, and fill in the template. You can also create
your own template. This is also the part
where you choose to either have one or multiple concepts. Don't forget to add some
personal goals and have fun.
6. Concept: Thumbnail Sketching: After you've defined
the direction, you might find a job, right? Integrating style
frames, just grab an interesting sentence and
create something cool, right? Well, I've done that before and even though the
style has been approved, the frame didn't end
up being used to prevent you from creating a frame that ends
up in the trash. Let's start with some
rough thumbnail sketches. This way we know for sure or
at least have a good flow, makes sense and
fit the storyline. And even if your
client doesn't want to sketch a storyboard version, creating thumbnail sketches is a must for my creative process. It's quick and it's a lot
easier to erase your IDs. Now, before you've put a
lot of work in the design, this process brings
out all of my ideas and creative juices before
starting production. I make sure to be
really messy and write down as many
notes as I can. Sometimes I'll even make
multiple storyboards. If you are not fond of
creating messy sketches, you can also create a mind map. But I've found that seeing
your ideas on paper and exploring transitions can help you figure out if
they work or not. Sometimes you need to go to
your IDs with an animator. If you are not doing
their part yourself, discuss possible
transitions and if that works for them in the time
and budget they have. This is also where
I start collecting reference photos for
my ideas on Pinterest. My thumbnail sketches laid out, it's easier to draw the
final sketch on top. I don't have to do
a lot of guesswork, but don't get too
attached to the IDs. Don't spend too
many hours on them. This is all the first boss and sometimes a lot of the
frames and changing. If you want, you
can stay and watch this little speed paint of all the frames I've
made in Procreate. I'll go on to the next lesson.
7. Concept: Compositions: Going a little bit more in
depth with compositions, creating compositions
for motion you shine can be really
similar to that of movies, animations and, or
photo graphics. I've put a few
simple tips together to get you started
with competition. Most people probably are already heard of the rule
of thirds before. It's used in many
different fields. It's also a great tool
to improve balance in your illustrations
with a simple grid and for main focus points, then draw attention
to the fewer. I think I even read in
a research article that the top-left point
is one of the places people's eyes get
drawn to first, it's quick and easy to apply and immediately focuses on balancing
your illustrations out. The rule of thirds
can be a little bit fake in term of rules. Playing with the four
middle and background. This means that
you can basically divide your illustrations enough to treat layers of
depth within landscapes. You can create a foreground
that is close to the camera. This helps frame
your illustration. You can also play with
the depth of field, blurring things in the
foreground or background. This can be fun addition
to switch up in animation. Lastly, adding perspective
to your illustration with a finishing point can give your composition a
realistic perspective. We didn't move these. There's a lot of different
names for certain shots. It's good to know the basics and find out why certain
shots are used. A close-up shot is a shot or
details are very important. Maybe you want to see what's
reflected in someone's eye. Medium shot of a character
is from the torso went up. Perfect. If you want to show
body language or expressions within a
character, a full shot. This often shown if
the situation the characters In matters
to the story. Trying out different
camera angles, it might seem
really difficult at first to try out
different angles, but it helps figuring out what
works best for the story. Here we see three
different angles of someone working
behind the computer. The first image can be called
an over the shoulder shelf. The second one is a full shot, and the last one
is a medium shot. I hope this helps you
get started with getting more comfortable
creating compositions. Hope to see you in
the next lesson.
8. Concept: Storyboard PDF: Let's create a storyboard PDF. You've already filled in our mood board and the
creative direction. As you can see here. Theta direction or brief. So we have filled in concept a, B filled in our mood board. What we want to see
in the animation, and what do you
think is going to be a good luck for the client? Before working on
the staff, Boehm, I now fixed my
thumbnail sketches. You can see thumbnail
sketches in here. Put them in here,
so I don't lose them and can easily put them
in Illustrator if I need to. All the shield Sykes
borders on Procreate. I also added already.
So motion frames because I'm gonna create an automatic just a transition from one frame to
the other frame. All the sadness I've created. And this is the storyboard
template that I've filled in. Let's show you a little example. I always create my storyboards
PDF document in InDesign, but I find it easier
to work with. It can easily
replace images if I need to have a few
different sizes. The perfect bomb for sketches. I find sketches are usually not that defined as
illustrated storyboards. So I use a lot more
frames on one page. You can easily
change the name and the date in one of
the master pages, and that quickly changed
it on all the pages. You can add a quick
little description over here that describes
the animation and what you see in the frame. And here's where I've put the voice-over chicken see
to make it even more clear, I've added some arrows to indicate which where the
camera is going to move. And that's basically it
for making a storyboard. I've also added a feedback page. Very important to let your
client know what happens when you don't get
the feedback on time. And at a little, thank you. Yeah, have fun creating
this third assignment. You're gonna create
your own storyboard. Start out with some
thumbnail sketches or mind-mapping, just
what you prefer. And then work towards
getting the storyboard. If you don't want to
sketch a storyboard and don't think it's necessary. I still highly
recommend to work on thumbnail sketches
since that can fill out any gaps story
that you might have. I also added some templates that might help you start out. See you in the next lesson.
9. Concept: Creating an Animatic: Creating an arithmetic. Sometimes clients have
no experience with animation or just want to
have a super clear direction. Especially when
their own animators are going to work
on my storyboard. Something that's can
give it an extra push is called an antiemetic. It's a rough animated
version of your storyboard. You can report your own
voiceover or even let a computer voice say
descript out loud. You can turn this to
the frames accordingly. When necessary, I add some
motion frames in-between. This can answer
all your questions about dining and transitions. Hi there. Have you been
lonely, sad, or depressed? Well, we can fix that. Sorry. But maybe she
can gets have been scientifically proven to boost your mood and overall
life experience. Everyone with a cat, Greece, and once you've to get 12, no need for Hobbes anymore. We will be looking at your flow for every second of the day. You might want to
throw away your alarm. Since your chemical they
worried about finding the right one gets can vary in character and
their personality. Just like people. What
are you waiting for? Ordinal. And you'll probably end up with two instead of one. Assignment for one of the
most fun things to do in the beginning is seeing your
animation come together. Then an antiemetic,
you can easily put all your frames
next to each other, but some voice over
under it and see the complete animation
from beginning to end. You can work this out in any program or software
you're familiar with. I usually use Premiere
Pro or After Effects, whatever floats your boat
to you in the next lesson.
10. Design: Introduction Styleframes: Welcome to the design phase. There are so many
different options in style that I'll show
a few examples here. I've worked on animations that
have Galatia images in it. I've also worked on
science-fiction animations, are thick animations, and even animations with
an isometric design. An isometric design is
an animation that uses a certain kind of grid to
draw your illustrations on. As you can see, there are
many different options and even a lot more
than I just named. In this stage, you will figure
out your character design, color choices, and
even the use of tech.
11. Design: Set-up Styleframes: I start with creating
a style frame. I use an onboard 925,080 pixels and place
the sketches and the needed with the 30% opacity. I'll show you how to. But my settings are 925,080.
Yeah, and that's it. Basically, you can add a few
more arc or two if you want. Sometimes I create two of
the same style images. Get the clay to give them more clear indication
of the style. And I also created some
other templates with guidelines in it
so you can create for multiple sizes in one go. These textboxes are for placing your sentences
from the script in it, or some short
descriptions if you want. The guide layer and you
can turn them off and on. You just put this on. You see that this is
the size that I mostly use to fill in this
whole artboard. You know for sure that you
also have the other size is included with the main focus on, of course, everything that's
within all of the frames. So I will put the main
focus inside this square. And then you basically
have created artwork that would be able to be
animated for multiple sizes. But I think the most common
users usage for animation, you still on board
tonight, 25,080 pixels. But I think this is a really
handy thing if you want to already know or
if you already know that you're going to
need the animation to be exported in multiple
sizes is where you will also fill in the blanks
for animator or else it. And maybe we'll have to think of filling in all the
empty space by himself. If you're animating into shelf, you will also save some time. But this is where I start
with my style frame. And basically just illustrate dealing with the pencil tool. And it might sound a bit, it might be a bit daunting
at first to start by just going keep illustrating, and you eventually end
up with something. Here I have saved some color testing and
some different versions. She can see my process. So you can see this already
looks very different. From that. I changed the sizes of the first and the colors
a lot in the flower has changed a bit surreal
process to create style frame. So I wouldn't be discouraged if the first hour it
doesn't look good. Just keep adding things, deleting things, and trying
out different colors. The easiest way to
experiment with color is by, by this button here
to color wheel. The color wheel. But certain things
are going to look. So yeah, I, I'm usually
experimenting a lot with it. And if you need to select something like all of
these same colors, I would just click on this. Go to this or no, sorry. You want to select the
same color. You go to. Select same. You have all these options, and I want to select
same fill color. You can easily select all the
same color and change them. Again with the color wheel. That's usually how I
experiment with color. Yeah. I think this is a really
fun process to do. It might sometimes
be a little bit annoying because it
doesn't end up how you envision it or might not
look good for the first day. But also if you create something that you are, that
you will like. Don't be surprised if you want like it anymore at
the end of the week. That's usually how
these things go. I think that's it for
creating your style frame. See you next lesson.
12. Design: Rules for Motion Design: Rows for illustrating
for motion. There are not many roles
for promotion since there's many ways to
create artwork for motion, you don't even have to
create vector artwork. You can also create stuff in Photoshop and other programs. The number one basic rule is to keep everything I lose object. So don't merge any anything. Just keep all of them separated. Since you want to be
able to make them move. Like this deal is not the
part of the body so that I can just rotate it
with when animating. Second part is with characters. It's very important that the
joints are all rotatable. So we have here a circle
and the pharmacist circle. And as you can see, when I put the anchor
point in the middle there, it rotates very smoothly. It's basically what you
wanna do with a lot of it. But if you can, if you can create as
many rotatable bonds, that will be the
best for animation. Sometimes it's a
little bit hard to figure it out in Illustrator. You will have to do some problem-solving
in After Effects. It's okay if you
sometimes have to redraw certain things to make
it better for animation. Yeah, makes sure to keep
a lot of loose objects. And also for path animation, for access if I want to
move some of these fingers, but I don't want to create older circle rotations for them. The joint and stuff. Make sure
they have as less parts as possible so it can easily
adjust it in After Effects. The likes of maybe I want to use path animation
to animate it, then keeps the anchor
points as low as possible. This way, they'll be
really smooth to animate. But yeah, sometimes you
will have to do so. Frame by frame
animation to solve certain issues and
redraw things. I think in a meeting is a
lot of problem-solving. It's okay if you don't get
it right the first time. It's also good to discuss
it if you don't animate it. Or they animated would want. Sometimes they use overlord
logins and all the things. You don't don't you don't have to think about
everything on your own, then. They usually will
tell you how to layer stuff and how they
will want things to me. Some people don't even
use the circle joints, but like strokes to animate, to Rick certain things. And this is the arm for example, and then the LoRa
getWidth strokes. So yeah, that's it. Or motion design rules. I want to think of
them as rewards, but more for its use,
the problem-solving. That's it, I think for
grading and stuff. Because luck with cranial
stuff and make sure to keep using your
Pinterest boards. Look for references, and don't be afraid to
experiment with color a lot. Don't be too hard on yourself. And the illustration
is a process. Keep that in mind. How often you do, the better
you get at it. Welcome to the fifth assignment. For your fifth assignment, you're going to create
your own style frames. If you're not sure
where to start when creating your
own style frame, I've added a template
that might help you get started with a
few simple questions. What shapes you're going to use? Is this going to be
minimal or very detailed? And by filling out
the questionnaire, you will have a complete vision of the style you're
going to create. You can also fill in
this multiple times to create a concept, a, concept B. So have fun with it and see
you in the next lesson.
13. Presenting: How to present your work!: Welcome to the fourth phase. This is the phase
where you present all of the hard work
to your clients. It can be a bit scary, sending off your work through your appliance, but no worries. First things first present
depending on your client. I usually send pdf
documents to my clients, but if they are not in
the field of animation, I've tried to explain more. I write short descriptions. Planning a goal. It's important to
explain why you need feedback on what you need feedback and when you
want to receive it. And what happens if
you don't receive it? Make sure to be
excited for feedback, since it means that the
project is coming along. So let's go over all the
files that I send to my clients when I'm done with the creative
direction face. So the first thing I will
deliver to my clients is this creative direction. Style frames
document the script, the mood board, create.
Finishing here. First style frame, I
always name the stuffing. Give it another name
so that the client can reference that name if
they're talking about it. No confusion. What are they talking about? Another style frame or not. And this is the second one here. The sketch a storyboard. This will be included. And the montage video, I will just include
in the email also. Most of the time, I plan in a coal when they received all of the
files and went over it. Then we can discuss
all of the feedback and talk about it a
little bit more in-depth. Assignment six,
presenting your work. Fill in the template, placing all your images and short summaries of
the styles you created. And also write why you need feedback and what happens
if you don't receive it? It should think of
this in your own words and phrasings also if you want. So you can think of a few feedback points
that your client gave you and make a version of it so that it feels like
a real client projects. I hope to see you
in the next class.
14. Production: Setting-up Artboards: Welcome to the last
phase production. After fixing your
storyboard and style frames with your feedback
from the client, we get started on production, the visual design
of the animation. This is the bulk
of the project and it will take up
most of our time. In this phase, I will
go over the setup, how we start creating our
storyboard files and things. Also, I will talk about
some Illustrator hacks, tips and tricks, how
to create stuff. I also talk about how to prep for animation and sending
it off to your clients. Since so many artboards in
one Illustrator file can be, can become really
messy really quickly. So let's get into the setup. She could see this is my
setup for this storyboard. I've created all these art
boards next to each other, placed in the whole
sketches up the storyboard. This process is almost the
same as creating style frames. I've also made this
guidance template where you can feel all in the storyboards and also
write the text in it. But it's up to you what
you prefer to work with. For now, I've created this. What I'd really like to start implementing this in the
future for my projects. Since we already
created style frames, we can copy these frames to the visual design and
start from there. Right now I haven't organized
the layers very precisely, so it's a little
bit of a big mess, but I usually start
organizing when I get an agreement and all of the frames and have to
send it off to the client. As you can see, this is the production
phase, all finished. If you're curious about
some Illustrator tips, I would recommend following
the next lessons. And if you're already
familiar with Illustrator, then just go ahead and
create something fun.
15. Production: Illustrator Tips: Welcome to the next lesson. In this lesson, I'm going to
talk about my workspace and tools that I use a lot well illustrating or motion design. As you can see, this
is my workspace. I have all my favorite
tools right here. Effects and things that I use
a lot of color selection, my art boards in the layers. This one is probably important to me because this is where I can see your answers. If I have added, for example, you see here up and
edges selected, I can delete any effects I want. This is the properties. If my shape is cooked, not the right angle, I can adjust it here, I can make the size is bigger. So this is basically my favorite setup for when
working in Illustrator. You can adjust
your own workspace and then a Windows Settings, and then the workspace. And this is where I can add all these different
kinds of workspaces. You can create a new workspace or reset your own workspace. And I won't look too
much at my workspace. My workspace station
always changes a lot. Depending on what
I'm working for. There's no right or
wrong workspace, just what you use the most. I think that's important
to have in the frame. There are lots of tools
that might be really handy. But as I don't use, for example, the shape builder tool, I'm don't use it
a lot in my work, but it might be
really handy for you. I've placed this Illustrator
file and the resources so you can create these
shapes together with me. Let's start with creating
the star-shaped. Most of the shapes and
things like create starts from the basic shapes. I'll create an circle. Also, shortcuts are very
important to know. Illustrator. You don't have to know them all. But for example, holding Shift while dragging the
shape makes sure that it's around circle
and scaled proportionally. If I let go off the shape tool, you can just create any kind
of circle shape ellipse. You want this, you want the perfectly round circle
hold shift and drag it. Let's create another
circle, an ellipse. Now let's both of them selected. I'll go to Effect, distort
and transformation and ago duplicate and
then I do Bucher, I create these little starch. And she can also
create these little fun flower leaf shapes if you go the other way and adjust them like this. And if you want to change
the color, for example, we can grab the eyedropper
tool with E and then select, for example, this gray color. And then you get a gray color. If you want to change the line from Bill on
Farmville to stroke, press the button and hold Shift because this is a fill and if I hold
Shift it will stay line. If I don't hold Shift, it will change the fill color. That's that. Now, if you import these
shapes to after effects, they will import as circles and ellipses instead of
the sharp edges. So go to object and
expand experiences. And then they are, they changed into shape. You want them to be
in after effects. Let's go to the next one. Roughen edges will create
a circle again, like this. And if your lines are not on, I highly suggest checking the few settings and smart
book, smart guides on. As you can see, these
purple lines everywhere. I switched it into a line. Now we go to Effect, Distort and Transform
again, roughen edges. And you can experiment
a lot with this. You can also create some
really, really weird shapes. If you want to. Roughen edges effect, I usually
do a soft effect, smooth, and use these settings
to create a really smooth, tiny fact here. If you make too much right now, if you add this to your
whole illustration, you can really see it's more
of a natural drawing setup, a stiff vector drawing. This does have issues with
exporting to After Effects. If you're exporting
to After Effects, you won't see the
roughen edges effect. After Effects really have
some fun effects on its own to create a scribbly line. So this is only for
illustration effects. And to show your client what it might look like if
you really want to have a clear image
of what your stuff I was gonna look like after
adding all the effects. It's creating clean
artwork and putting that in After Effects and adding all kinds of glow or transformation or a noise
effects to certain things. Export a PNG from that frame. That way you can
show your client but is really going
to look like. For the next shape, we're going to create
these cartwheel. You'd be surprised how many
clients suggest the shape for a certain icons or want to have this shape in their animations. Lots of shapes get you
use like for example, working at a desk
or holding a phone, are all things that will be coming back for you in
animations and storyboards. Knowing how to make them and adjusting them each time
is really important. We'll start with a circle again. As you can see, a lot of shapes start off with a basic circle. Placed in the middle, give it the line with
the eyedropper tool. And I'll copy it in place
with Command Shift D. And then I'll drag
it out like this. One, them all in the same size. I want this a
little bit smaller. Like this I think. I'll create. You can adjust the lines
here on the two coins. And let's create a
rectangle to then go with holding Shift
again to create proportionally the
same size, smaller. And with the a tool, the direct selection tool, I can adjust the anchor
points on click on this and adjusted my dish. And then with the guidelines, I can see that in the
middle of breast the art rotate it on the center from the circle and then drag it with shipped across these lines. And I can grab all of them. And circle. And then I go to Pathfinder
and choose Merge. What is the cochlea? She's really fun to
create shapes from other shapes and
mixing and matching them together with
the Pathfinder tool. So yeah, I'll group them at least a minute
middle of my own work. Let's start with the next one, the pen tool and anchor points. We already used some anchor
points and the pen tool here. Let's create a circle. Again. With the direct selection
tool will select this point, which shifts with all
the other point and then change them in a point
instead of a curve. Then I'll squash it down
into the shape of an eye. Let's try out water droplets. You can see here, I'll select this anchor
point, converted. Push it out. Now you have a little droplets on a grid around the droplets. You can still adjust these ones. Some more Pen tool tips. You can also create
spawn shaped by deleting certain anchor points. For example, you drag this one and then click on this one and then
that one delete. So you can start
over right here. And this is usually how I
create some fun collapse. Feel like, well, this
doesn't look good. Just drag it and adjust it. I really enjoyed it. You can still adjust any point. And if you mess up, you can just go back
to it and fix it. Also, if you don't want to
have these sharp points, you can go to strokes in here. And that way you have more
rounder edges instead of the sharp bones.
You can see here. And let's fill it in. So yeah, that's how
you create the shapes. If you're unfamiliar
with the ventral and struggling with it. I suggest going through
the Bezier Method and playing this game to help you master the
pen tool and redefine, it shows you exactly how
it works and gives you some basic instructions
on how to create shapes. I know it has helped me
out in the beginning, not something you
have to do for hours. A little bit of the few of
the shapes is really fun. Textures in your illustrations. Just like with the
roughen edges. This will not always translate
very well, not perfection. You will have to
recreate something in After Effects on your own. But I can still show you
how to do certain elements. For example, if I want to change the edges into a sibling edge, I'll go to one of my brushes. I have the stippling brushes
that I found online. You can easily look up brushes, illustrator online for free
and add them to your artwork. You can see it. It might take a
little bit of time. This creates a
stippling brush effect around your illustration. Normal, I click on Basic again. Now a lot of different websites where you can find textures. I use Unsplash a lot. It's website where you can find free high-quality photos online. And for example, if you
want to use this texture, I'll download it and place
it in my Illustrator file. You see here I jumped
to the new shader. For now, I'll just
make it really small. And I'll give this a color
so you can see it better. For example, I get
this blue color and now you can see the shape. But if I change the opacity
and the settings here, with color burn, for example, I use color burn and
look for certain things. You can really fun shape. You might want to
shave everywhere. And then I'll use
the clipping mask. Select both out, creates
duplicate of this shape. And I'll select both of
them, clipping mask. And then you see it has
this shape inside anything. I just did. And now your Cloud
has a really nice texture. Let's go to the next
lesson, smoothing. And I can create a
really weird shape here. And it might look
a little bit odd. Now on this edge
to be different. I can adjust it, but the smoothing tool
smooths things out. I think it's a really
good tool to use if certain things
don't look the way you wanted to do a new concept
adjusted a little bit. Careful though, because
you have a sharp edge. You an example. If you have a sharp edge, it will also make that round. I think it's really
fun to add some smoothing to certain
lines sometimes. For a clipping mask, I already showed you in here how to do it. But it was idle. It's really fun to see
what your character looks like when rolling is high
in different positions. We'll start again
with the circle. Select both of these
shapes, comfort them. Squash it down a little bit. And lie. And not a circle. It's going to be black. I'll duplicate this
layer Command E, That one is Schottky that I use very much to see everything. I'll select that one
and clipping mask it. This way. The I will not go over the
shape that you've created. So yeah, that's, that's
it for this lesson. I hope you learn some
new Illustrator tips and some basic ways to
create some complex shapes.
16. Production: Layering : Welcome to one of
the last lessons, prepping your storyboard for animation and sending
it off to your client. As you can see, this is
my final storyboard. I've created all these
different centers for each frame and grouped
all the layers together. As you can see here. I've named all of them with
the block and overload. You can push your selections to After Effects and it
will keep the name. So it's really handy if you name your layers already
in Illustrator. Just like coefficients,
layering isn't the most fun, but it's an important
step to stay organized. I feel like people
always focus a lot on being the best
in illustration. But certain skills
Like organization can really help decide if you're going to be
higher next time. Just like being on time and
being fun to work with. I think those are already very important things to keep
in mind when starting out. If you don't want to
spend time layering all your stuff. In the end. You can also start when you're illustrating
in the beginning. I'm a very chaotic Illustrator, so I've just put blobs
everywhere and don't really track anything and
start layering at the end. I also made sure everything
was rounded off properly. I've put this in the resources so you can have a
look at this file. You can use it for practice, modified for personal use, and mess with it as
much as you like. Also for animation,
it's important to create the back layers
for certain things. Let's go to the bone. You can see here the phone has garnered shouldn't be empty, but they're still
should be something. And this isn't the best
or the prettiest example. But I'm gonna see if it
works in animation or not. Maybe I'll have to create
some more depth in the hand. When you finished your
storyboards in Illustrator, it's important to showcase
all of your illustrations. That's why I use this to
find perfect page templates. That way you can really show off the details in
your illustration. This way you can not
only present your work, but also give the client an indication about what
is important in the frame by writing these descriptions and he can properly
give you feedback. I'll usually sent only a PDF. And when everything
has been approved, they'll send over the files
with the right layering and everything that's been
prepped for animation. So that's it for this lesson. Okay, this is your
final assignment, is creating your own
storyboard in Illustrator. Make sure to export all the images and create the PDF document and sent off to your clients and
prep all your layers in Illustrator or animation.
17. Good Job! :) : Well done, You have
finished the course. I hope you learn something
new and enjoyed my class. Make sure to keep
experimenting with the process and figure out
what works the best for you. I'm really excited to see
what kind of products you guys come up with and
would love to see them. I really enjoyed
making this course, even though it has been a
little bit awkward recording myself and since my native
language isn't English, I hope it hasn't been too
difficult to understand me. Definitely let me know
if you have any feedback so I can improve my
next possible courses. Thank you so much for following my class and I hope to
see you in the next one. Bye.