Procreate Animation: Make Fun Gifs & Videos

1. Introduction: Are you an artist and illustrator, a doula, or maybe someone who's just messes around in Procreate. You wanting to bring movement and motion into your work. Being able to animate is an amazing skill to have in your tool belt. It's versatile, it's sexy, it's Fun. But maybe you don't know what tools to use, what frame rate means, what these file formats are, and what super computer you need. Do not fear. I got you. My name is rich Armstrong or Tap, Tap Kaboom. You may know that I love doodling Can drawing. You may also know that I love Procreate and my iPad. But did you know that I love animation, that I've been animating since 2006, sorry, these things together. And you get this class, you'll learn how to create Fun looping animations with Procreate in multiple different ways. We'll also cover basic Animation theory, how to plan, what tools to use, touch, Export GIFs, Videos, animated PNGs, all using Procreate. And then at the end, I take you through creating animations from start to finish. Sorry. By the end of the class, you'll be able to add life and movement and motion into your work. You'll be able to grab attention and tell stories. You'll be able to wow and a major clients, animation is awesome. And if you want to learn how to do it, the Fun and easy way in Procreate. Come join this class 2. Animation Basics: Okay, Before we get our hands dirty with practical play and experimentation, let's cover some Animation Basics. The theoretical aspects can get a bit boring, but they're important, so I'll keep it short. The first thing, what is An Animation? And Animation is an illusion of motion. It's a bunch of static images passing by your eyes really quickly. And this tricks your brain into thinking. There's movement. And movement grabs our attention and keeps us engaged. And example of this trickery is a flip book animation. You've probably tried this out at some point in your life. The next thing we need to chat about our frames and frame rates. In the digital world, the pages and a flip book animation are called frames. And in Procreate, we can create these frames and export them as An Animation. This brings us to frame rates were used to watching videos where 25 to 60 images passed before our eyes every second. The animation term for this is frames per second, and this is the Videos frame rate. The frame rates of a handmade JIF is normally a lot less and ranges 5-15 frames per second. Procreate makes it super easy to preview our animations, add more frames, and adjust the frame rate as we go. The next thing we need to go over is linear versus looping animation. Most film and animation we're used to isn't a linear format. It has a start and an end point. Even if it Loops most of the time, you can clearly see a start and an end. But in this class we're going to create seamless looping animations. You've probably come across them in a form of online Gifs and Instagram videos. They're special because you can't tell where they begin or end. They seem to go on forever. And I am obsessed with creating these kind of Animations. What's awesome is that procreate allows you to loop your animation preview and you can export Looping Gifs and animated PNGs. This means that by creating only a few frames, we can create a never ending looping animation. We will however, need another app to get our videos to loop, but more on that later on the class. So that's a little bit of theory. There is always more theory to learn. But with this knowledge, we can dive deep into making a first Animation, which we're gonna do the next lesson. I'll see you there 3. Procreate Animation Basics: Okay, we're gonna get practical in this lesson. But before we get going, Let's check what version of Procreate we're using and then see if there's an update. Because updates normally mean better. Okay, so to check what version of Procreate you have, Tap on in Procreate over there. I have version 5.3, 0.4. Yours might be different. It will probably be different. They do updates every two to four weeks or so. And sometimes they do like a major updates. Okay. So let's close that and let's check if there is an updates. Open up the app store and we'll search for row Create. There we go. It's going to learn a little bit, Tap on Procreate. If there is a new version instead of a saying Open here, it will say update. And hey, if you don't have Procreate yet, then you'll say install or by over here. You need Procreate to take this class. Once you've done that, it will load and update and then say open. So just tap open again. And there we go. We're back in Procreate. Now, there's two more things I need to do before we get started. The first is to put on my drawing glove. You don't need one of these, but I'm very used to and almost addicted and dependent on it. It just allows me to slide across my screen rarely, rarely easily. And the second thing is I need to turn my PQ hat cap around so that when I bend over my iPad, it doesn't cover the whole screen, which is not so good for you. So I turn it around, just makes everything a bit easier. And now I'm ready to go grab my pencil as well. So with the latest version of Procreate installed and my caps been around, Let's create our first Animation. Let's get going. So let's create a new canvas. I'm going to press on the plus icon. I've got a bunch of different sizes already set up. But let's go for this top right-hand button, which creates a new canvas for us, not a preset and width. I'm just going to go 100 and height one or eight. Oh, this is perfect. If you want to post it to Instagram just as a regular square post. It also means we have a lot of layers, 1,000 layers. Fantastic. And it's really easy to get going with this square format. Color profile. Please use RGB because this is digital. Cmyk is for print. I prefer this option here, that's sRGB, IEC six library bloody number. Because it means that what I see on my iPad is what I see on my computer, what I see online. When you start using this display p3, the colored start changing, which is very frustrating when you're exporting it and it looks super dull. The other things here, you don't need to worry too much about turn on time-lapse settings if you want to record stuff. But for an animation, that's kinda weird to do time-lapse stuff, but you don't need to worry about this. And then finally, canvas, Let's go for one or 801 or a tone and Canvas properties, you can change the background color. I'm going to keep mindful white now. And that pretty much sums it up. So let's go and create that. And it creates a white square, will zoom out just a little bit. And now the first thing I wanna do is open up the Animation Assist Panel. Press on this wrench icon. Make sure you're on this canvas tab. So if you're not just tap it and then toggle that Animation Assist Panel, you'll see this little panel pop-up over here. Fantastic. We're off to the races. And this Animation Assist Panel makes everything so much easier. Now, just choose any kind of brush. I've got the resting Loop collection. Maybe I'll scroll down here, go to Drawing, choose Blackburn, and I'll just go for a black. We're gonna do an animation 1-55 frames, just numbers, just to understand what is going on here. So let's go and go. Wow, that's really big. Let's make it a little bit smaller. Let's write number one here. Number one. Okay? Then we tap on, Add a frame and you'd be like, what is happening over here. This is called onion skinning, and we'll get onto it in the next lesson. For now, press on Settings and this onion skin frames turn that all the way down. Well, yeah, I'll get onto all of these things in just a minute. So Tap Out of that number to add frame number three. Okay, we've got three frames now. Now it's a good time to link this to Layers. Every single frame that we create in the Animation Assist Panel is actually a layer in the Layers panel. So layer one is called layer one. Layer two is called frame to layer three is called frame three. If we create a new layer, it creates a new frame Names that layer fall, but it's still a frame. We've got number four, and then we go at frame number five. So we've got five frames, five layers. They're the same thing in Procreate. Awesome. Now we can play it. And you'd be like, Wow, that's rarely fast. Okay, so we open up our settings here, and let's drag the frames per second down to maybe even one frame per second. And you'll see here, it's going between each of the different frames, creating this illusion of movement. Which is pretty cool right? Now let's go through a couple of these settings. So, you know, frames per second. You can go all the way up to 60 frames per second or more. What I'd like to use is about ten frames per second. But for handmade frame-by-frame animations, any frame rate 5-15 is normally pretty good. But for now, let's keep that on one because it's quite jarring. Then these are the playback options. So loop just goes from the last frame back to the first frame. Ping-pong goes to the last frame and then back again. And when it gets the first frame, it goes forward again. And one shot, it just plays it. And then a stat. So those are rarely easy to understand, I think. So I'm gonna set that to loop again. And we have to press play again to get that to play. You can also press pause to pause it. The other settings, all of these Onion Skins, onion skin opacity blend primary frame and Onion skin colors we'll cover in the next lesson. And that's all we need to know for. Now. Let's pause that. So we've got this Animation Assist Panel. We've got this layer panel. What we can do here, which is really powerful, is that we can start deleting layers. So let's delete layer for it, deletes frame for, we can also tap on one of these frames and delete it, which is pretty cool. We can also hold down and reorganize these really, really easily. We can also tap on this, Tap on this duplicate. There we go. Now we've got two 2s, which might be a little bit complex. So we'll go here and we can clear this or delete this. And now we can go for number four. We can drag number five over here, 12. And we'll go and add a frame and the middle. So it's pretty easy to navigate whether you're using the layer panel or the Animation Assist Panel. What's really cool about this Animation Assist Panel is at, as you go from one frame to another, it automatically hides all the other frames without you having to manually hide and show each layer. If we were to take this off, It's a big jumble because they're all visible at the same time. So we'll put that back on. So this is already really, really cool. Now, what I wanna do is I want to add a frame here and bring it to the front. Let's a different color. We go and I'll just draw some clouds over here. Then I'll tap it, tap it, and I'll set it as the background. And what this does is that as we play it, it stays in the background. And this can only happen with this very first frame. You can set any of the other frames to a background layer. It's pretty powerful, especially for reference. Layers are referencing some kind of drawing throughout your animation. You could actually also use it for a background layer. And then finally, if we add a new frame here, we can set this as our foreground layer. So it maybe I just want to draw of a tree here. And some wispy kind of odds will tap on that. Set that as our foreground and play. And there it's always in front of the rest of the frames, which is pretty cool. The next thing I want to show you is if I tap this, you can then turn on a hold duration, which basically duplicate that frame without us having to duplicate that frame. And it keeps it there for a period of time, in this case, frames. So if we go to first frame press Play, you can see it just stays there. And it's going between those hold frames. 345. The final thing that I want to show you is that if you do want to hide 543 and just work on frames 1.2, you can do that. You just got to hide the layers in the layer panel. Now when you play this, yes, it's going to go and do its whole duration on that frame. But then it's going to go back to frame one. If it's not there, it won't include it in the animation. When you begin to familiarize yourself with the tools, you'll begin to imagine new possibilities. So what I recommend is starting simple, creating short and simple animations. You can do a lot with animations that are 3-5 frames. So that's what we'll be focusing on during this class. Once you're comfortable with that, you can add more frames and make more complex animations. Now, why don't you re-create the one-to-five animation I've just shown you and play around with what we've just covered. In the next lesson, I'm going to tell you all about onion skinning, which we avoided in this lesson, because it can be a little bit complicated and a bit overwhelming. So I'll see you in the next lesson. 4. Using Onion Skins: In the previous lesson, I told you to turn onion skin frames off. Why? Because the screen can feel cluttered and get confusing when you have onion skin frames turned on, especially if you're new to animation. Before we dive into creating an animation where Onion Skins would be useful, let me tell you what they are. Onion Skins or onion skinning in the Animation world refers to displaying upcoming and past frames or reduce the opacity on the current frame. Normally, the further away a frame is from the current frame, the more faded out it is. Seeing 123, sometimes even 60 frames ahead or behind help you create a more accurate and more engaging animation. Because you can see how the current frame fits together within the animation or within a portion of the animation. So in Procreate, you can do the following things. When it comes to Onion Skins. With onion skin frames, you can adjust how many Onion Skin frames into the past and future you want to see. If you don't want to see any, change the amount to zero, like we did in the previous lesson. I often find too many frames distracting and confusing. With onion skin opacity, you can change how much the opacity decreases as it moves away from the current frame. I recommend adjusting the opacity as you need to try different opacities to see what works best for you. And the animation that you're working on. With Onion skin colors, you can change next and previous Onion skin colors, the defaults are red and green, and you can reset both colors to black if you want. I normally don't change these colors and unless I'm drawing with similar colors with a blend primary frame option, you can apply the color used for upcoming frames to the current frame. I have not found this useful yet, but that's what it does. Now. How does onion skinning actually help? Okay, so let's say we wanted to animate a circle going from one side of the screen to the other. Without using any form of onion skinning, you'd have to guess where the ball was on the previous frame when drawing the ball on the current frame. Now, let's actually animate a ball and use onion skinning to help us. Okay, so I've got a tour for eight by 2048 canvas. I'm going to put on my Animation Assist. There we go. And I'm going to animate a ball using Onion Skins. So I'm gonna start on the left-hand side and let's go to a brush. Doodles, jiggly lines is pretty good. So I'm just going to draw a little circle, hold down, Tap on the screen to make it a perfect circle, and then just fill it in. Alright, and I'll just drag some coloring. And there we go. I've got a ball. Now. I'll tap on this and duplicate it. And then I'll move it across to the right-hand side of the screen. So it's gonna be going from left to right. And you'll see that the Onion Skin is working, which is fantastic. Onion Skins, max. Now the reason I went all the way to the right-hand side is because it's a lot easier to create an animation that goes from start to end and fill in the gaps in-between than it is to go next, next, next, next, next, next, next, next, next, next, next, next next. Because you don't actually know how fast that's going to go. So let's go to the settings. Change the frames per second to ten frames. And we'll play. And it's like boop, boop, boop, boop, boop, boop. Which is pretty understandable. This is a future frame, and this is a past frame. Now, I'm going to duplicate this again, and I'll move it to the middle. Okay? Now what is going on here? This is actually in the wrong place, so I'll pop that into the middle. And now you can see that there's one frame on the left, one frame in the past one frame, the future, one frame on the right. So I'm gonna change this to ping-pong and we'll go for play. So it's coming along really nicely. Now. Let's duplicate this frame here. And we'll move it slightly to the right. There we go. And I'll duplicate this frame flame and move it slightly to the right. There we go. That should look a bunch better already. And you can see how much these Onion Skins are helping us. Okay? So between these two, let's add another one, duplicate and move it slightly to the right. And now you might get a little bit confused as to which one is which frame. So let's turn the onion skin opacity down. There we go. That helps a little bit more. I think I'm going to duplicate this one. Move it over. Here we go. I'm going to duplicate this one. Move it over Okay, duplicate this one and move it over. Okay. There we go. We have a ball going from left to right because we're using the ping pong a playback method. And maybe what we can do is we can do a little bit of easing at the front or the start. Easing just means that comes to a halt gradually and it starts out gradually and then gets quicker. So let's duplicate this and move it slightly to the right. And then duplicate it again. Move it slightly to the right again and tap, tap, tap, tap, tap, tap, tap, tap, tap. Just nudges it. Now, I can't really see too much. So I'm going to change the Onion student frames to just one or two frames, maybe K. Let's see what that looks like. You can see there's like a little bit of like oh, at ease as into the stop. Which is quite nice. Then go to the end. And maybe I'll duplicate this frame Somewhere around there. Then duplicate it again. Put it in. Okay. This is fantastic. I'm going to press on pause. And you can see that we've got a bowl shorts not bouncing is not changing shape or anything. It's rarely static ball that just moves from left to right. And it's a perfect circle. Nothing really interesting going on here, but it's pretty accurate in terms of going from left to right. And we've used Onion Skins. What's really powerful as well is all of these needs to be moved down. So what's really cool is that you can go boop, boop, boop, boop, boop, boop, boop. Select them all. I'm going to turn Animation Assist off. Now you can see them all. Select, pop them into the middle and the middle. Now the whole animation is going to be centered, which is super powerful and plane. So that's how to use procreates built-in onion skinning features. What's important to remember here is that everything is a tool that you can use to create animations easier and faster. If a tool doesn't help, you don't have to use it. And you can change what tools you use and how you draw an animate based on what parts of An Animation you're working on and what kind of An Animation you're working on. The next lesson, our resume, this idea of using specific tools when and where you need them, will be chatting about using the Layers panel in combination with the Animation Assist Panel. I'll see you there. 5. Don’t Ditch The Layers Panel: Okay, The Animation Assist Panel is awesome, but it's not meant to replace the Layers panel. The Layers panel is powerful and should be used in combination with the Animation Assist Panel. I mean, you can use a Layers panel for clipping masks, reference layers, blending modes, anything you'd usually use it for when drawing and illustrating. One of the big things are Layers panel is useful for is grouping layers, which we'll cover in the next video. But in this video, I'm going to show you how to use opacity and the first frames background option to create a wiggly text Animation. What I want to create a something like this. It has five frames, but it feels like it's totally alive and in constant wiggly motion. If I use Procreate onion skinning to do this, I may end up with a broken down telephone effect, where the first and last frames are really different from each other. It's not a seamless looping animation because it's clear when the animation begins again, there's an odd jump that's off-putting. One of the best methods to help us make it seamless is to base each new frame off of the first frame and not the frame before it. So let's jump into creating a wiggly text animation to see how Using The Layers panel can be helpful. Alright, so I'm going to add the Animation Assist. And my brush is this dude, lead jiggly lines, thick lines. And I'm going to go for cap. Boom. Alright. And we'll make sure that this is kind of in the middle. Yeah. We go. Then I'm going to add a frame and I'm going to reference the previous frame. And that's fine. That's great. So let's do that. Boom. And you'll see here that things aren't exactly writes. I'm not going to make things exactly the same as the previous frame. Like it's gonna be very similar, but because it's a wiggly handmade feel, they're not gonna be exactly the same. And this is the point. But this can be problematic as we create more and more frames. So I'm going to just exaggerate this at times and you'll see why it's a problem. Okay? So we've got frame number two. Add another frame, and now things get a little bit confusing. And like Uber, where, where am I meant to be drawing? So we'll change that onion skin frames down to one. And we'll change the frames per second to ten. And now we're just referencing the previous frame on frame number three. Okay. I'll just keep on exaggerating the differences between one frame to another. Normally this would be okay if we're always referencing the first frame because it's always slightly different to the first frame. So it kinda feels like as jiggling rather than morphing and changing. Okay. This is frame number four and frame number five. Okay? Now we're gonna play this. You can see like if we just play it like this, it's got a really nice feel to it, right? It's going up and down and up and down. So maybe something like a ping-pong will make it feel kinda Fun. But you can definitely see that there's a start and end to this. Like things are moving one way and then they're moving another way. It doesn't feel like it's all part of the handmade wiggly animation. So this is a problem. Because especially if we pair it this way, you can see that there's a jump. It doesn't loop seamlessly. Okay, so let's create a new file. Change the background color to white. Then again, I've got this duly jiggly lines, thick lines as my brush. I'll add the Animation Assist. And we'll go and put Kaboom over here. And I'll put this in the middle. There we go. Then I'll add a frame. And right now, it doesn't matter that we still got Onion Skins on. And that is procures. If I'm referencing the previous frame or I'm referencing the first frame on frame number two, it's the same thing. So let's do this. All right, we've got two frames. Now want to add another frame. You might be thinking, but you're just doing exactly what you did previously. We're going to change things up here, but this first frame, I'm gonna make it into a background frame. And then I'm going to change the anions can frames down to nothing. Let's change the frames per second to ten as well. And now you'll see on this frame, you can still see Kaboom. It's not red, so it means it's not an Onion Skin. But it's, you're seeing this first frame. So I'm going to change the opacity here down to 20, 22%. That's fine. And then use this frame. I just changed it to my eraser like this. If that happens to you, just double-tap and you'll see it goes back to your brush, double-tap goes back to your eraser. Double-tap, back to the brush, can be a little bit frustrating at times. Okay. You'll see here, I'm exaggerating still. Like that might be a little thing that if we were to keep on exaggerating, that it could go all the way up the K. But on a frame-by-frame basis, this shouldn't be a problem. If we're referencing frame number one, Kaboom, then we add another frame and we're still referencing frame number one. This background frame. A frame. This is frame number five. Alrighty. I'm going to go back to this frame over here. Make it not a background anymore, and then increase the opacity to 100% again. And let's play. There we go. It feels far more like it's just one Animation wiggling about Kaboom. If we change it to ping pong, it shouldn't influence it too much. So there we go. What we've just done is we've used a combination of the Animation Assist Panel and The Layers panel. You don't have to choose between The Layers panel and the Animation Assist Panel. Use them together, combine them. They're both super powerful. Alrighty, that was a Fun example of when I would use The Layers panel in conjunction with the Animation Assist Panel. And the next lesson we'll cover how to use groups for animating in Procreate. I'll see you there. 6. Animating Using Groups: In the previous lesson, I encourage you to use both the Animation Assist Panel and Layers panel. It's not an either or situation. One of the most basic but useful functions of the Layers panel is the ability to group layers together with multiple layers in a group, You Can Animate different elements in different ways, all in the same frame. This makes animating more flexible and often saw much quicker. So instead of creating an animation by redrawing each frame, you can duplicate the group which has artwork on separate layers and work with just the layers you want to animate. For example, you can rotate arms and change position of a head really easily because they're separate layers. Now, let's get practical. I'm going to dive into a pre illustrated piece of artwork and show you how to use Groups and Layers to do some animating. Okay, so what I've got here is a pre illustrated robots. There are a bunch of layers. So there's the body layer. And inside this body layer there is this little black square which like a screen. And then these jiggly lines which are clipping masked. And this is pretty cool because we can move it from left to right really easily. And then we've got an arm, right or right arm and arm left. And then we've got the head. The body is quite big. This will be predominantly not moving except for this little wiggly line. The arms are going to be moving. And then the head, it can be moving up and down. And also the eyes could be moving left and right. And you'll see that I've illustrated quite a bit of extra neck. The neck can go up and down. And that means that we don't need to redraw on every single frame. Okay. So buddy, two arms and head. And I guess we could rename this as should do. Okay. Now, let's turn on Animation Assist. Let's turn onion skins off for now. Not be like, Okay, what happened to our illustration? And why is it like this? Well, that's because it sees every single group and layer as a separate frame. Why we need to do is change the shadow to a background layer. It's not going to let me do that because I think there's this planning layer there, so I'm going to move this to the top. Let's see if I'm allowed to change it to a background. I'm going to keep that there for now. That's fine. I do like to keep my planning and my documents if possible. Just means I get to see where it came from, where the idea came from. Again, next shadow, it's always gonna be there. The buddy. Where's that stone over here? That is going to change on a per frame basis as the arm, right, arm, left and head. All of these, I'm going to create a group and that's gonna become a frame. So we've got this shadow, which is a background layer. Then we've got frame one, which is a group. I'm going to rename this. I'm just going to put one on there. I don't need to say frame one and know what I'm doing here. And then we duplicate this, rename this to number two. Okay, Now this is where things get really, really interesting and Fun. So inside a frame to, I'm gonna go for arm rights. Let's change the Onion Skins. Okay, you won't see any difference because they are exactly the same at the moment. So I'm right. Let's move this rotated just a little bit. Alrighty, look at that. I'm left. Let's rotate this one a little bit. So we've got some arm rotation happening here, which is great. And then my buddy, this little guy here, I'm gonna move him. 123 456-789-1011, 12. Maybe that's just too slow. Let's just go a little bit quicker maybe. And then the head, let's move the head up a little bit. Maybe just like one or two rungs. Then duplicate frame number to rename three. We'll move this guy is slightly to the right again. Okay. Then I'm rights. Which way did we go before it was going down. So that's great. Okay. And here what we're going to be careful of is that instead of rotating it like this, we've got to rotate it from the arm base over here. So I'm rotating it and then repositioning it. K, I'm left. Let's rotate it. Okay. Head. Move you up a little smudgy bits. Okay. Onion Skins is still one. I'm going to change this to ten now. Fantastic. And then just going to close these down so it's easier to navigate. Renamed number for K. This to the left. Have I been saying right beforehand? I'm not sure. Okay. Just nudging it a little bit. Head. Let's go up a little bit again. K. So we've got four frames. Let's make frame number five are lost frame and rename you to frame number five. Okay. And then our head, Let's move you up just a smidge, English British Museum smudgy, smudgy bit. And not to the right. Alright, that looks good. Let's play that. So that looks rarely Fun, right? But it's jumping. So what do we need to do? Well, we could reorganize the frames. So pause here. We could duplicate frames 23.4 and then put for the duplicate For over there to duplicate three above that and the duplicate two above that. So basically create a back-and-forth or a ping-pong animation using our frames. But luckily, Procreate, It's got this ping pong playback method. So we'll just go play and check that. This makes it rarely powerful to use groups in this Layer panel when animating. It means that you can create some elements and then just move them around, rotate them, scale them, reposition them off. Super powerful. There we go. There's our animation. Already. Using Groups is a powerful feature to know about rights. I don't need it all the time, but when I do, It's awesome. One thing to note is that the bigger your documents, the less layers you can have. To check how many layers your document can have. Press on the wrench icon, navigate to the Canvas settings, then to Canvas information and select the layers tab to see how many layers you can use in your documents. Next up, I'm gonna give you a quick rundown of what You Can Animate and procreates. It's a pretty Fun lesson. 7. What You Can Animate: Now that you're not a bunch of the basics, let's cover what you can animate frame by frame with procreates. We can call these things methods of animation. Firstly, the easiest thing to animate is an element's position. All you need to do is duplicate a layer or a group, reposition it on each frame and presto, you can create the illusion of movements. You don't need to redraw anything. The next thing You Can Animate is an element's rotation. When you rotate and Procreate, you may need to reposition it as well so that it looks more lifelike by rotating from the correct points. An example of this would be an arm rotating from the shoulder and NADPH from the center of the layer. You can also animate an element's scale, but be warned, when you make an element bigger, the quality decreases. So always started the biggest size and make elements smaller than duplicates and reorganized Layers to get the animation you want the next method and also the oldest is to redraw elements frame-by-frame. This can create a wiggly, handmade feel. It's great for typography and for adding subtle movement to static artwork. And I love this technique related to this is to redraw elements frame-by-frame, but also move, rotate, scale, and morph them as you do. This is very similar to creating your very own flip book animation. It is the most time-consuming, but it's also the most Fun and the end results can be amazing, phenomenal. Finally, you can use any and all of the Procreate adjustments on each frame. For example, if you want to make something look like it's blowing in the wind, triumph the liquefy adjustments. If you want to animate the color, try out the gradient map or hue saturation brightness adjustments. If you want to make something look futuristic and glitchy, try the glitch adjustments. There's so much you can experiment with here. Now. You don't have to use just one method of animation. When creating an animation, you can combine as many as you want, an even use some for reference and planning and others for the final version. In the next lesson, I'm going to cover seamless looping animations, why they're so awesome, and how to make your animations appear as if they have no start or end 8. Seamless Loops: Let's talk about seamless looping animations now, or seamless Loops because this is where I want you to take your animations during the class. Because when an animation loops seamlessly, it draws the viewer in and it doesn't distract them by beginning again and again and again. The thing is, when you create an animation in Procreate you, the animator, nowhere the animation starts and ends, but the viewer does not. They don't know for sure and animation is over. But they can often sense when it is like in this animation, even though it's looping, you can clearly see that it ends when the circle reaches one side of the screen. When An Animation is over, a viewer's attention moves elsewhere and they tend to move on. But we don't want that. We wanna keep our viewers and trans than mesmerized forever. Like in this animation. It only has five frames, but it feels like there's no end, like it's always moving. It's far more captivating. So how do we create a seamless loop? Well, we need to make sure that each frame leads onto the next frame and that the last frame leads on to the first frame. I find that it's better to visualize the timeline as a circle rather than as a straight line when thinking about Looping Animations. Now, there are a few ways of creating seamless Loops, and in some cases it's easier to achieve than others. If you're wanting to create a wiggly, hand-drawn type animation, it's pretty easy to trace the first frame over and over on new layers. And then we'll feel like it loops seamlessly. We've done this already earlier in the class. But if you've got an element that's moving, it needs to end up one frame away from where it started on frame 11. Easy way to do this is to create a few frames of an element moving in one direction and then duplicate the frames and reorder them to make a move back to where it started. Or what we can do is to use the ping pong playback method in Procreate. This can sometimes work really well, especially if it aligns with the concept of the Animation. A character waving is a good example because a wave is a back-and-forth action. A ball bouncing up and down is another good example because of bounces up and down in real life. When creating seamless Loops, onion skinning helps a ton, as does background and foreground layers help us understand where certain frames are, which informs us where to draw or how to animate on the current frame. Another thing that helps us sketching a few options for a seamless loop and even animating a rough version of it before spending a bunch of time illustrating and animating it. The next lesson we'll cover exporting your animations and what to consider when doing so 9. Exporting Looping Animations: By now you'll have realized that animation is all sudden, especially seamless Loops. But how do we get them out of Procreate and onto platforms like Instagram, TikTok, and YouTube. Well, you have a few options. Export a GIF and animated PNG or a video. What you choose to export it as largely depends on where it's going. Animated. Pngs are great for discord. Gifs are great for websites and videos are perfect for Instagram, YouTube and TikTok. But there are other things to think about. Let's chat about Gifs and animated PNGs first. Gifs and animated PNGs loop automatically. That's a huge benefit. Gifs and animated PNGs are essentially images that move. So they work in most of the places that images work, like on your websites. However, they don't work as posts or reals or stories on Instagram or TikTok. But just an animated PNGs can be turned into stickers that you can use on social platforms like Discord, Instagram, TikTok, Snapchat, Facebook Messenger, and more. Gifs and animated PNGs can have super small file sizes, especially if you're working with a small color palette without gradients and without textures. And if you only have a few frames. Conversely, file sizes can be massive if you use tons of colors and have long animations. With that being said, if you're working with gradients and textures and Your Animation, you may notice a loss in quality when you compare Your Animation in Procreate to export a GIF. The reason this happens is that the maximum amount of colors and Jeff can contain is 256. If you're animation has more than 256 colors, Procreate will automatically discard some of those colors. Now, what's the difference between animated PNGs and Gifs? Gifs are more widely supported. The PNGs are super awesome because they don't have a color limit and they have better transparency. And that's pretty much it. Now, let's chat about video. Videos don't loop automatically. However, you can get around this by duplicating segments of Your Animation over and over and over to make it seem like it Loops. Some platforms DO Loop the videos for you as long as they're over a certain amount of seconds. Videos can be tricky to get working on websites, especially if you don't want to play button or a progress bar or a YouTube logo. Videos exported from Procreate anomaly better quality than Gifs, but the same quality as animated PNGs, just like Gifs and animated PNGs, when you use tons of color and have long Animations, your video file sizes will increase. But file size isn't normally something you need to worry about when creating videos. Okay, now let's get onto exporting animated Gifs, PNGs, and MP4s. So what I've got here is what I like to call a soul. It's part of an upcoming collection of salts. Let's check it out. So it's really colorful but pretty static, but still, it's really vibrant and full of movement and character. There are ten frames per second and there are seven frames. So a little bit more than the five frames that we've been working with in the class so far. Now, let's export it. I'm going to start with an animated GIF. So you go down to the wrench icon, the Share tab, and here and a share layers, which is kinda confusing because we don't want to share layers. We want to make Jeff, we want to make an mp4, we want to make an animated PNG. You'll see animated GIF, animated PNG, animated MP4. The HEVC is pretty similar to an MP4, but not as widely supported. So let's start with a JIF first. And you hear the first thing that we see as max resolution and web ready. Web Ready just makes it really small. I don't actually know what the sizes, but it's 388 kb, which is a lot small and file size and the 12.2 mb. Now the max resolution is the size of your document in Procreate frames per second, we can increase that to whatever we want. We can reduce that to whatever we want, even to 0.1 frames. So let's keep that at ten frames per second. Okay? Dithering, you may not notice any difference when you turn that on or off. But what it does, because at Jeff can only contain 256 colors. It goes, oh, this color here, we need to remove it. So what do we do? What it does if dithering is turned on and a confined to the correct color is it puts two pixels that are different colors next to each other to simulate that combined color together, it's really clever. It's working with such a limited amount of colors and it's trying to make things happen. So here I don't see anything really change Okay, per frame color palette. Again, this probably doesn't change that much, but sometimes you will notice a difference. And what it does is each frame and applies a different color palettes. And when you're animation is all parts of the same kind of seen. It might be like, well that green is very different to that green. That's crazy. And again, it's working with 256 colors. So it's trying to put the red colors to work with the right frame and just do magic. So sometimes the magic doesn't work out, but most of the time you don't actually notice the difference. You're like, Wow, all of these things, what I suggest is to play around with these things. This one, it does make a big difference, especially in this Animation transparent background. What it does is it converts pixels that are semi-transparent, either to fully transparent or to fully opaque. So not transparent. So it goes, okay, anything that's around here, let's convert to fully transparent. And anything that's up here, let's convert it to fully opaque and you see the difference. Yeah, it looks like a really cool screen printing effects. It's really nice, but it's not what I'm going for. So you can adjust this to play around with white, Your Animation look like if you do have parts and Your Animation that are semi-transparent or transparent, it might be a good thing to play around with this. This is what I'm happy with. I'm going to export it now. Once you get to this exporting Panel, you can send it to your computer, your wife or your husband, your friends. You can AirDrop it, Dropbox it, put it in messages, you get the points. I'm going to just save the image. And it's gonna go into my photos app. Here it is. It's an animated GIF and it looks fantastic. Sometimes may not look exactly like your Procreate documents. And it's up to you to consider if that's okay or not. But the end viewer won't know what it looks like in Procreate. All there'll be able to see is this version in front of them. So keep that in mind when spending time exporting your Gifs and animations. Let's go to Procreate again. And now we're going to Export and animated PNG. And here it's a lot, lot easier. So transparent background. You may see that that's shifted from Y to this gray color, which is the background color. Maybe in your animation, the difference will appear a lot more stock. So I'll turn that off because I want that to be white Export. And I'm going to save image. Let's go to our photos app. And it doesn't loop. And Apple photos, this is one of the problems with and animated PNG. The quality is better, but it's not widely supported or as widely supported. Where your animation is going depends what format you export it as very important. Okay, Finally, let's go back to Procreate and let's Export and animated MP4. Again, really simple interface, Export. And then say video. Let's go to our photos app. Oh, it plays and it stops. It plays and it stops. Quality. Great. Looping. Not, it doesn't loop. So we'll address this problem later in this video, there are a couple of options that we can explore. Okay, so exporting your video is super easy, but these videos can be super short. Don't automatically loop. And if you upload to YouTube, for example, which doesn't live videos for you, you may only see 2 s of animation before the video ends, which is just silly because the viewer would definitely know the animation is over. We wanted to last for a long time. So how do we get around us? Basically, we need to duplicate the Animation multiple times and then export that version. There are three ways I recommend for doing this. The first way is to duplicate the frames inside of Procreate until you have the amount of frames you're happy with. This can be a little bit disorganized. I'd suggest using this method if you're wanting to increase the duration of your animation to 3 s or longer, that you can post it on Instagram or TikTok. The second way is to export your animation, save it to your camera roll, and then imported into a video editing app on your iPad, like Adobe Rush, iMovie, or DaVinci Resolve for iPad. And then duplicate your animation as many times as you want before exporting a longer looping animation. This is super easy, but there are restrictions with iMovie, the exported foam will come out and as 16 to nine format, no matter what, rushes slightly better in that you can choose your aspect ratio, but it will only export a preset Dimensions. It won't Export at your custom dimensions. In most cases, this works great because you're making a video for YouTube or Instagram. All ratios rush supports. But if you need a custom document size, it's not going to work. The third way is to export your video and send it to your computer where you can edit it with Photoshop Premier Pro After Effects, or another video editing app if you can. This option is by far the most versatile. This is what I do and I find it super quick and super simple. In the remainder of this video, I'm going to show you how to create looping video using the three methods I've just mentioned. In the next video, I'll talk about organization and my process when animating in Procreate. So the first method of creating a looping animation is inside of Procreate. The first thing I'm gonna do is duplicate our document so we can simplify it. We don't have to worry about the groups. Let's go inside of it. And over here, what I'm gonna do is flatten all of the groups. This just makes it a lot easier to deal with. And you may need to flatten everything because there's just a lot of layers and each group. And if you start duplicating Groups and duplicates in groups and duplicating Groups, you may come to a point where Procreate, you can fit anymore layers in your document. So we flatten them all. Delete this layer one. I'll rename this quickly to frame one, frame Q, K, and we'll rename this one. Frames six. Rename frame seven. We have seven frames. This is fantastic. This is what the animation looks like. It's at ten frames per second. So what does this mean? Well, we've got seven frames and I want it to be at least 3 s long. And we're at ten frames per second. So we may need to duplicate this five times just to get to 35 frames. So you may think that you can just select them all and duplicate them, but you can't because there's not a duplicate button. So we have to group it. And then 123-41-2345, we've got five now. That's fantastic. And then we need to ungroup them. I don't think there is a way to ungroup them. So we need to just drag all of these layers outside of the group. And we don't keep them in the group because if we did, then it treats that group as a frame. This is only for a three-second ish, kind of animation, but you can repeat this process to make an animation however long you want. If you're going for a minute Animation and may take a long time, but it is possible as long as you can fit all the layers into the document. Well. Okay. You can see why I created another version of this document because if we wanted to change frame one man, it would take a lot of effort to orchestrate and organize and move the frames around so that everything would look nice. Okay, so let's play this. It does really well. There's a lot of frames, yeah. Okay. So once we've duplicated all the layers and it's at the Roundabout, the amount of time that we wanted to look for. We then can export it. So here we go for an animated MP4. And this is it, max resolution, fantastic Export. And I can save that to my iPad. And we can open up photos. There we go. We have our looping animation. Well, not really looping, but it loops for about 3 s. The next option that we're going to go for is still on our iPad, but hopefully it's a little bit easier, especially if you have a default documents size. So I'm gonna go into this soul zero. And this one is still the one with all the layers inside of Groups. So we've got seven layers or seven frames that we're going to export. We don't need to do any duplication here. What we do is we Export as an mp4 Export. I'm gonna save this video. Then I'm gonna go and find Premiere Rush might be called Adobe Rush or something like that, but I think the latest is called Premiere Rush. Ru is the symbol. I'm going to open this up. You may need to login to Adobe or sign up to actually get this far, Create New Project. And from the camera roll will go for this latest one, which is 0000. So it's not even one-second lung. And we'll name this one. So zero. Create So we've got this guy, I'm going to tap on this, Tap on, duplicate. This. You'll see it's a lot easier than what we did in Procreate. However, you'll notice that here are a couple of sizes that you have to conform to. Fortunately, this piece does conform to these aspect ratios. You've gotta 16 by nine aspect ratio, which is typical for TV. For YouTube. You've got a nine to 16 Instagram TikTok 45. I don't really know what it stands for, but it works great for Instagram, works great for prints if you are printing, but this is obviously animated and one-to-one typical square format on the Internet. So once you've got this, you go share and you can duplicate that as much as you want. You can make it super long. It's really easy to do. So Export, it's going to do its thing. And then save to camera roll. Let's check it out. We've got 5 s here. There we go. In my opinion, this is rarely, rarely easy, especially if you're dealing in those default aspect ratios. Fantastic. Okay, our next method, we're going to take this animation exports from Procreate, send it to our computer, and then do the looping thing there. So this is our document with all the layers inside of folders. We're going to export it as an mp4 Export. And then we're going to send it via AirDrop to my iMac. There we go. It's come through and done close. Alright, let's go over to the computer. I've got salt zero MP4. I'm going to drag it into Photoshop. You might be like, but Photoshop is for photos and maybe illustrations and stuff. It's also for Videos. It's like the powerhouse of all kinds of awesome things. So here we go. We've got this video. Now I want to just duplicate it. If you don't have this timeline, go Window and timeline. There we go. There's a lot of stuff that you can do with this, but we're not going to cover anything, hardly anything in this video. So right-click Duplicate Layer. Okay, that's a little bit irritating. So Command J or Control J does exactly the same thing. I'm gonna do this a bunch of times, then zoom out. I've got nine frames. Let's make it just over ten frames, not ten frames, 10 s, zero frames. There we go. Now, File export, render video. If you're using a much smaller size video or document, you can go size and document size. But for me this is not possible because I'm using a fairly large format. Something to bear in mind when considering how to make your animations loop. I want this to be for is to be forced to five. So let's go For multiplied by 300, k12 005, multiplied by 3001500. Okay? The frame rate is ten frames per second. Pick that up from our Animation and the rest of the stuff, check it out. But honestly, I'm not touching anything. Then I'll rename this to render. And let's see how it turns out. Okay, Let's go to find a while loop. There we go. It looks really good. If this is going on Instagram or somewhere like that. It doesn't need to be the size that I designed it at. This is perfect. If it does need to be somewhere else that needs to be these exact dimensions, then either Export it with Procreate or with After Effects or Premiere, which I'll cover next. Now we can move on to using Premier to create our Loops. This is rarely, rarely easy, but if you're not a fan of never open Premiere might be like, Whoa, what is this? So let's jump into Premiere. It's actually really easy. So here we are in Premiere. I'm going to press new project. I'm going to name this soul loop way. I'm going to choose this where I'm going to save it, Dropbox and downloads. There we go. Then Create. There's a lot of stuff going on here. Just press Create. Need to see this project panel. Alright, I think that we can check it out. Yeah, projects solo loop. There we go. So if you don't see it, press that and it should bring it up Okay, Now we're ready, got our loop. So you could use this one if you wanted to, but if you want things to be the maximum size, use the one that you exported from Procreate. Let's drag that into here. This is an mp4. We need to create a sequence. So if you don't see this little new item, maybe it's like hidden like that. Just drag that over until you can see it. Then drag that into this new sequence little button. There we go. And then I'm going to press Command C. You could go Edit, Copy. Then I'm gonna press Down, Down arrow and then command V, paste, paste, paste, paste, paste, paste, paste, paste, paste, paste, paste, paste. I just kinda keep on pasting until I reach something that I'm happy with. 20 s and press minus now, so just zooms out. There we go. Let's play that. I press Spacebar to play it. It's looking good. Okay, Then I'm going to press Export up here. And it's gonna go to the downloads 01. That's what it's gonna be called. Exports. Okay? Everything should be set up like this, but you want to make sure that the preset as Match Source, Adaptive hybrid rates or high bit rates of possible big quality format H, 0.264. Really good. And then I go. You can also use Media Encoder to do this, but it's really, really quick. So here we go. And we've got 01. And I'll, this is at that big science that we export it from Procreate, remember Photoshop couldn't export the big size that we wanted it to. That Premiere can, sorry, that was really quick. Using Premier and premieres used for videos. Fantastic. Alright, now we're going to use After Effects to do the exact same thing. And aftereffects is, it's amazing you can do so much in After Effects. So if you've got an inkling to learn After Effects or you know it already. It's awesome. So I'm going to show you how to just create a composition and how to get things looping inside of After Effects. Alright, let's jump over to our computer. In After Effects, new projects, I'm going to save it. So Command S, maybe that didn't work because I don't have anything in it yet. So I'm going to drag and soul zero. It's the one that we exported from procreate. Just drag it in here into our project panel. If you don't see the Project panel window, go down to projects. There we go. And just click that button or press Command zero. There we go. Once we got this, we drag it into our composition button, creates a new composition. Then composition, composition settings or Command K. We want to change this from seven frames too. Let's go for like 20, something like that. Maybe let's go for 30 just to be safe. The frame rate should be at ten. The width and height should be picking up from the animation. Okay, then we can zoom out a little bits. And now we've got a lot more space to work with. Pressing Command D and aftereffects is very, very shortcut heavy. Then we're press 0. It's going to go to the last frame. Then I'm going to press Command and right button. And now it's gone to where there is nothing after it. With this layer selected, I'm going to press the left brace. There we go. There we go. It's now right after this previous layer. If you're like, I don't want to press all the shortcuts. You just drag it like this. You zoom in really close and you make sure that it's not overlapping. But it comes after the previous Animation. Command D. And do that again. And Command D. And do that again, Command D and do that again. Press Minus to just zoom out a bit. Select all of these Command D, and then Command right brace. There we go. The same thing. Come on D. Right brace. Oh, that one's a little bit off. Okay, so once you're got to a bunch of frames that you're happy with. On this frame, press N, 0, maybe one to the left, press N and a wall. Then say this is the last frame. And we just make sure that this Loops property here. Yeah, it does. And you'll see that we still got a lot of space to the right, left to work with. That's okay, it's just going to play and Export this section here. Okay. Let me see if I can find a non shortcut for that. Composition. I don't think so. You can also just drag this. Maybe that's the non shortcut. So let's zoom in here a little bit. And we drag this little blue bar, zoom out a little bit. All the way to here. That's the same as pressing N on this frame. It's basically say, and the composition here. So once we've done that composition, add to Media Encoder Queue, we can do that. Or we go to Add to Render Queue. I'm gonna go for Add to Adobe Media Encoder Queue just because it automatically makes it an MP4. And oftentimes in after effects, actually every time and After Effects, if you're going to render an After Effects, you can work in aftereffects. It's the same in Premiere. If you're exporting in Premiere, you can't work in it. So we send it off to Media Encoder. It does the rendering and we can carry on working in After Effects and Premier. So here it is. It is opening Adobe Media Encoder. I use this a lot. And it doesn't really fancy stuff sending it here. So sometimes it does take a little bit of time to get the video here. You might be like, whereas it come on, come on, come on, come on. And maybe, maybe we just go back to After Effects. There we go. Just because I'm recording this live, is going to take a bit longer than normal. H 0.264 Match Source Adaptive high bit rate. You can change this if you want to end. We'll open this Dynamic Link connection. That's the fancy stuff that it does behind the scenes. And it needs to connect to a server, which you might be like, what is going on. I just want to render a video. Yeah, fancy stuff going on here. Okay. So again, this is going to take some time. Dot-dot-dot. Okay, there we go. And you can change this format, you can change the preset, you can change. But because mine's quite Custom, I'm just going to be like, Okay, let's keep it like that. Then. Untitled Project. We have not saved this any way. We didn't save our after-effects documents. So it's like in the depths of our computer. So let's just go to downloads. Save it's share from Adobe After Effects or after-effects, save play, and it exports. Okay, That's awesome. Let's go to our finder. And here we go. This is it. Which is fantastic. You've got an MP4 ready to share, ready to go. Voila. Okay, so we've just covered a bunch of different ways to loop your videos on your iPad and on your computer. Use which one that you feel most comfortable with. If you're up for speed, if you're deaf or learning new things, grow for the computer stuff. If you want to keep everything on your iPad, just use Procreate and Premiere Rush. It's fantastic if you prefer using another video editing app, either on your iPad or on your computer, and you can do the same thing in it to create a looping video, then use what you're comfortable with. Okay, next up is a lesson all about planning and Animation. It sounds boring, but it can save time, lead to super cool animations and prevent frustration, which are all good things. I'll see you there. 10. Planning Your Animation: Before you start drawing and especially before you begin animating, I'd recommend you plan your Animation. Flexibility and intuition are great and they help a lot, but planning is golden and it will save you time and prevent frustration. That being said, if I'm doing a very simple animation that I have in my mind, I won't plan too much, but I have been creating animation since 2006. So have a lot of experience to fall back on. So how do I plan? The first thing I decide on is the aspect ratio of the Animation. This is largely determined by where the animation is going to end up. For example, if I'm animating and Instagram story, the aspect ratio will be nine to 16. For an Instagram post, it could be one-to-one, four to five or something more custom. If I'm making a YouTube animation, I'll go for an aspect ratio of 16 to nine. How aspect ratios relate to pixel dimensions depends on where your animation is going to end up and the quality you're aiming for. And Instagram story displays videos at 01:08, zero by 1920 pixels. So either creates a document exactly that size or one that's bigger, but still in a nine to 16 aspect ratio in case I want to do some cropping. If I'm making a YouTube animation, I'll usually go for an ultra HD document size of 3840 by 2160 pixels. This means I can use it for these exact dimensions and smaller dimensions if I want to, as long as they fit into the 16 by nine aspect ratio. So rather have a document that's too big then too small, because you can always make An Animation smaller without any loss in quality. But when you make things bigger, you start to lose quality. But but you don't need to go overboard and create unnecessarily big documents. Because when you do this, it will decrease the amounts of layers you can use in Procreate and Animation in Procreate can often take a lot of layers. In the class downloads, I've included a PDF with common Dimensions. So check that out. Now, once I know at least a rough aspect ratio and perhaps the documents size, I use both physical sketchbooks and Procreate to ideate and iterate on Animation ideas. I sketch and write down ideas in my sketchbook. I Create storyboards and sketchy animations to preview how Animation idea may look. I then come up with multiple ideas for each animation, how to loop better and how different parts of the Animation could work. Then, at some point, normally when I'm happy with my Animation idea, I began drawing and animating For real, which brings us to the next lesson where we'll chat about process 11. Creating The Animation: So how do you go from planning to creating a finished animation? Well, however you like rarely. I know that's not helpful, but it depends on how you like to work and what kind of animation you're creating. So I'll explain how I go from planning to finish animation with a few different types of Animations. If I'm creating an animation where I'm repositioning, rotating and scaling down elements on each frame like this one. I'll draw the first frame first with as many separate layers as I need. I'll think of future frames that we'll need to be added later on to. What this looks like is drawing the invisible parts of elements or the parts that are behind are the elements that I don't need to draw anything new when I'm animating. In this case, I want the robots neck to move up and down. So I'll draw the whole extended neck and not just the visible neck. Once I have the first frame done, I duplicate the whole document so that I have a backup document with all the separate layers. If I need it, then I flattened and merge layers that might documents is organized, which means it's easier to navigate and Animate. How do I merge and flattened layers? Firstly, I try keep elements that are going to be individually animated on their own separate layers and on texture and an armed background layer can be merged into one arm layer. But I keep the left arm layer on a different layer to the right arm layer. I then merge all the elements are not animating into a static layer. I'll use more than one layer if the layer order is important, like if they're static foreground and background elements. And then if I don't need to keep a mask or clipping mask, I flatten it. Let me show you how to flatten merge now. Well, we have here is a very simple beat. And in the layers, there is the background. There's the outline of the body, wings. We've got some stripes. We've got this layer, which is a clipping mask or a user's clipping mask functionality. And we've got details. And it has a layer mask on it which hides that face, which I wasn't a fan of. So let's start with this one. We want to merge the layer mask into the details layer. We just tap on it and press Merge Mask. This one which is clipping mask, we just merge down. Really easy. If we wanted to merge two layers together, just select the top one and merge down. Really, really easy. And if you want to merge group, you first need a group. So you group them. Then you tap the group and Paris flatten. And that's really, really easy. So those are a couple of ways to flatten and merge your artwork. But remember, just be sensible here. You don't need to flatten image everything. Only what makes sense to you and your Animation. If I'm creating a more fluid frame-by-frame animation, I create the animation frame by frame. I try keep overlapping elements or colors on separate layers. If it's a tricky or complex animation, I may duplicate the document as a backup during the animation. At times, I may also merge all the layers of a specific color that are getting redrawn on each frame into a single layer. If they're not already on a single layer, I do this, so it's easy to navigate. Staying organized is really important. It makes animating quicker and easier. Lastly, which relates to what I've just said. No matter what, keep your file organised and well-named. Do this for the sake of anyone else you're working with and do it for you in the future. Future you. Animation takes a long time and knowing what everything is makes animating quicker. So what I do as named frames sequentially, 1255 to ten and so on. And I try named my layers as much as possible, but I don't waste time on naming absolutely everything. A group named right arm is enough for me. I don't name all the layers inside of the right arm group as well. Okay, so I just dropped a bunch of awesome hints and tips there. Come back and watch this lesson again when you've got a few animations and Neo belt, it may make a little bit more sense. Then the next lesson we'll cover cropping and resizing animations. I'll see you there. 12. Resizing An Animation: Okay, sometimes you need to re-size your animation to meet an exact dimension requirements. Maybe you want to convert your portrait animation into a square animation or vice versa. Other times you simply need to scale down your document dimensions in order to reduce the file size of your exported animation. In this lesson, I'll show you how to resize your animations in Procreate. Let's say we want to resize a two or 48 by two or 48 pixel animation into an 800 by 600 pixel animation. The first thing I do is duplicate the document, then do the resizing. You don't want to make things smaller or even worse, crop a bunch of artwork and then not be able to go back because you can't and crop economic at documents and the artwork in it bigger without making it blurry or pixelated. So let's jump into resizing. The first thing I'm gonna do is duplicate my document just in case we make some phenomenally bad mistakes. Then let's go into it. Prints the wrench icon, make sure you're on the canvas tab and then crop and resize. Now, I've got a two or 48 by two or 48 pixel document. I'm gonna change this to an 800 by 600 pixel document. Press settings. And you might be like Cool, this is really easy. 800 by 600 done. Whoa, what is going on here? Well, it's not resizing the artwork as you resize your artboard. This is great for cropping. Don't wanna do that right now. So I press reset. We need to turn on this re-sample Canvas button and this resizes your artwork as you resize your canvas. So I'm going to change this to 600. Done. Cool. Doesn't look like much has changed but it has. Now. You might be like, Okay, let's turn that off. Let's go by 800 over here. Well, what is happening again? Again, Resample canvas is not turned on. You actually need to do one thing at a time. So let's turn this on. Let's turn it off for now. Let's reset. Let's turn it back on. Let's go for 600. And I'm going for 601st because it's the smaller size. Then I'm going to press Done. And now step two is Crop and Resize settings. I'm going to change my width to 800 pixels. Dan, going to turn snapping on that. I can just snap this to the middle. There we go. If you want to do some rotating, you can do this too. But for this case, I don't want to do this. Okay. I'm gonna press Done now, but you could also press Cancel if you want to just revert to the previous state of your document, reset. If you want to reset all the changes you've currently done or done. There we go. Now we have an 800 by 600 Animation. And he looks pretty good at this size. So what's important to note here is that I took two steps. You can take as many steps as you need to get your crop and resize. Writes a quick note Jia. If you wanna do more drawing once Your Animation document has been resized, the brush size may need to be adjusted and even then it may not look quite the same. This is because Procreate has made decisions about how a group of pixels should be resized for your class projects. If you're struggling to upload your animation because of file size reasons, tries to make your animations Dimensions smaller. The should decrease the file size. This lesson has been all about retroactively resizing or cropping and Animation to fit. But sometimes you know that you need An Animation in Multiple Dimensions from the start. So that's what we'll be covering in the next lesson. 13. Animating For Multiple Dimensions: Alright, while I recommend creating animations for specific aspect ratios, sometimes it makes so much more sense to make one animation that works for multiple sizes and aspect ratios. If the animation needs to work For Multiple Dimensions, like for a square Instagram post and an Instagram story, I create a document that all these dimensions can fit into. And when I'm animating, I keep these different dimensions in mind. Most of the time I'll create an animation in the common overlapping area. But obviously, if the different aspect ratios are wildly different, It's far more difficult to create an animation. It looks amazing in all the different aspect ratios. If this is the case, then I may actually create two separate animations. Now, let me show you how I keep in mind that different dimensions. Okay, So let's say that we're creating an Instagram campaign, but we only wanna do one animation that fits a story. Post and a square Post. As an example, it could even be a banner, whatever the different dimensions or we just want to keep it simple and just do one animation. So I'm gonna go for an Instagram story. Then I'm going to create an Instagram square, IG square. Here. I'm going to fill this with any color. I'm going to rename this IG square and then going to drag it into this document over here, open up my Layers panel, popping in. Over here. There we go. So we've got the square as a reference. Then I'm going to create a new document and go for an IG post, which is a little bit higher when change the color here and maybe go for a pink and a fill this, rename this to IG post. You can do this with whatever sizes that you need. Just go for the biggest size as the original documents. This is the original document that I'm working with him. Okay. So let's change the opacity to something like that and something like that. Then what I can do is group these. Get my Animation Assist up here. And this group, I'll just sit as the foreground, so it's always on top. And then when I do my animating, I'm like, Okay, I need to keep it in the common area. Even though this is my big document, it's going to be an IG story or an IG real. I need to keep in mind that this animation should fit within the square. So that's where I'm going to animate within the square. And here, Cool, I'll just do this, but not on that layer. That's a bit of a mistake on this layer. So then we've got a ball over here, the frame. The frame. Okay. You get the picture. Now when I change my frames per second to ten, set it to ping-pong. Play. There we go. We've got an animation that happens in the common area. And these are all the correct sizes. Then when I want to export the animation at different sizes, I either crop the exported video in Photoshop or After Effects and Export again, or a duplicated document here in Procreate carpets and then export it. The same goes for creating animations with the same aspect ratio, but with different dimensions. I can either resize and Procreate or using an app on my Mac. Okay, so now you know how I go about creating animations For Multiple Dimensions. In the next lesson, I'll show you how to navigate another tricky subject, animating a Print File. I'll see you there. 14. Starting With a Print File: Sometimes we need to create an animation from a piece of artwork made to be printed. And there are three major issues you may face. The first is that the color mode of your print document could be in CMYK. This means the colors won't be as bright and saturated as the RGB counterparts. However, when you export an animation, even if the document isn't CMYK, it will be exported in RGB color mode. This being said, the LDL CMYK colors won't magically look colorful and saturated when exported. Once you have del CMYK colors, you can't magically make them saturated. Again, you might tell that I'm not a fan of CMYK. Dragging the layers from the CMYK documents into an RGB document will change newly applied colors, but not existing colors. So you have two options yet. The first option is to start from scratch in an RGB document using the CMYK image as reference. The second option is to create the whole animation in CMYK with the Dell CMYK colors. When you're done with the animation, you can eat it exports and adjust the animations, colors and Photoshop After Effects or another film editing app. Or once you've finished your Animation in Procreate, you could drag all the layers to a new RGB document and adjust the colors before exporting. I'll show you how to do all this later in this video. The second problem with print files is the Dimensions. Firstly, Print sales are not measured in pixels that are most likely in inches or millimeters. And they have a DPI or PPI. And that matters a lot when printing, but not when animating. All that matters and animation, when it comes to Dimensions is the amount of pixels. Secondly, the aspect ratios are often not the same as typical animation aspect ratios. Luckily, a lot of the time print documents are a lot bigger than Animation documents. So it's easy to crop and resize without losing any quality. To see the pixel dimensions of a document and to crop and resize the documents, Tap on the wrench icon, select the canvas option and then tap Crop and Resize. Make sure you have pixel selected. We've already covered cropping and resizing in the class, so I won't cover it again. But what I will do now is show you some common Print Dimensions compared with common Animation Dimensions. I've also included this as a download in the class attachments. So an A4 at 300 DPI, which is pretty standard, is 3508 by 2480 pixels. Us letter at 300 DPI is 3300 by 2400 pixels. All these measurements, It's crazy. A fork, a phone is 4096 by 2160 pixels and HD film is 19201080 pixels. And an Instagram story or real is one of a tow by 1920 pixels. Most of the time, you should have enough pixels to create a digital animation when coming from a Print documents. Now, the third problem with print files is that they often onset up to be animated. This means that if you wanted to animate this robot neck moving upwards, most of the time, the neck that you can see hasn't been drawn, it's not there. Maybe there aren't even Layers and the Print File you've got. So you'll either need to draw the elements you want to animates, especially the parts you can't see right now. All you need to redraw the artwork on each frame. Rates app. These are not Fun things to do. Bear in mind that when you begin redrawing, your colors may look different, especially if the print document is in CMYK and your brush strokes may look different if you've resized the documents. Now let's get onto some details. Firstly, I'll show you how to view your document Dimensions and pixels if they aren't already and pixels, then I'll cover using a CMYK image as a reference layer. Next I'll cover how to move Layers from a CMYK document to an RGB document. This can be applied on any documents actually. And then how to adjust their colors. And finally, I'll show you how to adjust colors of an exported video in Photoshop. Alright, so here we have our CMYK document. It's also not measured in pixels. To check out the pixel dimensions, Tap on the wrench icon, go to your Canvas tab. Canvas information. Go to Dimensions. You'll see the pixel width and pixel height, and then the physical width and physical height. Mine is in millimeters at the moment and also shows the DPI. Cool. But check this out. If you want to crop and resize. If you do, we've already covered this in the class. You can change the settings, the actual physical dimensions. You can press on inches, for example, and you're like, Oh, there's interests. What about pixels? What about centimeters? What about millimeters? So there is another way to do it, and let's just leave it on inches and press Done If you then go back to the canvas information, the Dimensions will now be in inches. Pretty impressive rights, pretty cool. The next thing that I want to show you how to do is export the CMYK documents and use it as reference for a new RGB document. We go to the wrench icon share and then Export as a JPEG or PNG. Not sure if a PNG will work because that is actually digital JPEG. And let's go for Save Image. And then go back to our gallery. Let's create a new A3. So a three. That's perfect. And let's rotate it a little bit. And we're going to add, insert a photo. There we go. It imports it exactly at the right size. And then on a new layer, we can then start creating some new shapes, new lines, new artwork. You can see that the RGB colors are way more vibrant than the CMYK colors. Okay, so that's how you use your existing CMYK image as reference. Another way that you can do it is Canvass reference. There we go. And we'll choose Image, Import, Image. Bam. Here you can be like, Oh, well, let's close that then let's hide this layer. Then you use that as your reference. So here, you can then begin showing how have you like. Again, it's another option. Alright, the next thing that I want to show you is how to move all the layers between a CMYK documents or any documents into a new RGB document. Let's move this guy all the way to the top. And we're going to create a new one. So a three, it actually says A3 portrait just beneath it, I just realized. And then we go into the CMYK document, open up our Layers panel. And here we're going to select absolutely everything. It's a bit easier if you have a group and you can just select the group. But when you drag them into the new document, there are no groups, there are no blend modes, there are no masks or clipping masks or anything like that. Beforehand. If you want to flatten any clipping masks are mosques, it may help. The planning items. I don't need those. Okay. Hold them down, drag them with your other hand. Gallery. Tap on this item or this documents. Don't drop them here. Otherwise it will reverse the order of your layers, which has super irritating. Open up your Layers panel, drop them in there. And this should take a little bit of time to actually import because it's such a big document. Dot-dot-dot. And you'll see that it doesn't look like how it looks in the previous document. That's because the blend modes are gone, the clipping masks are gone, everything has gone, it just broadened The Layers. So then what you need to do is you need to go through all of your layers, adjust the Blend Modes, adjusted clipping masks. It can be a little bit irritating, believe me, it has super irritating. But it may save you a bunch of time versus recreating the whole thing again. Okay. Sorry. Once we've got this done, then I can show you something else. So I'm going to quickly just adjust everything. Alright, there we go. We have well, I have adjusted all of the layers back to somewhat like how they originally were, but it's still DO even though this is an RGB layer and the artwork that brought in still has that CMYK look to it. So you have two options here. One option is to deal with it, animates it, do everything while it's in CMYK mode, and then export it to Photoshop After Effects Premier and adjust the colors there, which still may not give you the exact colors that you want. Again, to get the exact colors that you want. You got to start from scratch. Or you could do adjust the colors here in Procreate There are a lot of different layers to adjust, which might be like, Oh my days is going to take a long time. So let's just cover one layer and you'll get the idea of it. So select the layer. And then there are bunch of different ways that you can change the colors inside of Procreate. First of all, hue saturation brightness can adjust the saturation. So this is like super unsaturated. This is very saturated. That looks way more like the RGB version. Fantastic. And then Can I press here? That doesn't matter. I'll just tap on that again. Fantastic. In other way, Let's maybe go for these guys here. So these two sons, I'm going to go for a color balance. So you can change. Can see they're going a little bit more yellow or not. More green, a little bit more pink. So you might be like, Oh yeah, that looks pretty cool. So that's another way to adjust the colors. Then you've got your curves. This is gamma, this means it's adjusting all of them. So the darks are getting darker, the lights are getting lighter. There we go. You could just adjust the red. So the reds, what's happening to the reds? They're getting lighter, they're getting darker in different places. Or just the greens. Just the blues. Okay, So this is really powerful. You don't just need to use it when working with CMYK images in an RGB document, you can use this whenever you like. Yeah, there is also Gradient Map, but that's a little bit more RTFOT, really creative, not really to do with correcting colors. So there we go. That's how you can begin to make your CMYK document into an RGB document again. Now I want to show you how to take a CMYK animation from Procreate and into After Effects Photoshop or Premier Pro, to change the colors. For me, this means I get to work in CMYK because maybe I had an illustration and CMYK and I didn't want to recreate it in RGB. So I decided to do everything, all the animation in CMYK, then export it and then change the colors to make a more vibrant, maybe retro, do a bunch of different things to them in After Effects Photoshop or Premier Pro. This is my little animation name is blob. And we can pause that. It's CMYK. I'm going to share this as an mp4 Export, and I'll send it to my iMac. There we go. Okay, Let's close that. And here we go. I'm going to rename this as blob dot mp4. Let's bring it into Photoshop. Okay. What's really cool about this is we can go to Layer, new Adjustment Layer. And well, there's a bunch of things that we can do. Curves, levels, vibrance, color balance, but I'm gonna go for hue and saturation, super. Then under the properties of this adjustment layer, let's pull up that saturation. And that looks really good, right? Well, it really good. Okay, then I want to do some looping. So Command J. And now what's happening? Well, it's because this adjustment layer is just applicable to this particular layer. I'm going to drag it above here, which means it's adjusting everything beneath it. Then zoom out and extend it all the way to the start of the animation. Then I'm going to press plane. Nothing's really happening as it is. It. It's kinda weird. Alright, well, I'm going to try export it and see if it works. File export, render video. Here, size, document size, it works. So Blob, RGB. Let's render you. And it's 4 s zero frames. There we go. He wobbles, he blobs, and he's far more vibrant than this one, right? Like way more vibrant. It's not just in Photoshop, It's also outside of Photoshop. That is photoshop Premiere Pro. Let's just drag in Blob mp4. Let's create a new sequence. And I've already covered this. But yeah, under Lumetri color, if you don't see that open up Lumetri color, we can change the temperature tint to make it really retro, bring up the saturation. Know there's a lot of stuff that you can do. And then from here, you can duplicate it, you can export it. Fantastic. Okay, Final one, after effects. Let's double tap here, double-click. You could drag it in. Let's go for Blob. Let's created a composition for us. Fantastic. Then under Effects and Presets, see that Tap Window Effects and Presets, we can go for color. Or maybe that's a little bit intense. Let's maybe go for effects. Let's tap on share effects, color correction. And then we'll again, so many things that you can do. But curves are a good idea. There are also levels. And then I'm gonna go forward, hue saturation. So aftereffects is powerful. There's lots of things that you can do. But this is like one of the simplest master saturation. Bring that up to, bring up the lightness to maybe, maybe feels a little bit more baby like now, and can change the hue a little bit, just a bit. There we go. So again, super powerful. And here you can duplicate the layer. You can create a loop, bam. So with three apps, you can change the color amazingly, and you don't just have to apply this with CMYK animations. You can do this with any of your animations that you exports from your iPad, from Procreate. But this is powerful, especially if you've got a lot of layers, a lot of existing artwork existing in CMYK, and you don't need the colors to be exactly a certain color palette. You can make them really similar to what you had in mind. This is fantastic. Only you will know that they're slightly different. The N viewer is not going to know anyway. If you do need the colors to be exact, exact, exact, then you may need to start again from scratch. So there we go, okay, creating animations from print documents can be tricky. But you got this. The next lesson. I'm going to brief you in on your class projects. Then after that, I'll take you through three videos of me creating an animation from start to finish. 15. The Class Project: Okay, it's time for your class projects. What I want you to do if you haven't done so already is to create a seamless looping animation that has 3-10 frames and share it with us. Upload it to your project space on Skillshare and share any experiments you made. Tell us what you learned and what you found most Fun about the process. If you're stuck, maybe animate a saying or a word, or using an illustration style you're comfortable with. If you're going to post it on social media and you want to get my attention. I mentioned me, I'm Act Tap, Tap Kaboom, or you can use the Tap, Tap Kaboom student hashtag. At this point in the class, I would love it if you left a review. It means so much to me and it helps other students decide whether or not to take the class. What I'm going to do in the next few videos and show you my process of creating a seamless loop from start to finish. I'll see you there. 16. Example 1: Yoga Dog: In this example, what I've got is this kind of dog doing some kind of Yoga move but he's kinda greeting himself, like saying, Hi, how are you? It's just a quick sketch or doodles. I want to take this and I want to tweak it a little bit and then animate it. So I'm gonna go out of this and go for a 24 or 2048 canvas. And let's go back into the sketchbook. And I'm going to just drag this into this new file. There we go. And I will erase this, or maybe I'll reads like this. Okay. The thing is with this one is that I want this tail area to be a bit longer. So more like a really nice oval shape where it feels like he's not that good a Yoga at the moment. So he's just got his legs onto the other side. I want them to be like a pro at Yoga. So I'm going to reduce the opacity of this guy. I've been trying these brushes out. They're really cool. So I'm gonna keep on using this waxy nib brush that the company that makes them is True Grit Texture Supply. They're really nice, not sponsored by them at all. But they're brilliant. Waxy nub. Or actually it may be in the chisel nib. Let's see. Let's see, Let's see. I can work with that one. Okay. So new layer. And I'm going to create this kind of oval shape. Edit the ellipse, something like that, I reckon in the middle. Okay, I think that's good. I just want to double-check this brush. Let's go to the Apple pencil. The size of that ten per cent for the pressure sensitivity. I really don't like or when there's too much pressure sensitivity, I'm not so good with pressing hard and soft. I changed that all the time, so I prefer my lines to be constant. And then when I need to do extra pressure, I can It's not that big of a deal. If I rarely want to change my brush size, then I can just change on the left job and it's at 10%. Okay? Next, what do you wanna do is duplicate this. And it's when you get this guy's body right? So something like that. I'm just using this as a reference for now. What I get the drawing correct. Okay, let's merge that down. Fantastic. This guy, quite like his what do you being over there? And you can see like it's kinda the same problem, like it would end over there. So maybe we would back a little bit, something like that. Okay. And then let's try draw this. So this guy is pretty cool just going to trace this guy. And I think I'm just like going to do it as a black and white Animation. That was a pretty good line. Maybe if it's clunky over there, but that's okay. Sometimes I'm really bad at drawing lines. Okay. And then his eye. Then I think that could be something there like it could be like Oh, so it could be animated. So let's make it a separate layer. Then. Can simplify this a little bit. I just doubled tapped like that. You get it to my eraser. And I'll just do a little bit of erasing here. Fantastic. And then we'll do the same thing over here. Okay? And then a new layer for the tail, which it could go from something like that to something like that. With one in the middle, like back-and-forth, back-and-forth The things that are going to animate our just this little eyeball and the tail wagging. And then the rest of the illustration is gonna be redrawn frame after frame, maybe three to five frames. We can duplicate the dog after that if we need to. And then each frame, the position of the eyeball and the actual tail will change. Okay? I'm going to set this as like little reference layer. And then yeah, that looks good. Okay, So let's hide these layers. Something like that looks pretty Fun. Might need to rotate it like just a little bit. And it's always better to, what am I doing here? Just want to rotate. I find it always better to get things correct before you start animating. Because once you start animating to do a bunch of corrections just takes a bunch longer. And sometimes it's a little bit more complicated. So here we go. These guys can just stay hidden. This one, I'm going to group and we'll rename this to. Let's go for frame. One. Just says frames. So let's rename that again. Maybe I want my keyboard. Sometimes it brings up this little pen dialogue or the ability to write. Sometimes I have to use this or, and sometimes I have a big one. I'm not quite sure why. Frame one. That looks good. Then we can go to Canvas, bring up the drawing assist, change this to ten frames per second. Onion Skins going to bring that right down. And then I will set this one as a foreground layer. And I'll reduce the opacity of this. Juice, the opacity of this, and reduce the opacity of this one. I don't think so. There we go. Okay. So we have frame one. That's awesome. Let's go for frame to up here. What does it saying? Okay, let me just move this one up here. We move those up, their frame, one background, ah, set as a foreground instead of a background. So it assumed that it was the last layer on the last frame rather than the first one. Okay, so at frame one, we've got frame two. Let's do all of the Doug Layers and then I'll get onto the actual animating. So just going to redraw this five times or so. That way we get a nice wiggly handmade kind of animation for you. And I tried to be as accurate as I can, but I don't like to be too accurate. If I did, then I'll just duplicate the drawing from the previous frame. I like it to feel wiggly. Okay. Let's do this again. Except I'll hide this one. Group. Maybe I'll rename this. Let's go for frame two. We go, Let's rename this one. See, I don't really know why. Just keep on doing this group frame for and Group frame five. Okay? Now, let's go to frame three and do the same thing. The reason why I'm copying frame one is because if I copy frame two and then copy frame three, then I get this broken down telephone effect. So it looks really close to the previous frame. But if a Loops from frame five for the last frame back to the first frame, then it often doesn't look like in Loops nicely. It's often a jump. I was like, Oh yeah, I can see that that's the last frame. Hide this one. Frame for been having a lot of Fun with. I don't even know what I call them, but these characters with really wide eyes, big eyes, circular eyes with little small dots in between them. They always look super surprised. Just been getting back into doing some kind of daily sketching doodle practice where it doesn't really have an outcome in mind. There's nothing that I'm creating for. Its just pure drawing, pure practice, play Fun. There's nothing that I'm really looking for except to just draw or doodle. And I found quite a lot of joy in it. And I've animated one of them already. So quite often. Animation where the guys eyebrows go up and down, just kinda weird. Okay, that's frame for this is the last frame that we're going to draw the doggone. If we need more frames, then I'll just duplicate the frames from before. It's quite a nice little cheat. Alright, we've done that. We've got frame one, frame to frame three, frame for frame five. Let's just have a quick look at what this looks like. So I'm going to change it from a background vector, a regular frame. I'll pull up the opacity here. So have a quick look. Just go away, please. Yeah, I think that looks really nice. It's nice and wiggling captures a bit of attention. Still ready, ready, simple. Now we can do the eye. So let's set that as a background again. Can turn that off. And we've got the tail and the I. And frame one is like over there. So frame to well maybe we go all the way to frame five, where we go here and here, excepts, Let's do a new layer for the tail, something like that. So the reason why I'm going all the way to the end is so that I can then go to the middle and do the middle one and just see how many frames I need to put an in-between so that it looks really nice. I think I need more than five frames. Middle frame. Here. It's really nice to have a bit of a Onion Skins. You can kinda see where the is. So I'll put it up here, keeps jumping to my eraser like that. And then like that. Okay, let's put this on its own layer. So cut and paste. There we go. Now for this one. Because from there to there. So I might need something like that. Cool. And then a new layer for the eye. Something like that. Alrighty. This one. Now, let's go for something over here. Something over there. Again. Let's put this on its own layer in case we need to move it. Cut and paste. Okay? I think there's a little bit of black there, but that's okay. It's have a look at what this looks like. I'll put this back on. The pastizzi for that is good. The pestis for that is good. Now, I don't need that actually. I think it's all good. Make that not a background anymore. Okay, let's play. That looks really good, but now it's looping weirdly. So let's go for a ping-pong. So I think it might look better if the I was always in the same place. Let's try it out. I'm just going to select all the eyeballs. Again, might need to just do erasing over here. I'm quite sure what was there. Let's select all of the eyeballs. And it's not really easy way to just align them, is there? Okay. Let's change this one. Opacity. Want to take off the Onion Skins going to frame one. So there's a background again. Okay, frame to. Let's just put that in the middle again. Frames three, Let's put that in the middle. Go. So maybe it's because the I in the middle just looks weird, like he's ready, surprised that it works better. But let's see if it does. There's still that one over here that needs to be drawn up. Play. Yeah, that looks really cool. I like it. I'm happy with it. So I'm gonna change my background color to white. Done. Now here I could add a bunch of different things. I could try, a bunch of things. I could add color. I could try and make them yellow. I could put some shadow. I could give him spots, I could put clouds. But oftentimes, you just want something that captures attention. It's a simple idea that you're trying to convey a simple emotion, story. And one of those things on needed and it will just take a bunch of extra time. So this is super simple. It works in the style that I've been working with in my sketchbook and I've been sharing those online. People have been responding to them well. So this is it. I now get to export it, share it, do with it, whatever I want. Alright, that is that example done. I'll see you in the next video for another one. 17. Example 2: Happy Sun: Okay, so I have this character called Happy Sun, and it's meant to convey happiness, which it does super, super well, but I'm wanting to extend it into some kind of animation series. I don't quite know where it's going to go. I haven't done too much playing around and experimenting with it. I've made a few stickers, like animated stickers for Discord, for Instagram, that kind of thing. But I want to make it a little bit more animated. I don't want to tell like a full story. I just want it to be like a nice little loop. So I'm gonna go from ideation through to a finished animation with you guys here. I've done some kind of abstract bulwark circle work in the past. That kinda stuff is pretty interesting. So maybe there's a bowl that comes up, goes up, lands over there and made me from this side. It does the same thing. There could be like three of these Happy sons. Like a Happy Sun is one of these. Very happy. Okay, so something like that, but also the idea of a little speck that turns into a bright sun. But maybe An Animation or like a static frame of reference ending up with a sun over here rather than in the middle, is a little bit weird. So what happens if it goes from little speck through to the Happy Sun like that. And then the process, maybe there's like some kind of energy that's released. And on this could be pretty well done if it goes backwards and forwards. So it's just like a boomerang ping-pong playback method. So it's like a birth of a Happy Sun, like moving room. I don't know if I should add sound effects, but that could be pretty interesting. So it starts off like really small. These are terrible squares, by the way. It's meant to be square, then it gets a little bit bigger. But there are these Energy things that go out and maybe this is all black, maybe this is white. Not sure about that. Okay. Then finally, there's a Happy Sun and its rays are all like shaking the moving. This one would be about five frames or 335 frames. This one to this one could be 5-10 frames, maybe. Not quite sure. So we're looking at something 10-15 frames, still not that long. It's gonna be quite a short animation, but it's gonna be pretty Fun. The next thing I need to think about is that Happy Sun has gradients and not just like Illustrator vector gradients. They're spray paint splatter gradients, very grainy gritty, that kinda stuff. I don't know how I'm gonna pull that off. I might just have to set it as one layer and then mosque that layer over and over again. So probably going to aim for that. Okay, so there's not too many ideas here. Maybe I started with this one. We identified that it goes into the top and leaving this amounts of blank space, you're probably wouldn't be a good idea. But this one seems quite Fun because your, your view or your focus is gonna be the center of the page and it's gonna get bigger as time goes on. And then smaller, bigger, smaller, bigger, smaller. Let's try this out. And I'm gonna go for two or 48 by two or 48. It's pretty big for an animation, but it means that it works for an NFT. If I want to make it an NFT, I can always scale it down to 101024 by one or two for and because it's a square, I could make it into an Instagram story later on. If the background remains whites, then it becomes really, really flexible. So let's do this. Let me use a pencil here I go for a blue pencil. It's just really nice for sketching and Animation Assist. I'm going to pull down the onion skin frames to one frames per second, ten. And let's start with a little circle. Put this in the middle. Something like that. Maybe I can also turn on the drawing guide, edit the Drawing Guide. Let's go for symmetry. Quadrants. For pink, I just really like pink. And I don't actually want this layer to be assisted. I just want there to be a guide. For some reason there's still doesn't really look like it's in the middle. Oh, well, let's create a new one. And perhaps which is group this as like a planning group. And how big is Happy Sun gonna be? Something like this. Hurricane. Still circle. There we go. And it's gonna be a little friendly faced with a smile you over there. So that's what I'm going to end up pads and there's gonna be a bunch of these little rays all about kind of looks like he's going a bit of a mustache or something. What I hadn't considered is these eyes, like where did the eyes come from and how do they animate? So they need to go from here somewhere and move this way. And move this way. Whereas the smile can start as Karen little dot and then go into a smile. Okay, So that's gonna be pretty interesting. Okay? So what I'm gonna do is reduce the opacity, or maybe I'll merge this down to this just one layer. Reduce the opacity. And then we'll set this as foreground, considered as background to. There we go. Let's start this thing. I'm gonna go for. This, do lead jiggly, lines, thick lines. It's quite a name for a brush. And you'll see it's quite big, but it is kinda jiggly, which is the signature line style of Happy Sun. And make sure it's black. And we will clear this. And it's going to start rarely small, something like that. Let's just make it perfect. In the middle. Okay. At frame, maybe we'll keep it about the same size for the first couple. Just so it goes like a really eases in and ease out and slowly gets bigger. And then it'll start to increase quite a bit. Normally like these kind of perfect circles. So what I might do here and there is draw a circle and then redraw the circle. Just so it feels a little bit more handmade. Maybe I can put these inside of the planning group and rename this to polar. Okay? Yeah. Okay, Let's bring this archea, delete this new one inside of planning, and let's create a new circle. Something like this. Maybe we can create a few circles here to use as reference. Few of these perfect circles. We still have to draw all of these circles. These are just like the reference circles. Okay? And then I think the final one or two can be pretty close to that. Okay. Now let's get our circles on. And I still going to do the coloring for each one of these frames and the gradient. But first things first, I gotta get the outline's going. Once we have all of the line work done, then we can worry about the colors. Hello, ugly, but that's okay. I'm gonna do another one here. And this could actually be 3-5 frames. I'm going to go for three, which just means there's less work, but we'll see what it looks like. Okay. Then eyes and mouth Something like that. Okay. Then spot the same thing. K. Now things are gonna get a little bit smaller. The eyes are going to shift in, right? I guess we can also do the mouth. Okay. Let's hide the planning and see what this looks like. Kids go For ping-pong. We can remove the drawing guide. Yeah, I think it looks pretty cool. Okay. So maybe here and add a frame and just make it one dot, like so. And it's gonna get a little bit bigger. So remove that, make this just a Schmid's Zhe bigger. Let's play. Okay, So it goes all the way to Dart. Maybe they should just be another dacha to all three. It's very easy to add more dots. It's a little bit of a jump there that I'm not too happy about. So let's go back here. This one. So maybe here, just a little bit bigger. Okay, That looks good. Now, at some stage this needs to emanate energy like maybe here once the eyes come out. So let's add another layer here. And we'll start to emanates some energy. 2345678, something like that. Let's go put the drawing guide back on. This will be pretty helpful. I think. Yep. That didn't add much to it or didn't add a drawing assist feature on that layer, which is great. I'll just put these exactly over there. And then next layer here. Let's see what this looks like. Okay? Yes, we can do it on the actual layer rather than a separate layer. I would save a bunch of time and it's pretty easy to erase if needed. Does that look right? This one's a little bit far, are these ones are too far out? Let's erase these guys. Do them again. Okay, Here we go. K. Sometimes my brush just turns into an eraser. So K, know what's happening. Okay? Now I think it is full size. So we can make these a little bit smaller again. Maybe just turn these into the actual Sunrise themselves. So not exactly what I was intending, but this might work out really well. Then maybe we do a couple of little rays in-between. 3123 here, 12,312,312.3. Then we start to make these a little bit bigger. Then finally, these guys can be in both the same size. Then we might need to add just 1 mol, full Happy Sun or two, just so that everything has enough time to stay on the screen and not just appear and then disappear. Okay, so let's go put planning back. Okay. And change the Onion Skins to none. Okay? Trace these arts. And then 1 mol or I can turn Onion Skins off, makes this a little bit easier to trace. Will turn them back on some ads and the mouth and then put in bunch of these two. Alrighty, let's have a look at what this looks like. Can turn off the Drawing Guide. It's pretty interesting. I think I really like and when it hits the edge and then the sun rays appear. Don't think I'm a fan of the rest of the stuff. Which is pretty interesting. Okay, so let's go back a bots and identify. This is when everything happens. So I'm expecting that what I would need to do here is just do some dots like that. Then raise a little bird again. Little bit longer than dots. Okay. Now this is where it will be quite nice to have these rays on different layers. It just means that we could delete The Layers now we have to erase. So I could use a selection and then arrays, but this is probably a little bit easier. Feels nice to hear. This is where we have actually going to layer. So we just delete that. Will probably need Groups. So I'm just going to keep this one here for the meantime. Yeah, I like that. It's like he's going sunshine and then disappearing again. Okay. So we can pause. It's going back to the start now. Now I need to do some gradients. So maybe we start right over here. And group, set this as a reference layer. And then reference layer. How about I got it, Got it. Okay, so what I'm gonna do is I'm going to just fill this with green so that I know that it's not meant to be the color that I want. And then on top here, there'll be no reference layer, but this will be a clipping mask. Okay. Go for a grain, which is quite typical of the doodle verse and Happy Sun style that I have. And I'm going to fill not with green, with yellow fill, whereas fill. There we go. Now I'm gonna do some grain work. So I'll start with a little bit of orange. Something like that. Go for yellow at the top. I guess this is the default. Happy Sun colors. Happy Sun as an entity, as a brand, could be many and Multiple different colors and different gradients. But this would be like the logo, all the defaults, kind of colors, That's Happy Sun is. Then a little bit of this at the bottom. Maybe a little bit of real SOC pungent, pink. Then on top of that, I'll go for these really cool cheeks. I think that these could actually be done frame-by-frame. Whereas the gradient underneath, maybe let's keep that static. But these two cheeks, let's make that a frame-by-frame thing. I want to turn planning back on all of these things and I'll draw some cheek areas like that. Maybe we can make them black. Turn the brightness down. We go. Okay, thanks, planning. So now we have a couple of different layers that we need to then put on every single frame. So how do we do this? Select these. I'm going to group these. I'll just rename this as film, something like that and duplicate it. And let's just try this out for a one layer group. This set this as the reference, clear. And then fill. And I'm going to clear these guys and do some cheek work with my brush, not the eraser. Okay. Now we can do this again. Maybe to make this a little bit easier. Duplicate this, clear this, and clear this. So this is going to be the same on every single layer, but then I need to redo the base full air and then the cheeks. So I could rename this base full and rename this cheeks. Just so I know what's going on. I'll keep on duplicating these and just putting them underneath each of the frames. Where it's gonna become quite interesting and might need to change a few things is when things get small. Okay, this is going to be rather interesting. So I don't think these guys are going to have cheeks. Um, well, what's going on there? Let's duplicate that. Just above there. Okay. There's a lot of stuff going on here. I'm gonna do a bunch of grouping now. And hopefully that will make everything a little bit more organized. We are getting places. So this group, Let's set this as a reference layer, and now I'm going to batch. So there we go. This as a reference base film. That's it needed for these ones actually. Show, have a quick look at what this looks like. There's gonna be this little cheeks here and let's take that out. Okay, so now we need to put the cheeks and it's looking good. Tikki, Tikki Tukey's here, I've got the brush. Now it's well, what happened? They're not quite sure. Okay. Cheeky, cheeky Tiki is, let's go here. Let's turn on the planning. Raising toner arrays. Let's put the GTG Contiki's. And this gives it a real like handmade feel It's gonna be interesting and what happens when things get smaller with the cheeks? Okay, things are beginning to get smaller. So I'm going to just try keeping in line with the eyes. Maybe start to not go as hard. Because now things are getting smaller. Maybe need to make the brush even smaller. I think that's actually ends up, Let's delete all these cheek Layers K. Let's take off the planning and not just minimize all the layers. So it's a little bit easier to look at. Okay. Go away or not. Font, stay there. I think that looks really cool. You can see how the cheeks are like handmade, kinda like fuzzing around. Oh, yeah. It's cool. I like it. Like it a lot. Okay. Now, background color, I'm going to go for whites. And then on each layer, what I'd like to do is I'd like to add a little bit of black grits and grain, just because that is the style of Happy Sun and the doodle verse. Bigger than that. Something like that. Every single group just makes it feel like it's more handmade, like it's been photocopied, printed, photocopied, that kind of stuff. Maybe it also feels like an old school phone a bit, a little bit of cracks and no fuzziness flares here and there. The reason why I'm doing this as a separate layer on every frame has, because if it doesn't look good, I can just remove them all. Rally quickly. Have a lack. Okay. Settings. Let's see if it looks good at 15 frames a second. I think it does. Feels a little bit better, but it's pretty energetic, pretty happy. It's like, I like it. There we go. There is our Animation. Well, there is my animation. You can see how well, how many layers there are and how I got there. It went from planning in a sketchbook, doing some initial planning. Using that planning throughout the animation. And how we had to adjust and be flexible throughout the animation. There we go. Hope you enjoyed that 18. Example 3: You Rock: Okay, In this example, I want to create a discord sticker, now just called stickers are animated PNGs and they need to be 320 pixels high and wide. And they can't be bigger than 512 kb, which is not a lot. Okay? So I've done a few in the past, but now I want to one that says, You rock because that's just really cool. So I'm going to create a two or 48 by two or 48 canvas. And because of my Discord, I use particular style of sticker. I'm going to go all the way to my rad brushes. Go for duly jiggly lines, thick lines is also a colored version. And I think that's the right setting. Let me go in here and just draw here quickly. Yeah. Yeah, that's the right setting. Okay. So clear. And I will use a blue brush to start with. This is my doodle first color palette that I'm using. Then I'm going to use for this one. And I want to say, You rock or something like that. Maybe in like block letters. And then we put a little bit of a gradient inside of them. You rock. Okay. You rock. An exclamation point would be pretty cool. So something like this. Maybe the rock comes in a little bit. Yeah. And then you something like that. Iraq. Like it. Okay, so let's drop the opacity down, go to layer two. And this is going to be like the initial frame. So it's kind of a weird, huge, be honest. So I'm just going to make it a little bit rounded or a weird, Why should I say? You are weird? That can be a pretty cool one to you. Weird. You. There we go. Rock. Not quite the same. Maybe we can extend K. Yeah. Something like that. Yeah. Maybe I'd like to move this one a little bit. There we go. Yeah. Get in here and move this one down a little bit. You rock. Okay, that looks good. Add a full layer beneath this. Okay. Rename number one. Okay. That looks good. 12342. Name number three. Number four. Number five. It's put on animation assist. K settings, ten frames, onion skins. Let's reduce those. K. Hide this one. Set this one to a, the background layer. It would be nice. Maybe we need to move this one up. There we go. Background layer. I'll reduce this all the way down Okay, so number two, let's trace this. Basically. It's going to give it a nice wiggly text field. It's taken me quite a while to get good at making straight lines in Procreate, even with a bunch of streamline settings turned on on the brush. I often struggle, especially if there's a slight curves. One is done. Kind of just maybe it's part of my style. Rich can draw straight lines. Armstrong. All right, moving along quite nicely here. Okay, last one. I've done five frames, which in my mind is always like a pretty sweet number. When it comes to these kind of short, sweet animations, hand-drawn animations. We've got them all. Now what I wanna do is you go back here, reference. And then I want to fold this with whites. Not quite sure. Because this will be transparent. There'll be a white border around it. So what about going for this like really cool green fill? Nope. I want to fill here. Like this. Yes. Okay. That looks pretty good. I'm going to take this background layer off. And then what I'll do is pretty much the same thing for all of these. Let's group M, let's group them, let's group them. Let's group them. And I'm going to rename these quickly. Here. I don't know why I chose that, but let's go for it. Number five, rename. Number for boarded up there. Rename. Number three. Rename. Maybe it's if I use my finger. Interesting. Okay. Set this one as the reference and then pop it in. Yeah. Kay? Since this one is the reference, pop it in here. Yeah. Reference. Pop it in here. Yeah, continue filling please. Okay, last one, reference. Set it in here. Okay. Now we go back to this layer. I'm going to add a new layer, set it as a clipping mask. So basically anything that I draw outside of the bounds of this layer, you won't see it. Then I'm going to use this really cool grain brush. And I'm going to do some graining. And the reason why I'm doing this is because I want to use this layer on all of these layers. I don't want to animate the actual grain, I just want to animate the lines. So let's go for quite a big brush. Something like this, and then something like that. So it's quite simple. Let me gun on top. I'll add a little bit of this color. The bottom I'll add a little bit of this blue because it works really nicely. Then little bit of this yellow. And these colors work rarely, rarely well together. For some reason. You rock. Okay, so we've done this one. Let's add a little bit of this green here. We can put bigger Okay, Let's blue at the bottom. And then yellow at the top. Can see how this looks. Okay. One more thing I want to do is just create a background layer. And this is going to be background. And it's gonna be the white light. Kind of stick a look. Okay. Okay. Okay. There we go. And I'll set this as the reference. We can just pop that in there. Okay, so yeah, that looks pretty cool. And that is going to be the background. And then I want to duplicate this. Bring it up here. Clipping mask. I think that looks good. Do the same up here. You see how messy it is if it's not a clipping mask? I'll do that one. It's a clipping mask. Duplicates. Clipping mask. Duplicate and clipping mask. Okay, now we can play. There we go. That's it. It looks really, really good. And I think that inside of Discord, yeah, I've done the rest of them exactly like that. So you can see that it's not really changing. The background is not changing or the gradient isn't changing. But what I may want to do is do a clipping mask up here and go back to my grain. Just add a little bit of like black flick or grids and grain here and there. Just to make it feel a little bit more grungy. Which is very, what's the word? I use it a lot with my style, with this style of illustration. K. This is the last one. Alright, let's have a look at what that looks like. Okay, that looks pretty good. Now, this at the moment is 2048 by two or 48. I need it to be 320 by 320 and make sure that it's under 512 kb. So firstly, let's make a duplicate of this. So duplicate super. Then I'm going to resize crop and resize settings. Let's go re-sample canvas. Change this to 320, uh, done. They're done. You'd be like, Wow, that is pixelated, yeah, because it's meant to be like really small like that. So we've got this one going to share it as a Animated PNG. When I'm ready, I probably don't need it to be web ready. Max resolution says 256 kb, which is perfect. Export this. I'm going to save it to my iPad because you may be like, Okay, how do I know how big and images? So here this is, you'll see that it's not animated on your iPad. And if you press this little button, it says 354 kb, which doesn't quite line up with what Procreate's it. So I think it's that, which is great. And then going to share it to my computer, which is over here. Then we can pop that into discord. On the computer. You rock. And oh, now here what I've just realized, this doesn't have a transparent PNG background. So let's go back to Procreate's. Let's pop off that. And let's do the same thing. Animated PNG exports. And I'll send that through to my computer. There it is, There it is. Okay. So let's copy that. Let's copy the name of Iraq. Well, there's two of them. Okay. Let's copy the name of Iraq. Let's delete it. Let's delete that one. There we go. You rock right inside a discord. We go to server settings, stickers, and upload a sticker. Let's go browse script, downloads folder. You rock. Here we go. Related emoji. What is that? Rock? That's fine. Yeah. Good. Stick a name. You rock. You 4k. You rock. Okay. Upload. There we go. And I have a whole another row stickers. Cool. And then here we go. Stickers. You rock. Made a new sticker. Alright, so that's it. That's how I made a discord Animated PNG sticker with procreate 19. Hello Procreate Dreams: All right, so there's some big news. Procreate now has an animation app called Procreate Dreams. And it is awesome. I've made an entire class on Procreate Dreams and I'll show you the introduction at the end of this lesson. But I want to show you a couple of cool things that you can do when it comes to procreate and procreate dreams. So let's get into procreate. What I've got here is a nice little animation. It's a little bit sad, but it's pretty cute. I rain on people. What do you do? The settings frames per second. Ten. And then if we go into crop and resize and settings one oh 80 by 135. Okay. Now I want to bring this into procreate dreams so that I can continue working on it, which is really cool. And I can loop it forever, and ever, and ever, and ever, ever. So let's go into the gallery here. And then open up Procreate Dreams on the right hand side. I'm then going to create a new movie here. It doesn't really matter which one you go for, but I'm going to go for a four K square. Change that to HD and change the frames per second. To ten. Yeah, there we go. Ten. That's a custom frame rate, so you may have to change that, the duration. Well, we can change this to something like 30 seconds. That's great. Because inside of this particular file, we've only got five frames, which is really, really short. Okay, so I'm going to go for empty, and it creates an empty file for me. Now the dimensions aren't yet the same, so I'm going to tap on this Dream 12, which is your movie's title, and then go to height and change this 2135. Done, Fantastic. Now I'm going to drag and drop this file into Procreate Dreams and then double tap on it and go inside of the group. And each of the frames are going to be here, which is pretty cool and different to if you imported a file that didn't have the animation assist panel on. For example, if I went in here and you can see that this particular file has a bunch of layers. If I import this one, it actually imports it. I don't want to rotate just yet. There we go. This guy imports as just a flat layer or a track. If you press the draw and paint mode, you can go into the layers here and see all of the layers which is pretty cool, but we don't want to do that. Delete that. Inside of this group here, we've got these different frames. And each frame then has its own set of layers, which come directly from procreate, which is amazing. We can then hold down on this group and you can duplicate, scrub out a little bit, Duplicate, duplicate. This makes duplicating stuff super easy, super amazing. And you can do more stuff with this. Check this out. I'm going to go for a timeline, edit, select all of these groups. Hold down and group that. Now with this one, I'm going to go to the first frame, going to tap on this playhead. Go for move, move and scale. Then at the end, I'll then move this guy over here just to show you, like what's possible. And then maybe do a little bit of rotating check at that. That is amazing while we're here. Let's go into any particular file. If you want any brush set or color palette, you can just drag it in this BN. I'm just going to drag that in. If we go to draw and paint mode at the bottom here, you'll see the NW. If you just want one particular brush, just drag that in and then it will pop into your imported brush set. A powerful now when you drag and drop brushes in, it's still way more powerful to do brush editing here. You can't actually tap an editor brush here, whereas you can tap an editor brush in procreate. Okay. The same thing with your color palettes. So what I've got here is spaceship and doodle, verse and tap, tap, go, boom. But maybe let's bring in wooden toys. So I'll just close this and then pop in wooden toys. And there we go. There's wooden toys. Wow, this is really cool, really powerful. Now, perhaps the last thing that I can show you here, I just want to close that. Let's go to the gallery. Let's scroll down to animations here. Let's say we have this particular animation, but we've actually shared it. Shown it. Shared it. And I'm going to go for an animated MP four. I'm going to export that. I'm just going to save it to my files, not files, to my actual device there. What I'll do is I'll just delete this content. I'll add video here. I'll bring in the one that I just exported like. So now we have a movie which just has a couple of frames, and here I can duplicate et cetera. Then when I want to share from here this really long looping video, I can go to Dream number 12. Just tap on your title. Perhaps we can close this. Now go to Share, Export A video and then say video. Now here is the introduction for my Procreate Dreams class. Do you want to learn how to animate and procreate dreams? Yes, perfect. That's exactly what this class covers. Animation is fun. It attracts attention and conveys what words and static images cannot. And procreate dreams makes creating advanced animations on your ipad super fun and super easy. I kick this class off by showing you how to navigate procreate dreams and how to create basic animations. Then we jump into the class project. This is where you'll follow along and learn a ton about procreate dreams and about animation in general. We'll be creating a spaceship movie complete with aliens and voice. The class will cover animation theory, planning and storyboarding, how to animate different parts of your movie, adding sound, creating scenes, holding viewers attention how to use procreate together with procreate dreams and a whole bunch of tips and tricks. My name is Rich Armstrong, AKA Tap, Tap, Boom. Over 30,000 students have taken my procreate animation class. And I've been animating since 2006, so you're in good hands. I made this class for beginners, but you know how to animate and you want to learn how to procreate dreams works by taking this class. You'll pick it up super quickly. So are you ready to have fun? Do you want to learn how to animate and procreate dreams? And do you want to make an alien spaceship movie? Yes, then come take this class. 20. Conclusion: Okay, This is the end of the Class of two final things to share. The first is they're not, everything needs to be An Animation, and not every element needs to be animated. Sometimes all that's needed is some subtle animation to bring your artwork to life or to make it stand out. Spending time on animation is Fun. It can also take a long time. And secondly, focus on creating quality animations rather than long animations. If you create an engaging three-second animation that captures attention, your audience will likely spend more time watching it. And if you create it, a boring one-minute animation. I hope you've had Fun and learned a few new things. Keep on playing and experimenting and having loads of Fun. I would love you to leave a review of this class. It means a lot to me and future students who are considering taking the class. If you've got questions, ask them, you can DM me or ask a question where everyone can see it. And if the Animation bug has bitten you and you want to do more than simple procreate Animation. Check out my other animation classes. And for more things, Tap, Tap Kaboom. Follow me on social media and sign up to my newsletter. Ok, That Is it. Happy animating in Procreate. Bye for now?