After Effects: Futuristic Graphics (Part 3) | Duncan Rogoff | Skillshare

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After Effects: Futuristic Graphics (Part 3)

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

9 Lessons (30m)
    • 1. HUD INTRO PART3

    • 2. Animating Initial Bars

    • 3. Animating The Main Rectangle

    • 4. Square Elements & Expressions

    • 5. Main Text & Presets

    • 6. Stroke Effects

    • 7. Animating with Simple Expressions

    • 8. Animating Random Text

    • 9. 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 3, you will learn how to animate the rectangular graphic using keyframes and expressions, as well as some tips for getting a polished look.

Look ahead for PART 4 where you'll learn how to animate the circular graphic using stroke effects, how to manipulate objects in 3D space, and work with the camera.

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


Other Courses in this series:

Futuristic Graphics (Part 1): Building the Rectangular Graphic


Futuristic Graphics (Part 2): Building the Circular 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 INTRO PART3: 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 three, we'll talk about expression, texts and even basic. So let's hop on into after effects. Start creating our first element, see in class. 2. Animating Initial Bars: Okay, so here's more or less what we're gonna be animating today. So let's hop right into after effects and get started. We've already weighed out our composition and worked on some of our main design elements. So let's go ahead and start animating with pre comped everything so that we can have this warp on top. So I'm gonna want to go into this pre composed layer to begin to enemy who was quick in here. And the first thing I want to do is own animate our two lines on the side. So I'm going to do just to make these really obvious is I'm going to select both of these bars and I'm gonna solo them so we can ignore everything else for now. So I want these two Dio don't want these to slide up from the bottom, and I want the left one to scoot over to the left. I'm also gonna add some opacity blanks to give them more digital field. So when we just go ahead and rename this one bar two. So we know and I want this 1st 1 to scale up as it moves into position, But I want to make sure I scale from the bottom. So the first thing I'm gonna do is I'm gonna just My anchor point is this point here in the center, which is where all of our animation take place So I can select the anchor point tool here or distress. Why on the keyboard grab our anchor point. And if I hold shift, I can make sure I'm only moving in the UAE access and I can drag this right down to the bottom. So I know the two parameters I'm going to use of the position and the scale so oppressed p on the keyboard to bigger position. And if I hold shift and press s also bring up the scale perimeter, if I press P and then just s it'll switch between the two, but I won't have them both at the same time. So press p to bring a position, hold shift and press asked to bring up the scale as a rule of thumb. I like to have all my animations last about 20 frames. Obviously it's gonna be adjusted to taste and to fit whatever animation you're doing. But for now I'll start with 20 frames so advanced 20 frames in the timeline by President Command Shift in the right era to move forward 10 and 10. Again, I'll set a key frame for position and one for scale, because that's where I want our animation to end. So now we'll go back to the beginning. I'll make sure we fit completely in the window. Now drag our position down about halfway here. 1000. Seems like a nice even number. So let's go with that. I also want to make sure we scale up just on the y axis. So unchecked this chain link here toe unconstrained the properties, you know, scaled down our y parameter zero. So now as I slide, you can see the scales up and moves into place. I'll select both my key friends by dragging a box over there pressing F nine to Eazy E's them, and I'll hop into our graph editor here. Now you want to make sure you're adjusting the speed graph and not the value graph. So your graph may look different than mine initially, in order to make sure you're adjusting the speed, you can come into this checklist down here and your graph may look like this for value, but we'll just check the speed box to just the speed. Most like both are Lasky frames. We'll take our handle. We'll drag goes all the way the left. So this means our animation is gonna start really fast and then ease into place slowly. So if you play this back, shoots up and ease, it shoots up and is, is it? The last thing I want to do is I want to adjust the A passage e so oppressed T on the keyboard to bring up opacity, and we'll set a key frame down a zero. So now advance forward to frames on the keyboard by pressing command and the right era to move forward to friends. Zoom in here a little bit. We'll set this a passage e up to 100. Advance. Three more key frames. Set this back down to zero. Go ahead five frames set to 100 again. This could be kind of arbitrary. The timing in between. It's just to get a little random motion for our blanks. We'll make sure will come 100 one frame zero back up to 100 right? A friend 20 so you can see now if we play this back, we get some blinking as the skills into place. But if we scrapped slowly, weaken, see, it fades in between our key frame. I want us to be a lot harsher. So I'm gonna select all our key friends. I'm going to right click on our key frames and I'm gonna select toggle hold key frame. The whole key friend means that it won't interplay between our key frames. It'll just be a hard set at the numbers we have. So now if we play it backwards, we can see are blank is a little more intense. Maybe I want to do this one in a little bit and this one as well, just to kind of even those out a little. That's looking a little better. So now what? I'm gonna dio. Instead of repeating this animation far left bar here, I'm just gonna go ahead and duplicate the one we already made. So a selector object and oppress command de on the keyboard to duplicate now for pressing you on the keyboard to show our key frames, You could see we've duplicated all our key frames, so don't want this to do is I want this to do the same thing, and then I'm just going to advance 10 more key frames. I'm gonna shoot this out to the left, so lines up with our first bar, and you can see right here that we sort of have this weird curve, and I'm guessing that's because this is set to auto busy A care key frames. So if we play it back, you can see how it kind of slides out to the right and then comes over. So when we select our key frames, right click going to key frame interpolation and change or spatial interpolation toe linear , you can see Now we have this millennium, which is much more what I want. So if we play this back, you can see these come up together and then are left bar. She was out to the left. We can delete this one because we're no longer using. It won't just go ahead and rename this bar to forget measure. So the next thing we want to do is I want to bring on our main back rectangle 3. Animating The Main Rectangle: No, just solo this as well to bring this interview. So I'm gonna select this and I'm just gonna do this move with the simple scale. The first again I need to move. Our anchor point is that our scale originates from this point here on the right side. So a press Why in the keyboard to bring up our anchor point tool or selected up here in the toolbar, drag us to the right while holding shift to move only in only on the X axis and now and come to frame 20 when these air together select erecting on press s on the keyboard set a key frame one walk and I'll just drag us ahead. 10 frames because that's where I want our animation Finish. Unlock our constraints here and I'll scale are X down 20 So now as that bar sides across, a rectangle will trail behind, I want to give this a similar animation to our bars. So easy, easy or key frames by pressing F nine on the keyboard or right clicking going to key frame assistant Easy's. Then I'll pop back into our graph editor selector in point and drag her handle to the right . So again we have a similar speed round. We'll see what happens if I play this back and they get by drag more slowly. You can see this is a reveal. Now, here are rectangle starts before bar actually passes it. This may be fine for you. I don't particularly like it, so I'm just gonna scoot. Are key frame back. A couple? Just one. It looks like it'll dio by pressing all thing the right arrow to move our key friend And now have a bar that reveals So far, so good we'll just work our way up. The next thing will bring on are these squares 4. Square Elements & Expressions: so hopping are squares here. I'll select this bottom right one press t on the keyboard to bring up Ah rapacity. Well said, Ah, rapacity Down to zero said a key friend. But quickly stopwatch advanced 10 frames. Bring her rapacity of to 100 an advanced 10 more frames by pressing shift command in the right era and bring us back down to zero. I'm also gonna add expression here. So after this point, they rapacity will continue to shimmer so oppressed faults and cook on the stopwatch. It's gonna take wiggle parentheses. One comma, 100. So this means one time every second or a passage iwill wiggle a random value between zero and 100. It's an athlete scrap three. You can see how this begins to blank, but enough random. Someone's gonna copy these key frames. It was gonna advance two frames by pressing command and the right era. I was gonna paste it and sort of a pattern on all our squares advancing to friends between each one. Press command, See in command V to paste. It's an athlete. Play this back. This all began to blink randomly. Now, if we hop back into our pre cop. Now you can see how this looks on top of our legs and now the starts a little early so I could just take our square composition and dragged this back. If I hold shift, it'll snapped our play head. Actually, I want to go ahead, and I just want to trim these. So if they don't appear until our first Kiefer has come to our first key frames here, notice press also in the also on the left bracket to trim them to the play head. Or you could just drag the end and lie about it, which actually may be easier in this case. Great, that's looking good. Next, we'll bring on our text. 5. Main Text & Presets: If you don't know about the animation presets, now's a good time to learn. If you told down this arrow here and the effects and presets window, if you don't see this one notice come upto window, affect some presets. We have all sorts of preset animations to do on a text or any of our other objects, so we can just 12 down or text menu here and going to animate in the one I used in my example. Is this decoder fade in here? You can just go ahead and drop that on her text layer or double quick. No free press year to bring up our key frames. You can see our animation starts here. Probably want that start a little bit earlier and again. 20 frames is probably good. That seems way too long for an animation. So describe our second key friend. Maybe one second is good. Well, just dragged out there. So now, without much work at all, we have this cool faded I added one more preset, which is in this graphical menu. It's called Exchange and again will distract this and drop it on our text and you can see that now I scrub through, we'll get our letters turning into these pluses That kind of fly up land back into place as our letters Really simple, easy to execute. You can change some of the parameters here in these sliders. So if you want change the frequency something like five you'll see this happens a lot more often was great is that these parameters are inimitable. So what we can dio as you can animate this frequency from something like 10 when our animation starts all the way down to zero when it ends. So now that should exchange as we build it on. And maybe you want to extend this last one a little bit further out so you can get a little more of that animation happening. We're at the end. Looks like down to one is good so we can finish that end, and now we'll set it down to zero. It's looking pretty cool. Next thing we're gonna dio is animate this bottom strip 6. Stroke Effects: to do that, we'll have to go in our struck free composition again Because of the way we set this up. This is really easy to animate. Well, just come into our shapewear here will twirl down our era. We'll just add a simple trim pass operation. We got our trim paths. We can adjust the n value here and you see, we begin to trim our shapes from right to left, or we can adjust the start interment from the left side. So let's go ahead. We'll set that to 100% Go to beginning here will set a key friend well, hot 4 20 frames and set that down to zero. And now, if we want, we can also adjust the offset. So this moves in time. We can either set a key frame at the beginning. Hop over the end except this to something like three. If we play it back, you see, we have this animal. The other option is we can again use a very simple expression. Now, if you see when we play this back with our offset going the positive direction this is moving left to right. I actually want this move right to left. So I can do Is they all clicked the stopwatch next to offset I contact time times negative too. What this is gonna dio is gonna animate the offset, multiply our frame number by negative too, and give us an offset value. It doesn't moving nearly fast enough. So if I type something like negative 50 not bad. Still kind of slow for my taste. Or if you just multiply that by 10 say 500 too fast. 200 to be good. Now, I get this kind of random moving animation. We're gonna go ahead and we're gonna do the same thing for a second stroke here. Coming to our shape layer, have the trim paths operation. Well, twirl that down. And this time we will trim it from right to left. Will set a key. Frame it. And, well, hot forward 20 frames by pressing shift, command and the right era. We'll set that down to zero. They will offset time times 100 to get that moving a little slower and in the opposite direction. Looks like I flipped our key frames around here, so I'm just gonna go ahead and swift we hot back into our pre count. You can see this is now animate. I don't actually want to start this until a rectangle is fully built on. Some was going to go ahead and grab these two strokes. Move them over to the right. Later in the timeline, this next part gets a little bit tricky. We're gonna be linking a couple things with some simple expressions. Butt's gonna were gonna achieve a really cool effect. We're not gonna have to set any key frames. 7. Animating with Simple Expressions: so hop in our lines. Here, grab each of our lines. No one has said are anchor points to this left side. So I'm gonna dio isn't gonna create an adjustment layer toe. Hold all our sliders. Someone's gonna come toe layer New adjustment layer. I'll just call this control. Going to our effects and process window I'll type in slider control. Well, at that. Here. Now what? I'm gonna dio I'm gonna hop in star shape layer here. Press s on the keyboard to bring upscale. So at that control air quick on the stopwatch. I'm gonna take the Pickwick here and I'm going to drag this to the slider. We're gonna get this expression. Basically, you can totally ignore this. Says cause aftereffects does the calculation for us, But now it happens. If I click off it, you can see our shape disappeared because our slider value set to zero because I increased our slider, our shape layer begins to scale. The only problem here is that scaling in both the x and Y directions. So all I have to do is add a simple expression to the end here, not his pace discs that already had it saved you. Type in temp, comma value bracket, zero bracket and close. Brag it to end the expression. Basically, this is telling our expression toe only affect the X value which is here if you want us to affect the Y position changed zero to a one. We only want this to effect X. Go ahead and type in zero. So now when I drag our slider, you can see it's on Lee moving in the extraction. And so what we can do is I can also click our slider and I can use our good friend the wiggle expression I can type in wiggle something like 0.5 for every half a second wiggle by value of 80. So now, without using any ki friends, you can see if we scrub through. We have our animation. The only problem is sometimes it'll actually going negative because this values a little too high. So let's change that to something a little lower like 45. Just a limit. This hopefully in the positive direction. So now what I can do I can go into the scales of all our other layers can all clicked the stopwatch again, just go down the line here and I can duplicate this slider five times. This way, we'll get a bunch of random numbers. It can take each of our shape wears and comparing the scale two different sides. Why don't we actually match these numbers up to stay consistent? We just have to remember to pay star expression at the bottom of each of these to make sure we limit it to just the X access. So if we click in our expression, weaken, just command V paste or expression at the bottom here. So now have these randomly animating bars. Except for one here, it looks like we never actually pick with back to our control. Parent, this toe one paced in our expression. Now I have all these randomly animated bars. What's really cool is now. It could do the same thing to the numbers using our existing sliders soon coming to our five. Here, take our tax so we can all quick on the source. Text selector Control. I'm actually gonna lock this panel here so we don't keep losing it. I'll pick with this society control five. If I come to beginning here on a type math dot round parentheses in the beginning, and one more to close it on the end. Now, our number here will adjust as this bar moos. It looks like everything's a little tight. I'm just gonna go ahead and give this a little more room. Select our numbers, sputum over. Give a little more breathing space. I was gonna go down the line, but press you twice. It'll bring up all our parameters all quick. Our stopwatch. Take our source Text for text. Layer four, parent. That slider for and you can see. Now, if I don't take in that math expression, we get this long line of decimals. So just to clean it up, you come to beginning typing math dot round, open, front to see close parentheses. And now we're getting a rounded number. Just go ahead again. Won't do that down the line. I'll click the stop block parent text. 32 slider three. Come to beginning capital M math dot Around open parentheses. Close parentheses. You you to bring up our parameters. All click the source. Text pick whipped a slider to come to beginning math that around open breath. See close parentheses. One more and now we scrub through without setting any key frames of all of these numbers animating and our bars animating in a random fashion. Now, if we hop back into our pre competency, have our numbers, our bars animating if we wait till we're about here to get this started, just drag. It's over. We can just bring this on with Simple Fade in. Maybe we can do a sketch so kind of beginning here. We'll set our scale down to zero. We'll set a key friend Hot forward, 15 frames said a key frame as something like 1 10 hop forward five more and said it down to zero. So now you have a little bit of overshoot on the scale up and then pops into place. We can scoot this down a little bit, maybe over a little bit by using our era keys. Maybe even we select the Slayer press T to bring up a passage e. Set that down zero. How for 20 frames Set that up to 100. This fades in as scales. The last thing we have to add it just this block of text 8. Animating Random Text: So what we can do is you can come into our effects and presets type in typewriter. You throw this on each of our text layers, and now you can see that as we press play this whole right or texting looks like this is starting a little bit late. It's less drag this to the beginning. You can see have a nice Rhetta. Now I can stagger this that our 2nd 1 doesn't start to our 1st 1 finishes. Actually, did those backwards happened are pre camp. Shift that layer over by pressing the left bracket and scrub through and see that scales up and our text begins to write on. If we hop over into our main camp here and press play, our animation is taking place with this rounded war perfected. And there you have it. That's how to animate our first graphical element. Our next class. I'll teach you how to animate our circle. Graphic 9. OUTRO: In Part three, we animated a first rectangle, a graphic. We weren't had to animate our initial shape players using some basic key frames that we learned how to animate our additional elements. Using some simple expressions, like the wiggle and time expression, we also learned how to pick whip our parameters to a slider control for easier use. We learned about animating the stroke effect using the trim paths operation and have stagger animations in time for a final look coming up in Part four, we'll learn how to animate our circular graphic using some similar techniques will also learn how to animate our objects in three D space and manipulate the camera. Thanks so much for joining me. Seeing the next course we are.