After Effects: Futuristic Graphics (Part 1) | Duncan Rogoff | Skillshare

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After Effects: Futuristic Graphics (Part 1)

teacher avatar Duncan Rogoff, Video Editing & Motion Graphics

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (24m)

    • 2. Creating The Base Shape

    • 3. Making the Square Grid

    • 4. Creating Some Rectangular Elements

    • 5. Creating Accent Lines

    • 6. Creating Random Text

    • 7. OUTRO

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About This Class

In this awesome, 5 PART COURSE we'll cover a wide variety of techniques for creating and animating some really cool graphics inside of After Effects. 

You'll learn how to create and design your graphics using only After Effects' built-in tools, how to animate your graphics using basic keyframes and simple expressions, and lastly how to get a solid green screen color key, motion track live-action footage, and composite your animated graphics over top for a final look. In PART 1, you will learn how to create a rectangular graphic using shape layers, text, stroke effects, and track mattes.

Look ahead for PART 2 where you'll learn how to create a super clean circular graphic using some basic and easy-to-follow techniques.

After this course, you'll have what you need to advance further in the software and tackle your first projects!


Other After Effects Courses in this Series:

Futuristic Graphics (Part 2): Building the Circular Graphic


Futuristic Graphics (Part 3): Animating the Rectangular Graphic


Futuristic Graphics (Part 4): Animating the Circular Graphic


Meet Your Teacher

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Duncan Rogoff

Video Editing & Motion Graphics


Freelance video editor and motion graphics artist based in San Francisco, CA. Almost entirely self-taught and has spent many hours gaining knowledge from online tutorials on sites like

Check out my website:

Always looking for new, fun, creative projects, and to keep learning.

Clients include: Apple, Nissan, PlayStation, Charles Schwab, Visa, Salesforce, Facebook, Apple, WeChat, FICO, Slingbox, Marc Jacobs, Kat Von D, Sephora...

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1. HUD SERIES INTRO: Hey, everybody, Dunkin Rogoff Fear with a really great aftereffect Siris for you. In this five part course, I'm gonna teach you everything you need to know. To make futuristic screens and heads up, display graphics entirely inside of after effects. Without any plug ins, you learn how to design layout and simply animate two different styles of graphic. And then how to get a clean green screen key in motion. Track your footage in order to composite your elements. The live action footage for finished piece This series is great for all skill levels and whether or not you have a need to make this particular style of graphic, the tools and techniques you'll learn are applicable for a wide array of projects. In part, one of this series will teach you how to design a graphic based on rectangular elements using after effects built in tools and layout features in Part two. Well, design and create a second graphic comprised of circular elements and taken in depth look at stroke facts. Part three will animate a rectangular graphic in its entirety, learning how to create a polished animation, all using simple key frames and some easy expressions. Part four will cover. Animating are circular graphic manipulating our layers and three D space and working with the camera to create depth in Part five. We'll put it all together. We'll show you how to get a clean green screen color key and then teach you some tricks in order to get a solid motion track of your live action footage. Well, then composite everything together to create our final piece. I'm really excited about this course, and I hope you are, too. In Part one, we'll talk about design, shapely stroke, and even so, let's hop on into after effects. Start creating our first element, see in class. 2. Creating The Base Shape: Okay, so here we are inside of after effect on the very first thing I do on every project is create three folders for organization. First folder I create Come down here to this folder icon, Put a star So it stays at the top. I call it Render comes These are gonna be my main and final compositions that I actually send out to render. I'll create another folder and I'll call These pre comes and it will be anything that's nested inside of our under comes in the last folder Total Assets. If we're working with footage or still photos or you name it, they're going this assets folder. And if we need to weaken further, break this down into sub folders. So now let's get started creating a first rectangle a graphic, all from scratch. First thing I want to dio. So I select this render comes folder and create a new composition. We'll call this rectangular. We'll make sure settings have set to 10. 80 p 1920 by 10 80 wide. 15 seconds should be plenty of time. A frame rate of 30 is great for what we're working with, and we'll go ahead and press. OK, you can see, since we had our folder selected, this calm automatically gets placed in the Render Calms folder. If we wanted Teoh, we come to the end here, we'll get actually type render. So we know that this is the final. So let's create our first element, which will be our main square background. I want to create this using Shea players instead of using a solid because this will give us a few more options for animating them a lot. And that's why to make sure we have a good size is if we come into this icon here we turn on a proportional grid will get this nice grid. We could make a nice even rectangle. So we compress que on our keyboard to bring up our rectangular shaped tool. Or we can come up here to our shape tools. You can see that we have all these options we want directing. If we press Q repeatedly, you can see that we actually cycle through these options. Getting to know your keyboard shortcuts will save you a lot of time in a long time. So stick with the rectangle here. Well, just come into this cross well, quick and we'll hold him with drag. We'll come down here to where these two points intersect. Look at we've created our first element. We don't need these grids anymore, so go ahead and turn them off. Now, if we scroll into our shapewear here into this contents of rectangle one and into the path we can see is about 960 wide by 360 top. So let's just go ahead and even these out. It's a lot easier just to work with nice, clean ships. And so we also want to make sure that this is a line right to the center of our composition . So go ahead and will select their shapewear will come into our align panel here. If you don't see it, come upto window the line and, well, why it, too? The horizontal center of our composition and the vertical center or composition were pretty close to begin with, so I only moved a little. But now we know that this is directly in the Senate. We'll go ahead well, title this rectangle just so we can stay organize Now. If you press you on the keyboard, it'll hide all parameters. So we have a nice clean slate toe work with the next thing I want to Dio doesn't want to create our bars on the outside. For this, we can use solids, so we know that our rectangle is about 360 high. We want these bars to be a little bit bigger than that. So go ahead and we compress command. Why on the keyboard or come upto layer new solid to create a solid, We'll go ahead and will make this white as well. We'll call it bar. One with of 10 is good and again we want that height to be about 4 50 so it extends past. The height of our main rectangle will press OK, I will take this and we compress p on the keyboard to bring our position parameters. I can just go ahead and drag this to the left. We hold shift on the keyboard, it'll drag faster. So why don't we go ahead and make this and even 400? And now we want one on the other side and so we'll go ahead and duplicate this layer by pressing commands de on the keyboard or coming up to edit, duplicate. And now, if we want to make sure this is the same distance, we're gonna have to do a little bit of basic math. So we know that the center of this composition originally was at 9 60 So in order to get 400 from 9 60 we have to subtract 560. So in order to get this even on the other side, we just need to add 560. What's great about after faxes? It'll actually do this math for us so we can just come in to our exposition. Here we contact Plus 5 60 press enter. And now we have some evenly spaced box. Now I don't want to do is I want to go ahead and pre compose all these elements. It's all select them all but dragging or present command a and oppressive shift command See on the keyboard Welcome upto layer recompose, and we'll just call this pre comp wrecked directing press. OK, now all our elements are inside this rectangular pre cop. The reason I did that because actually wanted to store this image, but I wanted to start everything that's happening. So if you come back into our render camp here, I'll go ahead and move this pre comp into our pre con folder. When come over to the effects panel, I'm going type warp we can come down to here were to this war perfect weaken, drag that and to our composition. Now, this is exactly what we want. So we just need to change the style here from mark to fish. Now you can see we have a little bit of bulge around the corners of her objects. And if we want more, we can drag this bend up. And if we want less weaken, drag it down 50 actually seemed like a good number. So the reason I did this was now that anything we do inside this pre cop will be warped in our render composition, you can come back into our pre camp here. We can continue to work 3. Making the Square Grid: So the next thing I want to dio is we want to create our text. We can come to the text tool here, cook it and we could click anywhere in the window and weaken type iron Man. Now we don't see it. My fonts actually white. So select all that. But President Command A. I'll make that black. It's clearly way too small, so you can come into our character window here. We can scale this up. Maybe 150. We have to change the vertical spacing to match the font size and now come into our paragraph window. You could make sure our Texas stacked in the Senate and then hopping toe our line and senator horizontally and vertically. So now we have this right in the center of our composition. It's actually looking a little big for me. So double quick that hop in our character window, make it maybe take it down. 2125. Maybe something like 1 10 and we'll just go ahead and realign it to make sure we're still Senate. Next, I want to create our squares in the corners, so I was playing around with this earlier and I found that a good size for the squares were about 15 pixels wide by 15 pixels tall. So I want to make a square composition in our pre cops Here, call it squares. We'll go ahead. We'll just make that 95 wide by 95 tall. No press. OK, now I want to create some squares again. We can do this using solids, so I compress command. Why on the keyboard we're gonna layer new solid, and I'll just call it Square One and I'll make it 15 by 15. And now I want to make five copies of these so I can press command de on the keyboard to duplicate it. What can come up to end it? Duplicate sets, too. 345 And now aftereffects is really great layout tools. So I'll select my first square here, a line that to the far left, just like my last square here, all on into the far right now select all my square, distribute them horizontally to create even spaces between all five of my elements. I actually want to select all of these. Change my alignment to composition, move them all to the top of the composition. So I select this first square and I'm actually going to solo it. I'm going to duplicate this five times 2345 We'll do. Very similar process will take this top square here. No, line it to the bottom of the composition. I'll select all five of these and I'll distribute them this time vertically. Now I don't want Dio doesn't want to go down the line. I don't want to do the same process now. The reason I sold this is so it's easy to tell which are your new squares versus which are year old squares. So again I'll duplicate this five times 2345 Take this top one online to the bottom of the composition. Also like all five of the elements that are so low and I'll distribute them vertically. And I'm just gonna go ahead and go down the line real fast and do that for my remaining three sets of squares. Okay, great. So here we are only have a grit. Now, we actually don't need all of these squares because we want to create sort of an angular pattern. So go ahead and start the leading layers or you can just turn off the eyeball in case you think you may want them later. I'm going to go ahead, delete all these layers. Here we have our next angle and then I'm sort of randomly just gonna pick some other ones. It's delete to create sort of a random, gritted effect, maybe something like that. So we can hop back in talk free comp here, come up to our project panel and drag in our squares element. We can go ahead and reposition this in the top right now. A back rectangle. It's clearly too strong. So we can just go ahead. Slept that press t on the keyboard to bring up the capacity will turn this way, way down. I want to be really subtle. I'm even to go something like 10%. Now we can actually take our text foot that backed away 4. Creating Some Rectangular Elements: next. I want to create some rectangle a graphic elements across the bottom of the screen. So I'm gonna go ahead. I'm gonna press G on the keyboard to bring up my pen tool. Or you can come up here and select the pen tool. Now click once on the bottom here. And if I hold shift and click on the other side will create a perfectly straight line. Actually. Don't need the fill so I can turn that off by President fault as it cycles through these options. Until I get this red line and we don't have the film, I'll turn the stroke down to something like five. You don't need to be so large and now and come into the stroke here. Insider shapewear come down to hear word says Dashes. I could just press plus add a dash will turn off my masks so you can see what we just did. So this is our original stroke. If I press plus off, added a dash that you can change the size of the dash. But coming into this first dash option, who can make them longer and if we want, we can play with the offset and that just moves them on the length of our strip. I also think we can make their stroke a little thicker for this 1st 1 Maybe something like eight maybe make our dash is something like 75 maybe down 70. That looks pretty good. I want each of these dashes to have its own color from black toe wet. But I can't isolate any one of these independently. Someone to go had impressing you Tidal's foreigners. So what I want to do is on to create a new So so a press command. Why on the keyboard or come upto layer new solid will make this the full size of the composition. We'll just call this ramp. We'll take this. We'll throw under our shape layer here will come into our effects panel. I'll type in ramp, double, click the grating ramp, and you can see down. We have a grading that goes from black all the way to what? This is what we want. But I want to go from left to right. So I'm gonna select this target here for the start of the ramp would make that start to the left of our first square an end to the right of our last. Now I don't want to. Dio is I don't actually see the two I want. So come down here to toggle switches slash modes I'll take this. I'll take the ramp. I'll set this track matte from no track matte toe looming, Matt. And now you can see we have a grating it that goes from dark to light that's only occupying the space of our shape layer. If so, what I want to do now is on to make a 2nd 1 of these. So select both are elements. Well, duplicate them both by pressing command de on the keyboard on a move our new shapewear up. So I compress the up era or for press shift and the up era, I'll move it at 10 pixels at a time. So I want to come in to our contents here and into our stroke. I want to change the way this looks at a little variation. Someone's gonna add another dash and maybe even one more. Now you can see we've created a completely different look. I'm gonna go ahead. And when turned this with down about half the with and make that four. And if we want, we can even come into our second ramp, and we can quick swap colors. Now. Ingredient has white on the left and black on the right, and you can play with the parameters of the dash. Is the size of the dashes or the amount of space in between? To get a look that you like? You can even play around with adding more dashes. This is all the taste. So there's one last thing I want to dio also using track mats. Because you can see now that are element. If we begin to offset, it actually comes to the outside of our border. So what I need to do was any to pre compose first drug effect by pressing shift command. See on the keyboard we're coming up toe layer free. Compose. I'll call this stroke one. I'm gonna do the same for a second stroke by selecting both these elements pressing Shift command. See, we're going up the layer pre compose. We'll call this stroke, too. Now I'll take our initial rectangle will duplicate that by pressing command de on the keyboard or going up at it duplicate. We'll throw that on top of our second stroke, I'll take this stroke composition and in our track, matte panel will select Alfa Matt Rectangle to If you see, our shape has now been cut off around the edges for that rectangle is for some reason or color changed. That reason is simply because the opacity of our rectangle has been set all the way down to 10%. So if we just dragged that back up to 100 we can restore original color. So I'm gonna duplicate this rectangle again by pressing command D a. Go at it duplicate dragging this above our first stroke. You do the same thing with their alphabet. Now, when we animate later, we can do all the animation we want and I'll stay within the boundaries of our rectangle. Remember that we pre composed this entire layer earlier. So if we pop back into our render comp, we can now see that entire comp has now this cool bold to 5. Creating Accent Lines: I want to create another graphic element in this top left corner that's gonna have some moving bars and some counting numbers. So come back into this. Pre calm. I'm actually gonna duplicate this square composition and rename it lines will drag this in here. We'll move it over to this top left. We'll go ahead and go in. We don't need any of these square, so we'll just select them all impressed elite. I just want to keep our composition same size perform. So now we can dio is we can create our text on the left. We'll just call this one Obviously way too big. Scale it down. Maybe 20 is a good size. I was gonna duplicate this a few more times again Will come up into our line window, Move that to the bottom, select all of our layers and distribute them horizontally. We can go ahead and rename these to three for five. The actual order of these isn't gonna matter, so just go ahead and leave him like that for now. Next thing I want to do is gonna create some bars that are gonna move looking you solids or shape players to do this honestly, the shape layer. By pressing que we'll just go ahead here. If we want again, we can turn our proportional great back. God. So just draw something here. Next steps after the end. Actually gonna turn the struck off for this by pressing Alter cooking on the stroke and we'll turn our filled away. So they turned this grid off here. Go ahead and call that one again. Make five copies. After rename three for five, we'll select them all. We'll select the top one, move down to the bottom. Maybe we'll bring that up a little bit. Now select the rest and we'll distribute them horizontally. So now they have an even distribution. So if we come back in to our pre camp here, you can see now we have this element on the left side. 6. Creating Random Text: It's only one more thing I want to create. That's some random text. Again. I'm gonna duplicate this lines. Calm. Just call this text. We'll drag out in. We'll throw this somewhere over here on the left, at least for now to come into our text. Calm. We'll select everything will delete it now is cool. Websites for generating random text already have this open. If you just go toe l epsom dot com You get a random, warm ipsum generator just to generate some random text or you concert for random text generator or go to a web page you like or really anything. But this is a simple way to do it was gonna cook, Generate here you can see generated all this random text. So I'm just going to go ahead, select a couple lines from that press command, See to copy Hot back over into after facts selector, textual foreign press command V to paste. Now we're gonna need to make some wines. Unfortunately, after effects doesn't do this intuitively, so just go ahead and select randomly to create some wind breaks. It's not gonna matter in the end, because no one's really gonna read this coming to characters here. We have way too much space between our lines will shrink that down to five. And if you come into paragraph left, justify that. Make sure your lines left of the composition. And let's make some prettier looking lines. Nothing that goes off the end of the page. So I had to sell Boeri. We're just working with a really small comp here, so things start to get distorted. The more easy a man you can see resumed in 800%. That's sort of a lot. If you want, we could just duplicate this text layer. Press p to bring a position scooted down. Some just have a little more to work with. It's move that up a little. Come back into our pre computer Nazi, have this rand text generated, and if you come back into a render comp, you can see your tax has been a little bit to start. It 7. OUTRO: That's it. There you have it. We've now created our first graphic using only basic shape layers and some after facts. Really simple. Built in tools for part two. We're gonna do the same, but with a circular graphic, we learn a lot more about how to use a stroke effect and stay tuned for part three. We'll learn how to animate this. See, in the next class. Yeah, we out.