2D Long Flat Shadows in After Effects | Andrzej Pach | Skillshare

2D Long Flat Shadows in After Effects

Andrzej Pach, Animation all the way!

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
7 Lessons (40m)
    • 1. Introduction

    • 2. Your Assignment & How to finish the Class Project

    • 3. Technique 1 - Radial Blur

    • 4. Super Useful AE Hint (SUAH) - Growing bounds

    • 5. Technique 2 - Repeater

    • 6. Technique 3 - Drop Shadow

    • 7. Thank You!


About This Class

Learn 3 different techniques to create 2D long flat shadows and add them to your motion graphic compositions. We will take a look and create those popular long shadows which are very popular amongst the designers creating on the current flat design trend. You don't even need to have a project to work on - I have created a few sample animations which you can work on by downloading the attached project file.

The shadows will be dynamic, which means they will react to any movement that will be going on in your composition. I will show you how to save them as a preset for future use, how to link the shadow itself to a null object and much more handy quick tips like that.

A few benefits of this class:

  • Get started with After Effects the right way, learn essential tools & a proper workflow
  • I will touch on topics like precomposing, growing bounds, effects, simple expressions and more
  • We will use the repeater, work on shape layers, create shapes, duplicate layers etc.
  • We will be using only build-in effects
  • You will learn 3 different techniques to use
  • We will save animation presets for future use
  • Modernize your compositions - use it for any project
  • Learn to have fun inside of After Effects with a new technique

...What are you waiting for? Enroll now and let us start applying modern flat shadows to our animations!


1. Introduction: Hello, everyone and welcome in the two D flat shadows in after effects class. In this class, I'll make short or the hands your design and motion graphic skills by applying trendy looking fat shadows to our compositions. We will get our hands dirty with several effects. Shape layers. The repeater will manage simple expressions by using the Pickwick and really many, many more. We learn three different techniques we will use only built in after effects tools, annual safety presets so we can use them in our future products. For the class product, I have created a few sample animations you can use to try out the techniques life while watching electric. Apart from that, I will share some super useful aftereffect toe hands, your workflow and teach you some important tricks. So let us have some fun together in after effects, jump right in and role in the collapse. You inside 2. Your Assignment & How to finish the Class Project: Hello there. I'm glad you make it true. I want to show you what is your assignment and how you can submit the work. You're complete by working with me inside of the classes. In the resource is you're half a file where you have four sample animations which you can use to create the flat shadows you can use off course your compositions. But if you don't have any animations ready, you can take this file and simply work on it. Okay? I've completed one animation here where the shadows flies around. It was completed in one of the lessons you will see this very soon and what to do. Once you are ready with the assignment, I want you to submit a screenshot off the work you've done or an entire animation. If you play some key frames and animated this holding once, you already with the animation hit control or comment shift and ford slash This will add the animation to the render queue. Choose the output model so the video won't be too big. I am using, for example, the H 264 Kodak and in the format options, I have 30 target bit rate and this great not too heavy MP four file which I can use to showcase my work. I hit Render and I wait for the ready file. Okay? The render is done to showcase my work. I want to create a gift file and the time nail for my project. It will be perfect if you have Photoshopped the CS six extended version at least where you can simply import video frames. Two layers. Select the file you have rendered double click on it, Just hit, OK, and the animation will automatically import in tow. Folder shop. I can select now any image I want for my time. Male. Let's say I select this. I just hit file safe as I say the file as a time male. And then when I want to create a gift, I goto file say for Web and I create a gift file, I wait a moment until it loads. The gift file is now pretty heavy. It's two megabytes. I make it smaller to do it off. Example 500 pixels. I can lower the color amount. I can lower the deter toe, make the file size even smaller, but I think that's not necessary here. I saved the file and I have a ready gift. I can upload toe our assignment. Once you have two ton male or even the gift file, you can go inside the class hit. Start your project. Give a title. Choose the photo for the time Nail. I'll choose this photograph I've selected. It takes a while to upload. I hit Submit. I press here. I tell what I've done. This is mowing approach and I showcase the gift I've created by hitting Upload photo and choosing the gift file. This is all you have to do to submit your project. Then hit. Create project and you are done. The entire work is ready to showcase. I will be really, really happy to see if you were put this information to action and create products off your own. Thank you for your attention in this preparation lesson. And now we can have over straight to the content and start designing are flat. Shadows will start out with the first technique using the CC radial fast blur. See you there 3. Technique 1 - Radial Blur: Hello, everyone. I'm excited to be able to teach you this technique on making flat long shadows and adding them into your composition. I have prepared some simple animations, so you don't even have to have a composition. If you want to train those shadows, here are a few really simple, simple animations. So you can just download this file from the resources and work on it, and you will be able to train those shadows alongside with me. Okay, let's go to the first technique. It will be really fun, and there is a bunch of useful tricks I want to show you. So let's get started. Opened up your favorite animation toe, which is after effect. And if it isn't, it will be because after effects is so awesome. Let me show you the first composition I prepared here. This is a simple animation where a timer icon and attacks appears on the screen and they fade out later on. As you see in the compositions, we have time, which is the text and the time icon, which is the orange timer I can't have off. You have also the original text. If you would like to change the text or use it for something and the background. Now we will at the shadows to those two icons. We will prepare all the effect. We'll save them. It's a preset and then we will be able to drag them into our composition. With one click, I will no longer bother you with an introduction. Let's get to work. I will select the first layer, which will be the time, and I'll go straight to the effects and preset panel. If you don't see this panel, please goto window and open up Effect and presets in the effects and presets. Type in cc radio fast blur. This is the first effect we will need to complete our long shadow. So I just double click on the long shadow to attach it to this layer. The effect is already applied and the change we need to make here is raised the amount to 100. This will be our base for the shadow, something useful to know here. This center property will determine from which angle the shadow will be displayed. We can off course adjusted later, but it's important know about this already in the first step, we have several more effects that let us continue. If you have after effects opened, you applied the first effect and raise the amount 100. We can now continue. The second effect we need is Matt Choker. You can write choke, and please apply the Met choker effect by double clicking on it or dragging it over to the effects control panel. Once you have the meth choker applied, please lower all softness levels to zero and the choke one toe a negative amount. Let me do this right now. Geometric softness. 10 gray level softness. 10 Geometric softness to it was zero by default and ray level softness zero as well. Now you can go to the last effect, which is choke and put it to a negative number off minus 1 27 You can already see what this effect does. It chokes the entire Matt we have above, which is the CC radio fast bowler. And without any softness, it creates a crisp flat effect. If you would play around with the softness is it would really disturb the effect we want to achieve. So this is the second effect. You want to have applied, Sisi radio fast bowler and met choker. Now it gets really, really simple. We'll use our favorite effect, which is the fill effect, because we want to have one caller across the entire shadow. So I choose the fill effect. I place it under the mat choker and I change it color to a dark one. Let's say I want a similar color to here. So I picked whipped the background color and I just lowered the brightness to, for example, this amount. All right, this looks need and what's beautiful Here. We can play around with the fill color and opacity to create the effect we want to achieve . For example, if you want a really, really light background, lower the opacity to the amount you want. I want a really deep heart visible shadows. So I will go to around 50 maybe 40%. All right, now we have the last effect to apply to complete our flat shadow. Apply to this layer. The last effect will be cc comp aside. Apply this effect uncheck rgb only to have both layers visible. The most important thing here will be the choice off the blending mode. I will stay with in front, but you could also go behind. If you have more layers with those shadows, this will play a big role. But right now in front is perfect. Let's stay with it. And the C C compa site is a flight. If you go to Wikipedia, you find out that compositing is the combining off visual elements from separate sources into single images, often to create the illusion that all of those elements are one image. And C. C compa site does exactly that, and you can remember about this effect in your future product off course not only on this long, flat shadow. If you have several effects applied, and they make your main layer invisible because they influence it so heavy. C. C. Compa site will create an illusion. And this late both all the effects you have applied and the original layer because normally without cc campsite, you would have to copy this over. Kill older fact, and you would have two layers, one for the text and one for the shadow. But this is a in perfect solution. You want to have your project as light as possible, and you only want to have one layer instead of two. So you use a CC campus site. You delete this old layer because you don't like it and we are ready with the flat shadow. As I told what the downsides here are, it's not perfectly peril. This is a great technique because it's so simple, so quick, and it creates a really lively free effect. If you have a displacement like I have here, just select the layer and move it one frame to the right. Now it will work perfectly if not just safe the product and reopen after effects, perhaps, is something with the buffer size. I'm not completely sure, but it isn't a big problem. Just reset after effect. If you want to shift the light source, just click on Sisi radio. Fast blur. Click on center and place the center where you want. You can, of course, key. Frame it, move it over time and place Dickie frames somewhere else so the shadows will be really life invisible. So what do we have to do now? Select all four of those Effect hit on animation. Safe animation preset. I will save it and name it ls technique one. And right now in our effects panel under and nation presets. User presets. I have all s technique. One, if you can see it, just right. Click here and refresh the list. Now let me make the timer. I can finally visible. I have the time. I can select it now I just double click on this technique. And Lola I have to effect. Already applied. I can just shift the center and we have our composition ready. Their long, flat shadows are applied and what's most important, they are dynamically reacting to the composition. As the animation flies, the timer icon goes in and the shadow reacts to it as it would have a light source. And in a matter of seconds, a really great flat shadows are applied to this composition, a super useful after effects hint. And what I like to do would be creating a no control layer to control both shadows at one time. Let me show you how to do this. I right click, click a new and create a new no object that you may be. Call it light source. All right, I have the light source. I click on the light source on I press p to bring out the position of it. Now it click on my text and on the CC radial fast bowler, we have our center property. Now watch how simple it is to connect both of these. I goto cc radio Fast blur I had left old or option key. If you're on a Mac and I could hear on the center property, I click the little stopwatch and it automatically opens the expressions for the center property I just used up equip and I link it with the position property off the no object which is the light source. I do the same for the second For the timer icon, I click once again here on the center by holding left old I click I used the pick whip and they combine it with the position. What do you have now? Our no object will determine from which position the shadows are displayed. Since this new object is linked with the center property off this effect, little deal as a light source and I could, for example, hit a key frame on this second hit the key frame. Move it over. It will automatically create a key frame. Maybe going, Go back a little bit. I want to have it just like a son. I may be play around with the handles a little bit here. More like that. More like that. More to the top. Okay, and now it create a little sun effect. On this point, it travels along with the icons. I hope you really like this. First they need. It has some pros and some cons. For example, it doesn't create a perfectly perilous shallow, but that's also a benefit because it looks more life more fluent and really dynamic once you place it into a composition and it gives it a little bit off a cartoonish style, so it's a really, really useful thing to use. Also, it's so simple to change the opacity and off course to apply it. I really hope you got curious and want to learn more in after effects and to create those shadow. If you are interested, please proceed to the next lesson where I will show you something important to know about compositions, and this will be really something useful for all your future. After effects products, you will be creating 4. Super Useful AE Hint (SUAH) - Growing bounds: right now, this effect works perfectly because it's applied to a shape layer. But let me show something important an after effect. But you should know about I would drag a simple icon from my project files. I'll drag it into the composition, make it visible here and now. I would like to show you a super useful aftereffect sent if you have some logo fires or some illustrator files and you take them straight inside the composition as I double click on it. You see, the layer itself is very small, so if you would direct this effect, the CC raisel fast blur on this layer and raise the amount. It would not go over the bounce off the actual layer, I said. This can't will be awesome. So there are a couple off ways how you can fix that. The 1st 1 is pre composing by hitting control or command shift. See pre composing it, and now we have a composition. The composition can be easily resized by hitting control or command K and making it simply bigger. This isn't the perfect solution, but it could get the job done if you would have to composition big enough and much, much, much better solution, especially if you have vector icons, is right clicking on it and going to create shapes from vector layer. You can also go to layer and hit create shapes from vector layer. As you see a shape player has appeared and the shape layer has no bounds because it's a vector icon, and if you drag the effect on such a layer, it has no bounds, and it can be scaled infinitely. Another little solution is to use the grow bounce effect. I found out that this effect doesn't work on all layers, but you can always try. I believe this time it isn't working properly, but there are some object which grow bounds helps. If you perhaps used to trap coat suit and have the red giant software installed, it comes with RGs. Grow bounds. This is a much better plug and than the actual native after effects plug in, and if you have this plug in, it will be no problem because this grow bound really works. All right, thank you for tuning in for now. That's it. I hope you will remember about that and always tried to use vector icons for your compositions because they're easier to use. You only write like and create shapes from vector layer, and you have no problem working inside off after effect. And if you lose your project files, for example, you delete this icon on your hard drive. You still have this shape layer, which is built in in the safe after effects file, so there would be no problem working with it. Thank you. And let's work on the next flecked shadow technique, Richard, by the knowledge we have until now. 5. Technique 2 - Repeater: Hello, and welcome back to the next lesson where I'm trying to teach you several ways off, making flat shadows and adding them entire compositions. We have our simple animation, the light sources flying above it. And the first flat shadows have been applied to the long shadows. Number one animation. Now we're heading to long shadows to anyone toe at flat shadows to this animation. Perhaps so it will be easier for us to start out. We'll use only one text, so I d select everything else. What? This left. I also want to hide those layers so they will not get in the way. For that, we can use the shy option. The shy option allows us to hide each layer we don't want to see at a given time. So I want to hide all of these other layers apart from the background and the actual aerial work on. So I click this little icon. If you don't see this Aiken, you can toggle The switch is and motives here and now we just have to activate the shy option for the entire composition. Once I hit that, all layers are hidden. Okay for this technique will use the repeater to create nice, very parallel flat shadows going from this work. So we need shape outlines. If you have a text layer that may quickly unshaved um, if I would have a text layer, this will be the original layer and this would be our shadow. So if you have only a text right click on it and it create shapes from text this way you will get the text and the shape layer. Okay, I'll once again shy. Everything. I have a shape layer, not attacks. So I simply duplicated I want to duplicate it and I want to rename it so it'll be easier for us to work on it. I hit, enter or return. If you're on a Mac and I right here, shadow and here hard text. Well, let me check. It isn't actually that hard, so it's a really light text, but okay, we have the two layers. Now let's start working on the shadow. I opened up the shape layer. I see some key frames are already here because this is animation, but that's no problem. I just keep ad and I'll at a repeater. This is a very simple way off repeating one layer so many times that it will create an illusion. If it would be a shadow to do this, go to the repeater. Open up the repeater. We will later on work with the copies. But right now we don't need much copies. It can stay a three or nine. It doesn't matter. You only have to open transform the repeater and work with the position. What I want to achieve is right. One pixel here and one pixel here. This is the X axis, and this is the Y axis. This allows us to create a shadow by moving over the number of copies we have on this object. As you see, the more copies I create, the bigger the shadow get. Now, of course, as previously there are pros and cons to this technique. The biggest prose is that it is perfectly peril and it so easy to set up. But the downside is that we need to work on two layers if you want, for example, this shadow to go to the left here. This is no problem. You just has to work with the position. Let me open the position. I right. Click on it, and I edit the value. If I said it to a negative one on the X axis, the shadow would go here. The same goes for the Y axis. Now the shadow will go up. If I would leave the X and a positive one, it'll go here. So depending on which angle we want to achieve, you have to work with the positions. You have to acknowledge that this time it was much easier to work with the position because we can link it and you can just play around with the shadow Here. We need to be much more precise, but it's also definitely were to know because we can work with the position. For example, I press 0.5 and the shadow goes just a little bit flatter here. I can, of course, make more copies until I get the right animation. I could, of course, key frame it and create some nice animations, like making this amount of copies making less copies. Well, they're pretty big and heavy now, and I would have a nice animation where the shadow is growing without me working on a light source or anything else. So it's really simple to set us up and what else you need to do. Very, very simple. You can click on the shadow, and since this is a shape layer, I can, of course, change the physical or just by clicking here, changing the color, for example, to a dark red Marie. Want to press tea on my keyboard by opening the opacity? I see that I was working with the opacity here, but I can simply delete those key frames at lower the opacity to, for example, the amount I want to achieve in this little animation in the shadow. I want to see since this shadow as I press you to reveal all the key friends that are used has the same rotation because it was copied over. I have the same nice little animation, and the shadow follows the original layer. Let us preview it on full quality, because why not? Now? You can see all the wrist ood. You can always go to the shadow layer, open it up, opened the repeater, opened the transformer Peter, and work with their position. This is the only thing you need to change if you want to change the angle of the shadow. If you want to change the length off, the shadow only work with the copies. Well, it's a bit too heavy. Let me make it smaller. Maybe 500. Okay, most often, if you're working with flat shadows, you are going until you grow them to the bounce. So these artifacts are not visible. But of course, there are. A few techniques were This is perfectly usable and you can enhance this entire design. Let me show you a quick example. What could we do here? Flat design is very often used for social icons nowadays or for buttons on the website. So let me maybe move this a little bit towards the middle. It's just so I see with better, remember to have all layers de selected because we want to create a new layer. I create a new box, something like that. Well, I don't like this color. Quite so let me change it to maybe I don't know. Let's work with the original and yeah, go towards a more brown effect. Okay? I have to shape layer. I click enter and I make it boxed. Maybe the color is a bit too dark. I'm sorry. I'm really messy with the scholars today. Yep. This looks quite a bit better. OK, I have the box. I close it. I duplicate the box and I place one under the shadow and one above the shadow. I'll toggle. The switch is and modes because I need the track. Matte option. I need to make only one change on the shadow. I select our farm Matt box. All right, this already? It looks like a nice flat icon. Off course. The boxes are pretty big. I need to adjust them. I'm sorry for that. Once again. Wow. I'm really bad with those positionings today. I'm sorry, OK, but this already looks a bit better. Maybe a bit too flat. I could select. For example. Both boxes go to a simple effect, like some glow or shadow, maybe drop shot. That will be simpler. I select the box, the box, which is visible, of course. And I create a drop shadow right now we have a really, really subtle shadow under this box. Just it looks a bit more clickable and a bit more enjoyable. And there you have it. This is the perfect usage off those parable flat shadows using the repeater. You can always go back to shadow Open the repeater, as I told you before, and work with the positions that positions will determine the angle off the shadow. Well, ofcourse, we got a bit away from the original design, but I didn't knew which technique I'll use to which animation. I just made several options for you, so you can choose. Here's, for example, a rolling coconut, and you can use each composition you want. Really, when you're creating this techniques or your old composition, it is really fun to create this animation. We should now copy over those key frames also to this box, so it also would fly around. But that's not the topic. The topic wants to create those flat shadows, and as you see, we created a really nice design out of it and close it up in a little box. Working with track matte and setting the office is a separate topic, which we should cover in a completely other lesson. But for here, you only need to know that you should if you have the shadow, create one books here, one books here, Maybe around that circle you can really choose. What do you want? Maybe place the Facebook I can hear. Or a twitter icon. Make a rounded circle around it and just try to work with those flat shadows. If the shadow will be too short, just go to the repeater, make more copies, and you will be done with this design. This design looks very simple, but very appropriate to the effect you wanted to achieve. Thank you for your attention and this lesson. I hope you got curious, and I can't wait to see what will you prepare in those lessons? So now you can head over to the next lesson and let us learn another technique off making those shadows. 6. Technique 3 - Drop Shadow: In this technique, I will teach you how to create a shadow, which you can control with the slider and with the direction toe. Hello, sir. And welcome back in the ter technique will learn today off adding the flat shadows into our composition. This will be a really interesting one because we'll use a few expressions, but don't worry, they will be very, very simple. I'll tell you everything, what to do and where to write it, and we'll use the simplest effect, which is drop shadow. So let's get down to it. I have my composition ready. That's a simple animation. Perhaps we don't even need those wiggle effects. So let me go to effect and delete all those effects. The wiggle in the transform because we don't need them and they're just mess things up. We can add them later if you want it. And let's start working on this. Once you have the layers selected, you want to attach the flat shadows, too. Go to effect and type in slider control. Put in the slider control as the first effect, and now goto drop shadow. I have drop shadow here and duplicate this effect, so we have two times drop shadow. So now you should have the slider control at first Drop shadow and drop shadow number two I will open them also here on the bottom. So we see What do we edit? Open the effect and I have all true effect right here. Please go to the first drop shadow go to distance and by holding toe left bulky or option key. If you are on the Mac, click on this little stopwatch toe Open the expressions for the distance property in the drop shadow effect We will write down here a simple expression. They'll eat everything that is here and also do not worry. You will only have to write this one's because later on we will also safer preset. So you don't have to bother anymore again with this. Just write this property. Don't proper G Group one that proper T index This property is distance property Group one is the container which is holding the distance which is drop shadow in this case, property index is the index number off the distance value property index will change the value with each new addition off the effect we will apply. So if we copy over the effect, it will have a distance off one more, because in the index panel it will be one new effect. It's not like I got to this on my own. There is a great article. It was written a few years ago from Toby Pittman, credits to human thank you very much. And he used the same thing that we are using in this technique this property property, Group one property index. And he's explaining exactly what this is. And he used the same technique toe apply strokes, which will grow automatically. He shows it here, and he shows it later that with each index number, the stroke is growing and the opacity is lowering down because he connected, built the opacity and the strokes here to one master wit layer. I just wanted to show you where this all came from. Okay, I click away. I'm ready with the expression. Let's move this to the sites. You will see the expression better, and this distance has a index number off, too, because there is the slider control effect. If I would delete this effect, it will have the index number off one because it's the first effects here, and this is how we will repeat this effect and it will automatically raise the distance number until we have a full flat shadow. If you want to be perfectly precise and don't want to hear you want to start from one or zero, just go at the end of the expression and hit minus one. I will do so and now the distance is one. The last step I need to take here is making plus clicking on the pick whip and connecting it with the slider. The slider will help us make the shadow longer or shorter because it will delete the effect or at the effect. OK, do not worry. We are a complete with this expression. You don't need to do anything else. You just write the first expression you can write minus one here if you want to start from one and you had plus and pick with this lighter control, so we can easily control the effect later on. Now I take this expression and copy it over to drop shadow, too in the same place. Just put it over the distance. I go to distance. I old click here on the stopwatch. I just copy it over, enters nothing else. I want to do as you see automatically. It got the index number off to now. If I duplicate this effect off course, it will have the index number off tree. But one last thing I want to make to make my life easier is linking the direction because I only want toe set this direction want, and it should be applied to all the effect. This is achievable. Very, very simple justice. Previously, I hit the direction on the drop shadow number to hold the left old or option key, click on the stopwatch, just used his little pick whip and connected with the direction off the first effect Because drop shatter, number two will be repeated, but drop shadow number one will be our control layer. As you see as I change the direction, the direction also changes for drop Shadow number two Let me close this down. I hit drop shadow too, and I had control or comment d to duplicate it. I want to duplicate it about 2030 or 40 times. Something like that until I get a full effect here. Oh, I see. There is a little mistake. It's because the opacity is wrongly said. Let me delete those effects. Make the opacity on the first drop shadow 100 off course on the second Also because we will copy it over. All right, now we are ready to copy. I select this effect. I, like, duplicated about 30 or maybe 40 times to be entirely sure and that it works in each and every composition I'll make in the future. I go to the top because this is too much effect. Uh, I clicked wrongly select all effect. Close them down. And now we have the effect preset. Ready. Look what the slider does. If I move the slider toe a negative amount off 40 because I have 40 copies here, it will close down to zero. If I want to have a longer shadow, I just move it over. But you need to be careful not to go over zero too much. Let me place it at zero. Also for the direction it will be so simple to change the direction. I just click here, I drag it over and the direction is working automatically because I have all drop shadows. Has linked to this one direction option, so this is a very simple way to do it. One thing we can repeat from the steps we made before is heading off course the fill effect . I double click on it off course. I want a I want maybe a blue shadow with the opacity off 50% about, and that's previously also helpful. CC Campo. You already know this double click on city campus site and check RGB in front. It's all perfect and now we are ready and set. The full effect will help us to change the color. The directions later will change the direction off the shadow, and you can rotate it as much as you want. We can, of course, also key frame it to create nice animations, and this lighter control will allow us to create shorter and longer shadows. If there are some mistakes, you can always go to the drop shadow and just duplicated more. If the composition is bigger or you really need to make the shadow very, very long. Just duplicate a few more times and you are ready to go. I allow safeties preset. I will select all of the effect I goto animation safe animation preset. I will make it ls any three Because it's the technique we are learning and we are done with this effect. You need to be careful with one little thing. But this wouldn't be a problem. A big problem, because perhaps it won't be visible. But let me lead a few effect. If you direct over more effect, for example, I'll direct one city, campus it more and place it on the top above the drop shadow. The drop shadow distance will be bigger by one index. If I place zero here, of course, because now the slider control was making the distance bigger. But now it starts from two. If I would have 10 effects here, it would start from 11 or 12. So always remember that there shouldn't be too much effect before this drop shadow or while creating. If you are creating this life, you can always You can always place a negative number here off minus something if you are creating this effect life. But I prefer to save the preset and just place it on the 1st 1 or even pre composing a composition to be completely sure that I'm not deleting everything that I'm working non destructive. So this is when it comes about. So the technique, I know it was a little bit more difficult and advanced. That's why it's the third technique, not the first. I just wanted to show you really several possibilities and teach you a few after effects tricks along the way, because when working in aftereffect, sooner or later you'll come across expressions, and it's better to know something about them. They don't know anything. I wasn't digging deeper in those expressions because this is a rather beginner friendly class, and I don't want to swore me with informations because expressions are very advanced and this is a topic for a completely separate lesson at the point where we are, I believe you should be able tow, follow the steps I took and implement them in your composition. Thank you very much for holding through this long in this lesson and for taking part in the lesson you are, Jim, really, thank you very much 7. Thank You!: Hello and thank you so much for taking part in this class. Although this last was focused to create those flat shadows in our compositions, I believe you learned a bunch off after effects tricks like converting objects to shape players, saving presets, editing animations, adding a few simple expressions and many, many more. I really hope you are said this fight by the content. And if you have any insights, what could be done better, Please let me know. I'll gladly here what you have to say. And now I would like to see what the do you prefer in those shadows. As always, I wanted to ask you for a favor. If you did like the class, I would really appreciate if you would go and write me a review for it. You can do this either by clicking on the recommendation, which is popping up here or taking here down and leaving a review. This really helps me as a designer and fires me up to create more off such content and classes for you. And it's also a great information for other students who doesn't know if they should join this class or not. This is all I wanted to say to you and to ask of you at this point, I'm signing out. Thank you very much for taking the time to work with me on this project. And I really want to see that you are getting as a designer better from day to day. Thank you and see you.