This video is brought to you by Envato, a new creating animations
in Procreate Dreams. Join me and learn everything you need to
know in this complete Procreate Dreams tutorial. I'm Julia from Envato Tuts+. I'm a professional illustrator and
motion designer, and today, we're gonna learn how to create this mixed
media animation in Procreate Dreams. It's super easy to get going in Dreams,
and we're gonna cover all of the basics so you can start making beautiful-looking
animations of your own. We'll combine frame-by-frame
animation with video footage. And together,
we'll walk through the whole process, from how to choose
the perfect piece of footage, to designing characters that we can
then bring to life with motion. There will be heaps of handy tips
throughout the video that will take your animations to the next level, let's go. Okay, so the first thing that we're gonna
do today is search for some footage, where in Envato Elements, we're gonna look
at some stock footage and kind of see. Sometimes I like to start just with no
idea and have a little scroll through and see what I can find. So I want to create this kind
of public transport landscapes. So I want either a train or a bus or some sort of footage where we can
create some magic happening in there. So maybe I'll search for
inside bus static. And what I mean by static is,
if we're looking at footage like this, we've got kind of a shaky cam and we're
looking for something that's filmed on a tripod that's gonna be a lot more
static and easier for us to animate. So something like this where it's
very static would be really good, but I think there's a lot of other kind
of elements happening in the shot. We want something a little bit cleaner
with a little bit more room for us to illustrate on top of. Maybe something like this could work. We've got the empty seats,
we've got a relatively static shot, we've got a little bit of movement
to kinda keep it realistic. And I really like the colors in this. When I'm looking for
footage, I'm looking for something that has this kind
of very nice color grade. We can obviously fix lots of things
in posts and make things pop more. But something that I really like about
Elements is that you've got all these really nice raw pieces of footage to work
with, we don't have to fuss around with fixing things up with,
they're kind of good to go. Cool, so now we're gonna
download this piece of footage. We'll add it to this new project,
and we will download it, and that will automatically
download as a 4K really, really high res kind of piece of
footage that we can work with. Having an all inclusive subscription
with footage, music, graphics, and more means you have a one-stop shop
to create something really professional. You can jump back and forth between
it while you work on a project, and Elements becomes almost like
your own creative collaborator. So now we are in Procreate Dreams,
we can start getting into the juicy bits. Just a quick overview of where we're at,
we've kind of got this homepage. We can click this little plus button
up the top here to create a new movie. And we immediately get hit with all these
different presets, which are really handy for all these different kind of
potential outputs that you might need. And we're gonna to stick
with this HD widescreen. These little three dots at the top,
we can get into here and change the frame rate or the duration. I think these look pretty good for now. Maybe we'll make this 5
seconds instead of 10. And we'll start with draw,
which will open up our new Dream with this first drawing frame,
which kinda gives us the beginnings. We've got the timeline down here
that we can drag in and out of. We can zoom out to see the whole thing. We have got some settings over here, some kind of general settings
that we can play around with. So if you've use Procreate before, you might be familiar with these
settings at the top right-hand corner. You've got most of your tried and
true brushes ready to go up here, and the same color picker wheel that you
might be used to from Procreate. We've got some more kind of drawing tools,
tapping in and out of drawing mode with this scribbly icon timeline
edit with this little icon here. And then these settings, we'll get
into further through this tutorial. All right, so the first thing we're
gonna do to get started is click this little plus button and add in our
video that we downloaded just before. Yep, we are importing, and
we can see that once we've imported, the videos drop down into the timeline. We've got the entire length
of the video to work with. But because we've made this project five
seconds, we can click Play up at the top here and we just get the first
five seconds of that video, and we can kind of adjust that
to suit what we need. I think these first seconds, we've got
a bit of a blank shot to work with, these first five seconds are good. But if we did wanna change it,
we can click and hold and kind of move this to the section of the
footage that we want to be working with. Or I can come up into
the Dream up here and click on this Properties setting and
change the duration up here to make it the same length as
the footage that we're working with. You can see when I'm in
this kind of viewing mode, if I tap on this piece of footage,
I get the little handles across here. And I can use them to kind
of scale in the footage or move it to change the framing
a little bit, something like that. Just a little bit, just so
I'm customizing it a little tiny bit. All right, now that we're happy with how
our footage is looking, we're gonna go up into this plus button and create a new
track, which is kind of a new layer that we're not drawing directly on the footage,
we're drawing above it. And we will click this little drawing
button to get into draw mode. If I zoom into the timeline here and
start drawing, it will create this first drawing frame. So let's just bring
the brush down like that. We've got our first frame to work with. And what we're gonna do at this beginning
stage is coming up with some ideas of what we might be able to
animate into the scene. Thinking of some little characters that
can be sitting on these bus seats. This guy is lying down. We can get really messy with it at
this just kind of beginning stage. If you're familiar with Procreate, you've
got all of the same kind of brushes that you can work with, and you can also
import brushes from Procreate. If we wanna bring in any custom brushes,
we can do that very very easily. We can pull up from the top here and
open Procreate off to the side, and we can go into our custom brush settings. And I really like this bonobo chalk for
some texture ones. Maybe I would wanna bring
that into Procreate Dreams. I can click and
drag that brush across into Dreams and it's gonna import that as a custom brush. And as you can see,
I've already done this. It's my favorite brush,
I'm using it all the time. [LAUGH] Now, I've got two of them. Cool, so let's keep sketching some ideas. I think when I'm looking at a piece of
footage like this, there's kind of, let me just undo all of this. We can kind of tackle it
in two different ways. We can have similar-sized characters for
a school bus effect, or I think it could be really
nice to play with scale, and that's gonna kind of play into this
more fantastical imaginary vibe. I'm thinking Monsters, Inc kind of energy. So maybe there's something like
really big sitting behind here. We've got maybe something
really small down here and a medium-sized little guy over here. Let's start with that, and
maybe we can use that as a rough one. Maybe we'll jump onto a new layer here. We can add a new track
just to keep things clean. And I can come down in here and
you can see I've got this little, what is it called? A little clapper,
I've got a little clapper icon. I can come into here and
just bring the opacity down. We've got a few different live
filters to play with, but I'm gonna bring the opacity down just so
it's easier to work with. I'm gonna jump back onto that
new track we created and start. Maybe we could have an octopus guy. I don't like the idea of there being
lots of Of limbs hanging off the seats. Maybe you could be like swinging these
legs, and that kind of hits that shape. That could be kind of nice, you might
just drag this opacity down even more cuz we don't really need to see that size. I think that could be really cute, it's
a little smiley, maybe next to him could be like, maybe we could do some bouncing
balls and people are on the bus and I don't know someone I'm imagining
like the same way like you're spilling like a bunch of bouncy balls and
going flying down the lake center aisle. Maybe all of these little
bouncy balls could be trying desperately to stay on the seat
next to this.octopus parent. We're going with parent,
parent s a genderless term, yeah, all these bouncy balls, maybe they
could be kind of bouncing up and down next to the octopus,
who is just swinging their legs. That's kind of nice, I think I like that. And then in this back character, I kind of like the idea of
this big friendly giant thing. So maybe it could be like, I don't know, like a big pile of something,
this could be like an ice cream. So yeah, as I'm sketching, you're kind
of getting a pretty good insight into the inner workings of an artist and
all the messy stages of trying to figure out exactly what
we're trying to create here. This ice cream could be cool that's
I think that'd be fun if it was like dripping off the seat. I'm thinking about all of the chaos
things that could happen in a bus. I'm letting my mind go wild, and we really
don't need to be precious about this kind of thing, it's messy,
it's just giving us a good starting point. I don't know, there's heaps of different
things you could kind of add in here. And I think it's really nice when
you take a piece of footage and go a bit wild with creating whatever
kind of world you wanna make, especially when you're animating
on top of a real life scene. It's really like whatever is
in your head at the moment. Cool, so now I have a good
idea of what I wanna create, I'm gonna go back into elements and find
a music track to add to this animation. And it's really good to find music
before you started animating, so that you can kind of know the tone of
what you wanna try to create, and so you can time elements of
the animation to the music and even though we're not gonna do that for
this project it's still good practice. So now we're back in this music
section of Envato Elements. We've got a full library
of music to choose from, we can make this bus scene feel
however we want it to feel. So I was having a look through
this massive library before, and I found this track upbeat retro hipster
that I think will be a perfect vibe. It's got this kind of quirky tune
feeling to it, there is this horn section in the middle that I think
sounds a little bit like a bus horn, so I think this is gonna be really good. So I'm gonna download that and I'm gonna import that back
into our project in Dreams. So to do this, we're gonna come and do
the same process as with the video file, we're gonna go up into this plus button,
navigate to files instead this time, and then bring in our upbeat
retro hipster track. And you can see that the audio
track has done the same thing as the video file where it's much
longer than what we need it to be. We're just gonna move this track
down to the bottom by clicking and holding and dragging it down here,
and then we can kind of do the same thing we'll get out
of drawing mode for this and we'll be able to pan along to
that section with the horns and kind of get that nice, the best bit of
the track, all right, this section. We're so close, all right, so
we can just adjust that so we get right at the beginning of that and
you can see that I'm just going up and playing up in this little button up here. Yeah, I think that's good. So you can see that this little drawing
file is only appearing for one frame. So what we can do is, long hold on that
and we can click this fill duration, which is just gonna fill the duration and
make sure that we're able to view it for the whole time. And I might just delete this rough,
rough layer. We can long hold on the actual drawing
here and delete just the content, just the drawing frame, or I can click and
long hold next to it to delete the entire track from it, so I might just delete
the whole track because we don't need it. Cool, and we're gonna go back into
this little clapboard thing again and turn the opacity down halfway, and
this can act as our reference frame. Now, let's go up here,
we've already got a new track, a new blank track up the top here, and we
can start animating this first character. Let's go into drawing mode
off to the side here and what we can do is pull down this
timeline view to get into flipbook mode, which is gonna be a really nice kind of
like clean way that we can draw without all of the messiness kind
of cluttering our view. And it's more of like a typical procreate
view if that's what you're used to. Actually, let's just come out of flipbook
mode for a second in here by clicking this X button, and we'll just turn
this opacity down even more. Our messy sketch layer is getting well and
truly up in our business. We'll come back down
into flipbook mode and this is kind of like more traditional
frame by frame animation mode. All right, let's go with this nice
purple color for our octopus character. So we can still be a little bit messy,
I think I'm gonna fill these in to be like full solid colors so
it can be a little bit messy with our strokes because it's all
gonna get colored in anyway. And what I wanna do is just create this
top half, this body half, we're not really going to animate it too much, we're
just mostly gonna be animating the legs. So, I will show you how
to group these layers so that we can have some static moments and
just focus on what we're working with. Maybe we'll start with
something like that, maybe we'll come out of flipbook mode
cuz we're not animating just yet. And we're gonna tap and hold to fill
that duration for the whole time, so we've got this body layer. Let's create a new track again,
and we can come in and start playing with some
of these little leggies. Cool, that's starting to look pretty good. We're kind of animating in pose to pose. If you're familiar with the animation
techniques, there are some other really, really good Envato videos where
that goes into more detail, but we wanna create like
the extremes of these poses and then fill in the blanks in
between the extremes of them. So this is gonna be one of our extremes. Cool, that's looking pretty good. And you can see in this drawing we've
got basically two different versions. We've got this got just
two legs in one layer, and we've also got just
the body in another layer. So I think it's actually gonna be
easier for us to get the motion right. Let's just do the outlines of the legs for
now, and then we can go back in and fill in all of the details later. So we can move across the timeline
a little bit over to this section. And if I start drawing, over here, you can see it's Is creating a new
frame with nothing in between. So we've got this first frame,
nothing, and then we've got our new drawing
on this layer over here. And what we want to see in here,
you can see this shadow of the octopus and these are our onion skin frames. And we can edit the onion skin settings by
going up into the time code over here and we can either show and hide them or
we can change the colour so that they're maybe an opposite colour to
the colour that we're working with so we can see what we're working with. So I mean skin is kind of
like a previous drawing, you can see like the entire arc
of the of the animation, and all of the frames that combo Before it and
all the frames that come after it. So I like having a similar color for it, maybe a yellow for the before,
the backwards onion skins. And a red for the forward ones, so
there's a little bit of difference but they're still fading off
into the background. Let's come back into this flipbook mode. It's really easy to kind of toggle between
these two modes while we're drawing. I find that really nice,
just to have two different views. I think it's always better to kind of
get some distance from the animation, instead of getting so
caught up in the detail so quickly. And you can see that I can kind of swipe
along this flipbook mode as well to pan through the animation so I don't have to
go back into the timeline view to do that. So let's have that front leg kind
of swinging out for this frame. And we can have this
back leg going backwards. Something like that. So maybe for the purposes of this one,
to get the timing right, we wanna show something in this blank bit. So I can get this first frame, and
if I tap and hold on the edge here, I can drag this out, and it's gonna expand
to fill that blank space and I can, yeah, customize the timing
of my drawings in that way. So let's make this kind
of the same length. Another really cool thing with this
timeline view is that I can pinch to zoom. I've got our entire animation at five
seconds, but if I pinch to zoom just this section and I click Play, it's just gonna
show me what is in view of the timeline. Maybe let's move this first frame over,
and we actually want some
sort of anticipation. So we want this leg to
be a little bit further, I don't know if you can see what I'm doing
here, a little bit further across, so we've kind of got a little bit of a s and
then a reallly fast swing. So we're getting more frames at
the beginning when you've got a slower movement and
less frames as we're getting that faster, kind of cartoon type of animation. We're redrawing all of these back legs so that they're not completely
static like the body. The body can stay completely static. The back legs can have
a little bit of movement, so that's why I'm redrawing them. So we're gonna tab and
hold to duplicate this frame over here. We can bring this over to that side of
the drawing, shift these back across. And just reshuffle some of our drawings. We're duplicating these first couple
of frames, putting them at the end, so we can get this nice
looping swinging effect. And we can see when we click Play we're
starting to get that kind of swing. Now I'm gonna go back through and
fill in the blanks between the start and these end frames. So now I wanna start playing
with the timing of this. We can see we've got a rough
animation starting to form. We've got these legs starting to swing. I'm going to get out of drawing mode
with this little squiggly button. And if I tap on this timeline, edit view,
and select all of these drawings, and tap to hold to group,
I can move all of those across. So now we've got this group layout,
I can double tap and I can still see these individual frames,
but I can move them all as one unit. I can zoom back out. And I might ungroup that just
now that we've moved it. Cool, so we wanna pause on these two ends
of when the leggies are swinging to create a bit of an anticipation before
they start swinging again. And we're gonna do that by tapping on this
little frame and pulling out this handle. And you can see when I
pull out the handle, it doesn't actually do much because that
drawing has drawings on either side of it. So what we're gonna do is we're
gonna tap on that drawing, get the little handle edge, and
tap with one finger, and that's gonna push the frame next to it off to the edge so
we can change the timing as we please. I'll do that with both of these. As with any frame by frame animation,
a lot of this is experimentation and just trying things out, seeing what works. We'll just keep experimenting
until it feels right. And we'll know it when we see it. So I think this little anticipation frame
actually needs to be on the other side of our drawing. So let's move that and we can see that
that's kind of shifted to create a space. So we're just gonna keep playing around
with this until I'm happy with it, and then we'll move on to the next part. So using those techniques, we've gone
through and we have animated these little octopus leggies swinging, and
we can see what that looks like now. And now we're gonna add some details. So we can go up in here,
we've got a new track up here, and we can go back into drawing mode and
add some eyes. So let's zoom in here. We can add, Some eyeballs in here. And we just want it to be staring straight
ahead, little mouth as well, cute. And then what I wanna do is just go on to
the next frame and just add a slightly different version of the same thing,
not changing any of the motion, but just slightly different version, just so
it's got a little bit of movement. Like we did for the body, just so
it's not completely static. And you'll see this kinda gives it
a nice flickering handmade effect. So if I toggle between those,
you can kind of see that. I'm gonna group and
dupe all of those, group and duplicate all of those so that it lasts
the entire length of our animation. So selecting all of those in timeline
edit, grouping, and then duplicating. You can kind of do this in batches. So once you've got those, you can
group all of those and duplicate it so that you're filling that quicker. I'm gonna add extra one here cuz we're
working with an uneven number of frames. So back into drawing mode. I can see that onion skin
of where we were, awesome. So let's go back in here and
go back into timeline edit, group all of those details now. If we zoom in here, we can just view
this section of the animation, cool. Let's go up into this track up here. And we can add some little shoes in here, as well as some other kind of little cute
details to this character to give it a bit more personality than just
blobby shapes floating around. Maybe going into flipbook mode for
these ones. I'm just gonna draw these little,
little shoesies on his little feeties. Think something like that could be cute. And with this one we're gonna go with
through each of the frames to make sure that these shoes are moving with the feet. So I'm gonna go ahead and do that now. All right, so coming out of flipbook mode, we're just gonna view all these
little shoes that we've done. And I really like how this kind
of has this hand drawn effect. I don't think we need to be too precious
about making everything look perfect, we're making a handmade animation. So that's looking good,
we've gone through each frame for each of these, and
we're gonna group those layers as well. So back into timeline mode and
grouping those. I think it's really good practice
every time you're doing a new detail, making a new track for it,
just keeping everything separate, it's gonna be much harder
to separate things later. It's kind of good practice
when you're animating. So our next track. Let's start making them look
a little bit like an octopus. Make some octopus suction bit Bits, octopus suction bits,
[LAUGH] the official name is bits. Cool, so just coming in here and using
the same techniques that we've been using. Frame by frame animation
is a lot of repetition, a lot of going over the same thing. And something that maybe you found really
difficult at the beginning starts becoming second nature when you're doing
it over and over like this. So just going frame by frame, moving these
little suckers as the legs are moving, and I can also pan the flipbook like this
and start seeing a bit of a rough motion, or I can just tap onto the next frame and
move like that. Cute, all right, let's come back out of
flipbook mode and see how that's looking. I'm pinching the timeline as well so that we're viewing just
exactly what we need to see. I think that's looking really cute, I think immediately adding this details
has given it so much more personality. So I think let's group all of these, and
we can move on to the next character. Go back into Timeline View,
grouping all of those. Now, for my favorite bit, where we
select all of these details of this one character, and we can group
the whole thing until it collapses into a nice little stack, so
I can move on to my next character. We're gonna use similar techniques on what
we've just learned and we're also gonna add in some new ones, like the duplicate
function, to save us some time. So moving this octopus character
down to the bottom and we can work on a track above. Maybe we can go into this clapboard
setting, use this Filter button and bring the opacity down
a little bit just so we can focus on the character
that we're working on. And you can see that that has made a
keyframe in this little timeline section. So if I wanted to,
I could use this to reduce or increase the opacity through the timeline. If I click on this button,
I can play around with some settings. Handy to know,
we're not going to do that this time, we're just gonna keep it low key,
just keep it on that opacity. So if we have a look
at this drawing again, we've got this bouncing
ball characters over here. So I'm just gonna keep that on for this first frame just to get a good
idea of what we're working with. And let's go with this
bright tennis ball green. What we wanna do with this
character animation is a squash and stretch animation technique, which is
basically when a ball kind of goes, and a ball is a really,
really good beginner example, very simple, affected by gravity in
mostly the same way. When the ball is moving up in space,
it's kinda being stretched by gravity, and as it's coming down, it's being squashed
and kind of flattened out by the movement. So that's the kinda technique, and we can really exaggerate those movements
to create a cartoon-like animation. So what I wanna do is
have this ball shape. And if I go on to the next frame,
maybe I'll just duplicate this, and what I can do is manually move it. Instead of drawing another ball beneath
it, I can come out of drawing mode and go back into timeline, go into this mode,
and I can just tap on this and then move this manually
wherever I want it to move. So I can have it kind of coming down here, which saves me from having to
redraw it every single time. You can retain the actual essence and the shape of it without having to
guess what the object looks like. Cool, so going back into drawing mode. And you can see that you can only see
these onion skin layers when I'm in drawing mode as well. So having it come down like that. And when it gets down here, we want
it to kind of squash out like that, and I'm really exaggerating that shape. Go a bit crazy here, depending on
how exaggerated you want it to get. I need to group these elements to
be able to move them all along the timeline as well. Can't just move individual
elements at this point. Let's ungroup that. And when we go back into drawing mode, so
when it's in that kind of mid position, we want it to really stretch out, And have this really long elongated
ball shape like that. So now I'm gonna go through and
draw this ball shape, making sure that it's squashing when it's
hitting the ground or the bus seat, and stretching when it's in
that midpoint in the air. All right, so I've gone through and
animated that ball, and I've basically duplicated on either
side as well that motion so it's coming down in the same way that it's coming up,
which I think looks pretty good. I'm gonna a group that so
that we can move all of those frames, oops, all those frames across. Yeah, I think that's looking much better, it's got a little bit of
a kinda syncopated motion. So what I'm gonna do now, I wanna create a few of these
little bouncing ball characters. I can definitely go through and use these same techniques to
create some more characters. Or I can duplicate this animation
that we already have and offset the timeline so
that we have a full little family. So let's group all of those,
and we'll duplicate it, and let's just put that onto a track above. And you can see I'm gonna offset the time
so that it's starting a little bit later. So I can come back into this editor and
I can shift this one off to the side, so you can see. And if I play those, you can see that
they're both moving next to each other, but it's a little bit more interesting
than just both of them being like [SOUND]. Let's make a third copy as well. What I can also do with these offset
copies is I can change the scale of them, kind of create a little bit
more visual interest there. I could change the color, I could do
a whole bunch of things to make these look unique, but I'm just gonna play
with the scale for this one. So let's use that little tab there and
make sure that once I've changed the scale,
it's still squashing at the same height. They're all, yep, cool. Let's make this one a bit bigger,
go a bit crazy with it Make that one something like that. And if I kind of pan to the frame
where we get this big squash motion, that's the point where I
can move it around and make sure that it's sitting
in the right section. Let's see how that's looking. Cool, I think that's looking really cute. All right, now that we're happy
with how that is looking, we're gonna add some details to kinda
differentiate these little balls, make them look like we haven't
just copied them across. So let's start with this first one, and I'll click this plus button,
add a track above it. And I'm gonna go through and add a little
smiley face that kind of rotates and squashes and stretches in that
same motion with the ball. Cute, and
maybe let's come down into flipbook mode. I love being able to just
see what I'm working with. And you can see that when
I'm doing that smiley face, it's a regular smiley face when A ball
is circle, and when it's stretching, you're also stretching the graphic
to exaggerate that effect. Cool, so I've gone through and I've added some unique little smiley
faces to each of these bouncing balls. And maybe we'll turn the opacity of
this octopus character back up to 100. And I can delete that key frame
by long-holding this as well. And you can see if we move that octopus
character above, you can kind of see we're losing a lot of the motion
of that bouncing ball character. I just make sure I'm grouping
all of these layers as I go. So I'm moving everything in unison. I might move him slightly over, so that you still see the animation
we've worked so hard on. And now what I'm gonna do is I'm gonna
duplicate all of these bouncing balls and make sure that they're looping
through the entire timeline. And what I wanna make sure that I'm doing
is when I'm duplicating the ones that we've offset the time for, making sure
that there's a copy at the beginning where that little gap is, where we've offset it. Just so they exist from the very
beginning of the animation. So we're just gonna keep grouping and
duplicating, which you can see why it's really
important to make an animation that you're really happy with before you start kind
of extending it through that timeline. Okay, cool, so lets go ahead and
watch what we have made so far. We've got the little
bouncing balls characters, we've got the little octopus swinging
the legs, we've grouped everything, everything's condensed, and looping. So now we can move on
to the next character. So let's just toggle on this drawing layer
again, the original sketch layer, and we can see our next character,
this ice cream guy in the back. And we're on a new track up here and
we'll go back onto draw and paint mode and back into the flip book view so that we can start sketching what
we want this character to do. We are gonna do a similar process to,
as with the octopus, and have the cone of the ice cream and this top bit of
the ice cream just be one layer, and then we're only gonna animate That
bottom part that we want to be moving. And we're doing that just to save us a bit
of time instead of having to draw out every single frame of every single
part of the animation because it's already very time-consuming. We can have this cone kind
of resting on the seat here. I'll just click and fill that, Cool, and maybe we can make
a second version as well. I know that we say we're gonna
keep it completely static. But I think we'll do the same thing with
the octopus where we have two different layers kind of of the same thing
without changing the motion. Just have a flickering kind of motion. Now that I've got these two drawings of
the cones, I'm actually gonna pull these out and change the timing a little bit so
that we're animating on twos. So we're gonna click and hold to pull
that out and just grab this handle and make sure that this drawing is lasting for
two frames instead of one. And then just gonna group that and
duplicate it so it lasts for the whole animation. When we're animating on twos, instead of
drawing a new drawing for every frame, we're basically creating a new
drawing every second frame, which gives us a very choppy animation. And especially when you're combining
it with animating on ones, you get like a really kinda cohesive,
interesting looking animation. All right, let me just group and
dup these. We're gonna group all of those together
and we go back and watch this, we've got kind of like a very
subtle movement in that cone. So let's go on this plus button and
we can add a new track and we can start animating this ice cream pot. And I really like mint ice cream. So let's find this like nice bright, minty green color to work with. Cool. All right,
let's start drawing this ice cream cone. We can kinda keep it a bit messy again,
cuz we're gonna be filling in the shape. You can see that I'm drawing
the entire shape of the ice cream, even the parts that are gonna
be hidden by this bus seat. And I'm gonna show you how
to mask those out later. But I think it's a lot easier to draw the
entire shape instead of trying to guess what bits you can see,
what bits you can't see, just draw the whole thing,
we can work it out later. All right, let's start with
something like that, cool. So now we've got this basic
shape of the ice cream. We're gonna tap and hold and
go to this next frame. And actually, I might come out
of flip mode really quick and hide not that current. I'm gonna hide this, our octopus character
and our bouncing balls just cuz they're animating off in the background and
I'm distracted by things like that. So we can just focus on the ice cream
that we are eating, animating, eating. So we are back in flip book mode and we can still see this basic
shape of the ice cream in here. And what we wanna do,
I'm just gonna focus down here, but I want to create this
dripping type of thing where we get a big blob of ice cream. So just moving along the timeline here and
creating a bit of like a slower animation. So lots of frames equals slower animation, to create a bit of
anticipation of this drip and having it come in at the center here and
kind of blob out like that. And then that's gonna separate and
become a blob of ice cream. And we're using the same
kind of like stretch and squash effect from the bouncing balls to
have that go from being a perfect blob and then shooting kind of stretching
downwards as it's falling. So we'll go ahead and
do something like that, and it's not falling very far so we're gonna
have just one frame in the center and then it's gonna go splat at the bottom. Maybe we can have one where it's like, about to splat, and then like that. Come out of flipbook mode with this
little X and see how that looks so far. Cool, I think that looks pretty good. Maybe we can add a couple
of frames in here, cuz we want this where the noise
animation is gonna loop a few times. We can add a couple of frames in here
where our little blob of ice cream that's just dripped down. We can keep him on for
a couple of frames, and then maybe starts shrinking down, so
we get a little bit of a cleaner loop. You can see we've kind of lost this
onion skins of the ice cream here, so let's go ahead and
go back to the beginning of the animation. And we can copy the rest of this body
up here over the rest of the frames. So I've drawn most these
little ice cream frames now. So let's just go back and
see how that's looking so far. You can see that most of
the body of the ice cream is, it's mostly the same shape but
it is changing a little bit. So I just wanna make sure that by
the time I get to the end of the frame, I'm still got the same
shape of the ice cream. So I might just take this first frame and
I will duplicate that, and you can see when I duplicate it, it's
pushing all the rest of the frames out, which is not what we want right now. We wanna take this copy of the frame and
put it at the end. And I'll just move this
first frame back so that it's connected with the rest of them. But that's just so I can use this
as a As a reference layer, and make sure that the frames at the end of
the drawing still have the same shape of ice cream as the frames at the beginning. So that's important if you wanna create
a really seamless loop of your animations. So you can see that that one, that copy
has pasted to the end of the thing. And now if I go back to that
last frame that we drew, we can see that copy as an onion skin. So I can kinda copy
the shape of the ice cream. And you can see from that copy that
we've changed a lot in the shape, just in the human nature
of drawing things. So we can use these last couple
of frames to get back to the same shape as the beginning. And then animate back into the same place. All right, and then just making sure
that we're deleting that last frame out now that we don't need it anymore. Making sure to group so that we can
move it all back into the same place. Cool, I actually quite like that the ice
cream is jumping around a little bit like that. I'm near offset without animating
on twos for the current, I think it's got this nice kind of like,
I don't know, like a syncopated effect, this blob kinda coming out. So we're gonna go through and fill in
all of these frames with our color and tighten them up a little bit. All right, so now that we've animated all
of these frames, let's play it back and see how it's looking. Oops, and
I have missed one little drawing in here. I'm just gonna make sure that that is all. Oops, all filled in. And we've also added a couple of extra
frames where there's no ice cream animation happening, just to give it a little bit of
breathing room from the loop. So it's not just like drip,
drip, drip, drip, drip, drip, you've got a bit of space
in between the action. So now that we have this whole
animation of the ice cream, we're gonna work on masking the part
that's behind the bus set out. So to do that, I'm gonna group
all of these ice cream layers and then group them together with the cone. Work in sections, I find that
a lot easier when I'm grouping, so it's not like everything
all stuck together. And then on the track above, what I'm gonna do is I'm gonna
go back into drawing mode and switch to a studio pen or something with
like a harder edge, not any texture. I'm gonna change the color to
something brighter we can see. And what I wanna do is just
follow this edge of this bus. So basically the last little bit that
you could see, of this ice cream layer. So we're just gonna draw this section, and
that's just gonna create our mask layer. Coming off to the edge here and
just fill that all. And then there's not really any animation
down here, we just wanna be safe and create big enough masks in case we
wanted to add some more elements in. So just on that one frame there, and then
what I'm gonna do is turn this ice cream layer back on and make sure that this mask
layer has filled the entire duration. And then if I come into the settings again
here and click Mask, Layer Mask, what that's gonna do is create a layer mask for
whatever drawing is underneath it. You can see that they've got the ice cream
underneath here and it's only gonna be playing within that shape that we've just
created, kinda like a window or a frame. And you can see that if I come back into
our drawing, when that track is selected, I can still see the entire drawing. So I don't need to keep kind of hiding and
showing the mask, I can come in here and
change anything that we need. So if I come out of there and play,
we can see what we've got so far. Awesome, I think that's
looking really good. You can see that because this shot
that we have isn't completely static, we're on a bus, here. It's not completely still, we can see that
the shot is moving underneath the mask. It's kind of moving off
to the side a little bit. So we can fix that by coming
into our mask layer here. What we're gonna do is tap on this
little clapper board icon here and click Move, Move and Scale. And then we're just gonna manually
move that mask just off to the left a little bit to match
the footage as much as we can. It's not gonna be totally perfect,
we could go through it in every frame and kind of individually make sure that each
frame is lined up and get it really, really granularly perfect. But I think for ease of time,
this manual move setting is a really, really good way of
getting the same effect. So we're going on the x-axis here, and we wanna pan across to that footage and see where the footage stops moving across. So I think it's gonna be
about at the two second mark. So if I zoom in here again and
come down, if I tap this X button, that's gonna create a new frame. You can see that the ice cream
is not quite long enough, so let's duplicate that and make sure
that we see what we're working with. And we'll come across here and
just move this mask layer across both. So we're just gonna play with
the timing a little bit here. This can take a little bit of fiddling
just to get the right movement, and depending on what footage
you're using as well. But when you've got it,
you've really got it. Cool, that's looking really good. And we've got a little bit of a rogue,
okay, we've got a missing ice cream, which we're gonna fix. I know you saw it, and
I have seen it now too. So to fix this, we are going to
come into the group in here, I'm just gonna ungroup it for now, and then ungroup this ice cream layer as well, come to the end of this missing ice cream. And I'm just gonna do a sneaky and
duplicate one of the ice cream frames instead of drawing a whole new one,
and rearrange the order. Cool, all ice creams are counted for. So we've got this animation of the ice
cream and now let's work on some details. So working on a new track, let me
come back into Flipbook mode, just so I can see what I'm doing. Let's make a little eyeball here. Kinda like the idea of this ice
cream character being a bit larger than live eyeballs looking out. And what we're gonna do to animate these
eyeballs we're gonna do a slightly different technique this time,
we're gonna use the performance mode. Which I think is actually quite
unique to procreate dreams. What we're gonna do is go right to
the beginning of our animation here and click on Performance Mode, you can see
that it's ready to capture anything. We're gonna tap this little record button,
we can see that we're ready to go. And basically, as soon as I make any
kind of movement with the pencil, that's gonna start recording, and
it's going to create some keyframes. So we've got this looping animation,
I wanna watch the playback, go through this entire animation and
have it melting down from start to finish. So we've got a bit of a difference
of speed of animation, we've got the thing looping
in the background, and we've got one thing happening through the whole
animation, just for a bit of interest. All right, we're ready to perform. So we're gonna have this
slowly melting down here. I'm gonna stop here. Cool, I'm gonna go back to
see what that looks like. That looks pretty good. Sometimes it takes a few goes
to get the right movement, but I think I actually got
it first time round. And you can see,
if I double tap to zoom in here, you can see that it's created, if I
expand this move and scale, it's created a bunch of these keyframes through
the animation, which is really cool. And what I might do,
I'll come back to the beginning here and I'll come down to this bottom one. So I'm just gonna add in some manual
kind of rotation frames down here. Kinda pan along,
tap to create a new frame, and then just put in some
random numbers in here. Maybe you could be just
a little bit of rotation, maybe a little bit more than that. And making sure that they're
kind of at random points, making sure they're not too uniform,
just a bit random. Actually think I like it just
rotating all in one direction. So I'm just gonna delete
that middle keyframe out. And just have the one actually,
let's just have the one kind of slow rotation,
and then back up. Awesome, that looks pretty good to me. Let's collapse these move and scale. And we're gonna duplicate
this entire eyeball. It's gonna automatically
put it next to it, but I'm gonna bring it up
onto this track above it. So I'm gonna delete all of these
keyframes that we have just made, and we're gonna capture the same kind of
movement, but in a different position. You can see I can tap along here and
I can delete the entire translate, instead of going through and deleting
all of these individual keyframes. So I'll come back to the beginning, and we're gonna pop you about here. And rotate around the other way, so it's kinda looking out in
all different directions. And we're gonna do the same thing
with our performance mode and scale out so
we can see the entire timeline. And we're gonna tap on this performance
mode, and we are ready to record. So let's have that moving down. Cool, I think I just stopped
a little bit too early, but let's see what that Is looking like. I think that's looking really cool. I really like that motion,
so I don't wanna re-record. I'm just gonna come in here and
move these key frames manually so that they last the entire
duration of our animation. I think that's looking pretty good. I don't think I like it when these
eyeballs come right close to each other, so I might just move them. I'll just manually change this last
keyframe to just be a little bit. And you can see, actually,
that I'm still on performance mode, so it has started recording again,
which I don't want. And we're just gonna move that last
eyeball a little bit further across. Let's see what that's looking like. I really like this rotation that we've
got from the last animation, but let's add another rotation
keyframe over here. So we'll pan across, come down here,
and just tap this little button, and we can have it rotating
back around the other side. Sometimes it takes a little bit of
manually adjusting as well with this performance mode. Kinda gets you 85% of the way there,
which is a big helpful chunk. [LAUGH] Awesome,
that's looking really, really cool. And you can see right at the end, this
eyeball is coming outside of our mask. So what we're gonna do now is group both
of these eyeballs and make sure that they're sitting underneath our layer
masks so that they're being hidden. Let me just go ahead and make sure all of these ice cream layers are grouped. I got one big ice cream group. We're gonna move this
layer mask above here, And group, add details and our ice cream body. Make sure it's sitting directly on
the track underneath the layer mask. And now you can see that the layer
mask is affecting all of the layers, including this little eyeball. So now that we have this kind of
completed character animation, we're gonna add some texture, which
is really gonna be the cherry on top. And let's start adding some texture to
this ice cream character that we've just made. So I'm just gonna hide our octopus and bouncing balls for now. And gonna come back in here and ungroup so
that we can see these different sections. I'm just gonna ungroup all of these, and
we basically wanna create a master layer. Now that we're happy with the looping
motion, we wanna create one track with the cone, one track with the whole
ice cream melting animation, and one track with all the details. [LAUGH] All right, so let's just move all of these ice cream
animation layers up to the top and get them out of the way for now, and
we'll just focus on this cone layer. So we'll make a copy of our cone layer and pop that on top of the original
cone layer on a different track. And we're gonna be adding a bunch of
effects onto this cone layer to create some texture. So if I click our little clapboard,
and click onto the filter, we gonna add some noise in here. Can we just move this out of the way so
we can see what we're doing. And if I play with this noise, you can kind of see that it's adding
this nice kind of grainy noise effect. And also affecting the color,
which I actually don't mind, it's kinda giving it a bit
of something something. I play with the scale on some of these
settings in here until I'm happy. I want something subtle, something like that,
I think could be nice. And you can see, because I wasn't right
at the beginning of our animation, we've added an extra keyframe. We're actually gonna delete that one out,
but we are gonna animate it. So we've got this nice noise texture now. It's static at the moment,
which I think looks not too bad. But if I pan along to the end of
the animation, right at the end, add a new key frame in here. And if we go into Advanced Noise,
we're gonna play with these settings and use this Travel button to make
the noise kind of flicker and animate. So if I just have those two keyframes
like that, we can play and we can see we've got this kind of TV static effect of
this noise, which I think is really cool. It's quite a bit of a contrast
between the two styles, so I'm gonna add another filter and
add a bit of a blur, this Gaussian blur, and it's gonna
soften it as well from the edges. You can kinda see it's
blurring the whole thing out. But when you click this blur,
you're making it so that this noise effect is only
happening in the center of the object. So if we have a blur, something like that, maybe 24, 25%. And you can see, again,
I've done it again, I wasn't at the beginning of the
animation, so it's created a key frame. But what I can do is just move this to
the front, which means that it's not really animating,
it's just affecting the entire layer. Awesome, so now that I'm happy
with how that effect is looking, I'm gonna create another copy of our
body layer, or our cone body layer, and pop it right at the top again, and
that's gonna become the layer mask. So, similar to how we masked
out the ice cream shape, we're now gonna mask
out this layer effect. So I'm gonna Mask > Layer Mask, and
now you can see that all of that blur that was coming out the edges has
been contained in the body. So now we have this nice, very subtle, but I think it really is the cherry on top for
this animation. So now that we have our texture finished
on the ice cream cone, I'm gonna go ahead and use the exact same techniques
across the rest of our characters. But that's a lot of repetition
that you don't need to see, so, with the magic of editing. [MUSIC] And there we go,
that's the final animation. I'm really happy with how it turned out. As I was finishing off the texture,
I felt like it needed just one more thing to bridge the gap between the footage and
the animation. So I jumped back on to Envato
to grab a texture pack, which I then poured it over
the top of our final animation. I think it really just ties
the whole thing together. So there you go, a fun, cute, and a little
weird animation done in Procreate Dreams. If you followed along, I'd love to know
what characters you came up with, so let me know down in the comments. And until next time, happy scribbling. [MUSIC].
