After Effects : Master Shape Layers Essentials For Beginners | Maggie Osama | Skillshare

After Effects : Master Shape Layers Essentials For Beginners

Maggie Osama, Skillshare Coach: Follow Me :)

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19 Lessons (1h 33m)
    • 1. Introduction

      1:19
    • 2. Shape Layers VS Masks without Intro

      8:43
    • 3. Fill and Stroke without intro

      11:56
    • 4. Text and Pen Tool Final

      8:56
    • 5. Merge Paths

      3:35
    • 6. Offset Paths

      2:06
    • 7. Pucker and Bloat

      1:56
    • 8. The Repeater

      7:07
    • 9. Round Corners

      3:02
    • 10. Trim Paths

      3:01
    • 11. Wiggle and twist final

      5:53
    • 12. Wiggle trans2

      2:15
    • 13. ZigZag

      2:23
    • 14. Project 1 Updated

      6:51
    • 15. Project 2

      6:01
    • 16. Project 3

      5:50
    • 17. Project 4

      3:44
    • 18. Project 5 Stripes Transition

      7:16
    • 19. Save Shape Layers custom animation as Presets to use later

      1:21

About This Class

Shape Layers were introduced in Adobe After Effects CS3 & are a great additional tool to be able to create things like additional assets, animating items, backgrounds, buttons, all kinds of different bits and pieces & they are very easy to animate & you can do some very powerful things with them.

Through out this Adobe After Effects shape layers course, we are going to cover the following:

  • Know the difference between shape layers and masks in Adobe After Effects.
  • Discover the Fill and Stroke Options for Shape Layers and how to create custom gradients  in  Adobe After Effects.
  • How to use both text and pen tools to create shape layers  in Adobe After Effects.
  • Go through all the operands or FX that can be applied to shape layers in Adobe After Effects.      
  • Create some real and simple shape layers animation projects in Adobe After Effects as examples to give you ideas about what you can do with shape layers. The more you experiment, the more you develop your own style.

At the end of this course, you'd be able to:

- Have a strong foundation to start your own style in creating amazing shape layers animations with Adobe After Effects
- Enhance your video intros and create better and enriched motion graphics                                                                    

Transcripts

1. Introduction: Hey, guys, thank you so much for second. My course. My name is Maggie Osama. I love sharing knowledge wherever I go and make conflicts. Topics easy to understand. This is an in depth course focusing on shape fingers in adobe after effects. I'll teach you how to use create an animate shape players so that by the end of this course , you would have a strong foundation to start your own style in creating amazing shape players animations. Also, I'll be providing you with some shape players projects as examples, just to give you a simple idea about the powerful and magical things that you can do with shape players. The more your experiment, the more you develop your own style. This course is great for absolute beginners who want to learn how to use shape. There's if you are an invest user, an expert who know a lot of the key topics. You won't benefit that much from this course. What do you need tohave Before starting this course, we need to have adobe after effects. Any virgin note older than CF three. Also, it is recommended to be familiar with adobe after effects lay out key framing and the five basic transforms. Thank you so much for watching. And I can't wait to see you, in fact. 2. Shape Layers VS Masks without Intro: Hey, guys, in this lecture, I'm going to introduce you to shape players. Shape players were introduced in after effects. He s three on our great additional tools to be able to create things like additional assets , animating items, backgrounds, bottoms, all kinds of different bits and pieces. And they are very easy toe animate, and you can do some very powerful things with them. However, sometimes there's a bit of confusion about when somebody's creating a mask and when someone's creating a shape layer on this open because the same tools can be used to create a mask or to create a shapely. And these are these tools up there in tools bar. So we got a whole theory is here from the rectangle toe all the way down to the store tool . We're looking at lots of these in the coming lectures, and we have the perfect tool which will just be looking at the pound tool. No other options, and in fact, text tools can be also used to create shapes. Okay, Now, to clear up the confusion, the first thing I'm actually going to do take my selection tool, I'm going to create a standard solid layer in my composition. I'm going to go to layer new solid and it's called Royal Blue Solid and make sure its composition size and click OK, and that created a royal blue solid layer. So far, so good. Now that layer selected, I'm going to go up to these tools up here, which are open used to create shapes but are also used to create mass. And I'm going to collect the rectangle tool. And as soon as I quick the rectangle tool with the layer selected, that means I'm going to be drawing a mask on the solid layer. So if I now quick on drag inside the window, I'm creating a map, and when I let go, you'll notice. Down here in the timeline, Mac, one has been created. If I clicked on the arrow beside Mask one, you will see that I've got a number of options so I can actually change the math path. I can change the feathers if I pulled the feather out. That basically makes the ages nice and soft. I can change the mass capacity so I can make it completely invisible for a semi invisible are completely opaque on the mat expansion it just for making the thing a bit bigger or a bit smaller, but still keeping hold off those very soft ages from the feathers. So now I have created a mask. In other words, I have just decided to show a selected portion of solidly. The rest of the solid layer is there, but hidden all I can see it this bit that is shown with the map. Now, if I want to repeat this shape, I can open up the transforms for this layer and go down to rotation. As soon as they start to rotate, you'll see that the rotation has used the anchor point for the layer on is rotating around the anchor point. If I wanted to rotate the Mac itself, I would need to relocate this anchor point to the center of the mask using the Move anchor coin panel and then rotate around the relocated anchor point so the Mac is drawing on the layer, which is choosing to show you bits of the layer. You can add multiple masks toe layer to show a whole different selection on the layer, but you're still revealing and heading bits on the layer you won't be creating anything. Super. Now I'm going to click away outside the soul there, so that is completely uncollected. So if I now go and choose my cheap tools or my math tools up here, look what changes on my toolbar. As soon as I quick here, new items appear as a whole new serious off different items. Mostly, I want you to notice this one here. At the moment, I've got one that stays full. If I clicked on it, I will have another options, which will cover in the next lecture. And I have a color swatch, which means I can decide the color of what I'm going to create. Likewise, it can have a stroke. I can choose the color off stroke and how wider small that stroke is in terms off fixes. So now it's a is to pixel. Let's pull that 10 pixels. So when I create something that's gonna have a stroke, which is black, it's feeling is red and it's gonna have a stroke off 10. Now all that without layers selected, and this is very important thing. Now if I click drag and let go, something new has been created on the screen, and I got a different icon on my timeline, telling me that a shape layer have been created. Cold shape, layer one. I have got different set of contents. I don't have anything, say its mass, but I have transforms for the layer, which is standard toe anchor point pollution scale rotation. But know that these are the transforms off the whole area. If I rotate this, it will rotate from the anchor point of the layer. But if I open up where it saves Rick Tangle one, you will see that in addition, Toe Rick, Tangle, Path Stroke and Phil, I've got transform as well for rectangle one. Now I have a transform for the whole air on another transform for this individual item here called rectangle one. If I open up the rectangle transform, you will see the anchor point position scale. And there are two additional items, one called Q access and the other cold cube than rotation and open. Now look what happens when I start to rotate the transports for the rectangle. You will see that it replace from the center off that she player rotation without having to relocate its anchor point to the central like I had to do with the mask on the solid layer . Also, I can select my shape layer quick and drag again to create a second rectangle rectangle to open up rectangle toe annual C. I have transforms as well for this rectangle, which are different from the first rectangle. I can also open the transforms and play around with the rotation for this cube. If I click on this Q. Just cues. It's slightly in one way or another, and the stew access will get you an interesting looking sort off really does. So, as you can see, I gotta transform for each shape as well as the transform of the holy. So if I want to rotate both off these items together, I can actually play with the rotation transform of the whole layer. If I want to change the color of the full off this rectangle, I can select it and go to the color swatch next to full and changes color, and I can change it stroke color as well. Now this so far is only four rectangles. But of course there are, as you seem before, more than just rectangles for example, who added an L apps. You will see it also have its own transports. Now, this is for creating all types of different assets, and you'll find they are very powerful shaped tools. We can create all kinds of different things. Mostly when we start to look at some of the other options under Phil and Stroke. And eventually, when we get to this powerful little butter here which these at the whole world of different things will open for up in the next lecture, I'm going to show you the other options that we do have here for full and stroke. So I hope you found this lecture useful on that cleared up the difference between a math quiz shows and hide areas off layer on between a shape layer which can, if you like, have multiple items on a single air, all of which has its own transport options so we can animate them separately. Was being a port off the same layer. Now, please join me in the next lecture. See you there 3. Fill and Stroke without intro: Hey, guys, in this lecture, I'm going to show you the Phil and stroke options for shape layers and in particular, how to create custom grade agents. Also, we will look at the standard animation properties that come with Shea players helping us to create an animate, complex and organic shapes very quickly. So far, in the previous lecture, we notice the difference between a shape at a Mass. Now I'm going to delete what I've created in this composition so far. Just select both layers and hit delete. Okay, I'm going to select one of the shape layer tools here, so let's look at the Elop stool. Click on the AL Apps tool, and I'm going to draw and gallops in this composition. If I hold the shift key while drawing, I'm always going to be drawing a perfect circle. If I hold the control or the command key, I'm going to be drawing from the center. If I hold the space bar, I can move item around as I drove, and if I hold the out or option key, I'm going to be drawing with Justin outline. All these rules are still apply as you drove any shape layer. So now I'm just going to draw something that pretty much fools The scream, something like that. Okay, Now I've created a shape layer called shape Layer one, as we have seen before, we can open up Ellipse one, and we have got things called Path Stroke and Phil. So basically, we can animate the stroke on the felt if we want to induce pretty cool things, which I will show a bit more later on. And we have the transports, which I can do things such as que I'm actually going to reset this because I want to show you the tools up here Now, the 1st 1 we have year it just a button telling us that the tools here presently going to create shapes the second button is showing us that the tools would create masks. If I click on there and I click on drag here, I'm actually creating a mask of my shape layer. Okay, so these bottoms saying what you want the tools to do. Do you actually want to create masks or do you want to create shapes? I actually don't want to create a mask, so I'll hit control that, but you can toggle between your tools for shapes, and then if you create your shapes, you can still then apply a mask if you want. So basically, that's what those two bottoms are about. Now we're going to click on the word fill. We have actually changed the fill color before. If you click on the word fill, you will see you have got some options. You have got the option to have no Phil whatsoever. So perhaps he wants something that just going to be a pure stroke. Then you have got a solid Phil, which is what we got at the moment. We have one say's linear gray didn't and one say's Raid ingredient, and then we have blood moods. Opacity on over here. It's phase preview. At the moment I've created the read ingredient. I'm going to click OK, now, if I want to get access to the radio grade in tools, I actually need to go back to my selection tool. And when I go back to my selection tool, these are the items that can help me to adjust my grade agents so I can pull this one outside to the age and then if I want to. I can choose the other side and pull all the way across, which is the center of the white. No, I've got sort of a greedy in that is Black wants side and white on the other. Now where these items still selected, I can also increase the size of the stroke with over here. Also, if you click on the word stroke, you will see that you have the same options. You can have no stroke. Ah, Thala stroke, which we have at the moment lean your ingredients and again raise. Agreed isn't so. I'm going to choose a real ingredient for this stroke and I'm gonna click. OK, I'm going to go back to my selection tool. You will see that in the middle you have the same options this time I'm going to take to the opposite direction. I'm going to take this one toe this side and take this better one to the other side. And by doing this, I have created something that actually looks kind of like about it. If I turn on my transparency grids, you will see it better here. As you can see, we have got something that is almost got depth to it almost looks three d if I go back to the shape layer itself, increased the size of the stroke. Now you can see that you can change how it looks, how it feels and also, if you want to, you can select the shape, layer and duplicated using control the orca Mandy hit. As for scale and scale the whole thing down, you could even flip it if you want to. So if I select the layer right click on the layer on Go to Transform flip horizontal, you can get a quite interesting look and create an item that could be a button just by playing around with the Phil on the stroke off course, they don't have to be grey. I'm going to delete this second shape. Now let's like this shape player. Go to full and click on the color swatch beside it. And as you can see, it is giving me a color stop for the white on a color stop for the black. No, of course I can change that. So if I click the white color stuff, I can change the color, say make a blue And if I click on the black one. I can also change the color. And as you can see, that has changed how the shape looks. And of course, I can move these color stops around so I can pull the blue color stop down so that I'm making the grade Ian's concentrate this end or I can do it the other way. Also, you can see that there is a midpoint gamma slide here where you can actually achieve the same thing. Also, if I want to, I can just click somewhere else and add another color swatch and perhaps change that color . I can add another one say here and make it a different color as well. So, as you can see, you have created a colorful nice looking item just by playing with the film. If I want to, I can do the same thing with the stroke. Okay, so by now we know how we can change the colors, look and feel of an item, and do some interesting things by playing around with the Phil and strove radiance. Now I'm going to show you something completely different. I'm going to delete this. Say player, go to the shape, layer tools and select the store tool. I'm going to adjust my fill to nothing. No, Phil, and adjust my stroke toe solid color click and drag here to create the store. I'm going to turn off the transparency so we can get a better look. So now I have created a store school. Cheap player one. So now I'm going to rename it by selecting the layer and hit Return on my keyboard and call it Paulie star, then hit Return again. Now I'm going to open up the police store. I'm going to open fully Star path. And when I opened the police tore path, I suddenly have a bunch of options that I didn't have before notice, of course, that all of these options are animated ble because they have stopped porches. So, for instance, I can change the number of points. I can change the position on the route tuition. There is also inner radius, outer radius, inner roundness. I can go negative on the inner roundness or I can go positive. I also have out around this same thing. I can go negative or I can go positive so suddenly I have the options to create incredible wild on different shapes simply by playing with these items. Also, these shapes can become evolving shapes, going from one thing to another simply by using the animation properties for the police star path. So far, we haven't done anything complicated yet. We have just opened off the police start path and we have played around with these options . We know that we can change the position. We can even change the rotation. We can also change this True. If he opened up stroke, he will notice that we can change the color and it has a stopwatch next to it. So if I click the stopwatch, go forward one second, click on the color swatch and choose different color. Then go forward again. Click this watch and change the color. And now if I go through my composition, I have a changing color which is animated all the way through on. Of course, this was evolving, changing a moving it will even look much greater. There is also another option down here that is called dashes. I can't open it up with the twere Lee, but there is a pull us next to it. So if I click Plus, suddenly the items is covered in ashes. I can change the size of the dashes. Also, there is something really interesting here to understand something called offset. So officer is going to move these points along. If I officer these items, I'm not going to change their size or their scale. I'm simply going toe officer their position. So as I started to pull off so through I start to have some incredible shapes that are moving and changing. Now. These are just some of the tools that we have for creating really interesting shapes and after effects. I would encourage you to play around with these to enjoy them. Look at all the different options you will get inside each shape. You haven't there. I hope you enjoyed this lecture in the next one. I will show you how to use both text and pen tool to create shapes and after effects. So I'll see you guys next lecture 4. Text and Pen Tool Final: Hey, guys, in this lecture, I'm going to show you how to use both text and Ben tools, create shapes and aftereffect. So far, in the previous lecture, we have seen the full and stroke options for shape players and how to create custom grading . Also, we looked at the main standard animation properties that come with shape players. Now I'm going to delete what I've created in my composition. I'm going to start off by showing you shapes with text. Now, if it's electorate text tool and you click in your composition and he set up the appropriate fund and style according to your preference, you can type some text and then go back to the selection tool. Now this is not a shape at the moment because as we can see from the icon on the timeline that this is not a shape. This is text. However, we can create shapes from text. So how we do that, we select the layer and then we go to the layer menu at the top and towards the button. You got two options with text. One. SEZs create shapes from text and the other one say's create masks from text we are just going to be looking at shapes. So if you click, create shapes from text, something happens in the timeline in your composition window, nothing looks different. However, down in your timeline noticed that the text layer is actually being turned off and the new layer have been created with the eyeball on, which is a shape layer. We can know that from the store. Aiken. Now, if you're open off this layer, you'll see that you have got the contents on inside the contents. We got the individual letters, each of which can be many pleated. So what we can do, for instance, is open off the tee and you will see that you have got something that's tasty, stroke full and transport. Firstly, we got transforms just for the letter t. So, for instance, if I want to skewed just electricity, I can do so just here. If I open up the tea itself, you can see that I can change the path. So if I want out just how t looks a noticed that ive got old appropriate points here. So if I click on path, I can actually select these individual points and sort actually move how the path itself looks to create a completely different loop to my letter so I can actually adjust an any made the path. Now I'm just going to undo that. Also, I want you to see that as well as being able to change the path of the letter. You can also change the stroke. And again, as I showed you in the previous lecture, you can go for dashes and create dashes. We can change the stroke with. We can change the color. Basically, we can do all the normal things that we can do with any shape. All of it is available for each individual that So now I'm going to close it. We can see all of the letters together now. I can do that for individual letters, but also a very helpful function that we can use to change. The whole thing in one is to act to use this ad bottom. But before we can do that, let's click right at the top so the actual layer is selected. Then click Add go right to the top. You have got one that stays group and what we want to do is group all of these letters together so we can affect them together. So Quicken Group and a new group is created, and then what we can do is select the top off text and hold the shift key and select the bottom, all of them selected. Then just grab and drop them into Group One. Now we should want to rename Group One as simple as this selected hit return, renamed anything you want and then hit returned again. And when you open it up, notice that I still have access to all the individual letters so I can still go in and I can change anything and do all the bits and pieces that we have done before. But notice that also now I have new transform for this group. If I open up the transform for the group, I can skew all of the tax together. Why still having access to the individual letters and can change them? So that's how you can change sex into a shape. By now, you know that you can access individual letters, change the look off each letter you can group them and having group them, you can then do the transforms effect on the whole of the group in one go while still having access to each individual. So basically, that's how you can use text to create shapes. The other thing I'm going to show you is how you can use thiopental. I'm just going to delete all those layer. So now if you select the pen tool and as soon as you do, we have got the same fool and stroke that you previously used. And I can now use the pen tool to create a shape. There's two particular ways that you can use the pentacle. One is to simply quick and the other is to click and drag. I was started by the quick method I will do for clicks here, one to three for and then I'm going to go back to the original. And now I have created a shape. Now, see this check box up here, Cold Rodeo based here, I'm going to check it, and then I'm going to click the same again, one to three four finish Now that's the difference between not having roadways. You're ticked, which is going to give me square points and having road over Esera Ticked, which basically tries to round off everything once he gets used of the pen tool. It's better not to have proto busier check. If I am checked that I will show you how to create thes rounded corners using the second way, which is click and drag quick drag pull out. Now I'm going to do one right at the bottom, opposite to that one quick drag. Pull out the other way, and then I'm going to click and drag at the top again. And I have created now a circle. If I open up my layer on the timeline and open up the contents, I have got three she players, all of which can be changed separately. No, of course, I can open up the path I can actually, any made the path. So, for instance, if I click on the stopwatch here, I need to draw Marquet surrounding this point. I'm going to drag around the point so I click outside and drag over the point to change. That gives me back my busier handles. I can start moving things around, and I can change how it's going to look. And now if I screw up over my timeline, it concede that I've created animation. I can also break these handles if I want by clicking on one of the points Start moving. And while I'm moving, if I hit out or option key, you can see that I've broken this handle. And now once they are broken, I can move them independently. So this is how you can use pen tool off course. You can do all the things that we have done before. You can change the stroke. You can change the full, and of course you can transform individual items. So, as you can see, the pen tool is a fantastic way of creating characters. You can create heads, create bodies. Can any made them over time. So that's how you can use the tax tool and the pen tool to create different types of shapes . Starting the next lecture, I'll show you how we can any made shapes using this wonderful add water. I hope you found this lecture useful and I'll see you guys next lecture 5. Merge Paths: Hey, guys, In this lecture, we will start looking at some of the options that we have under the Abir on for this 1st 1 We're going to be clicking on the Amberin on looking at this one here called Merch Path, which is a wonderful operate. So far in the previous lecture, we have seen how to use both text. Eventual is to create shapes and after effects to start the mistreating merge path. I'm actually going to take these three layers before I apply, and I'm going to layer them over each other just in the street. What could be done? So if I click on this shape, pull it over this one, then take this shape layer and also point over here. So they are now all over each other. I'm going to select this shape layer at the top. So when I add Mersch path, it's going to be out of blue these layers, So go to add, then go to merge paths. And as you can see, it drops in below shape. Layer 12 and three, and it has its own twirly. If I open up the twirly, it has something called mood. However, the first thing I want you to notice if I turned off my path here. So you can't see the path visibility. It has actually all the shapes together to create one unusual shape. Now, this is brilliant for creating complex traits. However, if I want to click on any shape, I still have access to it and I can still move it around. And more than this, we have other options so far. Click Add again in the mood here I have subtract. If I click thumbs up, track it basically going to subtract two layers from the third layer. I still have the option to get those layers so I can change how things look So the bottom two layers are being subtracted from the top one. However, if I move this layers around, I'm get different trestles because it takes the bottom two layers and subtract them from the top. Okay, not only do you have subtract, but also do you have intersect now intersect. If I turn my path back on is going to show the area where all these shapes intersect. Turn off the path again. This is what we gonna actually end up with Not only do you have intersect, you also have another one, which is exclude intersection. So you see everything except where any shapes intersect with another shape. It is going to exclude any area where two shapes intersect. But again, I still have access to my shapes so I can change how that looks. By using this, I can't create really unusual shapes simply by using this wonderful marriage path. And it's very simple. It just has this option to be able to change how it works. If you click on merge, it merges all of them together while leaving the stroke intact, which is different from the ad which adds altogether and takes the stroke away. I hope you found this lecture useful. Now let's start the next lecture so we'll see you there. 6. Offset Paths: Hey, guys in this lecture will continue going through the different options that we have. Under the ABA last lecture, we tried out merge paths. This time we'll check out the offset back. So if I drag those shapes here and add a poly store, I will delete the British Pathe option. So when I click on offset Path innocently, the path seemed to grow. We can actually see the shapes outline year, which we can turn on or off from here. But the whole point off officer path is just to grow or shrink path so I can expand or contract path simply by changing the office it. If I pull it right up so it is just below the police store, you will see that none of the other shapes are affected on Lee, the police start and then I can change the size of the police store with offset path. We also have another option here, which is the way that lines joint, which can make quite a difference to how something looks. The line joint property specifies the appearance of the path where officer Path Sigmund's come together. You have bevel joints. A bevel joint is a squared off connection. You have round joints and a mind her join, which is appointed connection. Okay, so that's basically how you can use office, a path to change the shapes, the size of your items. And also you got options to be able to change the way that lines join so I can get a different look, which can be quite fun. In the next lecture, we will go through the next option, which is Parker and bloat in the Abbott. So see you guys next lecture. 7. Pucker and Bloat: Hey, guys, in this lecture, we will go through the program blowed opera in that we have under the at butter. So now I have got a shape prayer. I got four items on my shape layer which I created before, and as I select a layer, whatever I'm going toe apply now will go to the bottom of the stack and affect everything above it. So if I click at poker and blowed innocently, there are changes now. Program bloat has got one item to it. If he opened it up and you pull it down to negative values, you can fuck her something or, in other words, pull. The vergis is inward while curving the segments outward. You can also set it to post the values on blow something out or, in other words, pull the vertex ease off a path outward while curving the segments inward. And of course, as before, we can change its position to show what layers are affected. So if I drag hold poker and bloat dragon above just below the police store, you will see that just the police store is affected. So Parker and bloat is very easy to use. Very powerful. If I hold the shift key and pull it, you can go to extremes very, very quickly. And if I hold the control or the command key and pull it, it only changes very, very little at the time. So that's Bucker and Blute. It is very easy to use. Next lecture. We're looking at the repeater, which one of the most powerful features in shape players. So let's start the next lecture wide away. See you there. 8. The Repeater: Hey, guys, in this lecture, we're going to be looking at the repeater. I just want to point out that you can apply one of these items one of these operations both through the layer and or to an individual item inside the shape layer. So, for example, if I selected the main shape layer and click on add repeater, you'll see that the repeater repeats all the shades that I have inside this shape layer, and it's added at the bottom of my stack and repeating whatever is above it. I'm going to turn off this repeater and select this police store. And when I select this police store, go to add repeater, it repeats on Lee the police store. So I've got two repeaters. I got two repeater on this police store individually, and I have a repeater for the whole shape layer, which is going to repeat anything on that layer on which is actually going to give me three virgins off each shape inside this shape layer. Okay, so now you know that you can apply it on the individual shape and you can also apply it on the whole shape layer. Now I'm going to remove the repeater on the whole layer as well as the other shapes and leave on Lee, the police store. And it's repeated Repeater is actually an extremely powerful tool and something that you can do a lot with. So now I'm going to open up the repeater. I do have here the number of copies in which you can take the copies out to as many as you want. And there is something called Offset No, you see this first store here? Offset is not going to move all of these stories together. It is just going to pull the copies through this. CenterPoint. It is going toe offset where the center point is pulling these tours through. So if I pull them through, they go through the center point as you can see backwards and forwards the next item done here called Compass I. At the moment you can see that the following stores underneath the story in front. But if you can, she's that toe above you can see that everything seems to be going to the opposite direction. As simple as that, however, the real power lies under this one below that say's transform repeater one now this is where shape players can get a little bit confused, so start to make this as clear as possible. I've got the layer as a whole and I have got right at the bottom, transforms for the layer. So the layers anchor points here. If I now change the rotation, you can see that I'm rotating my whole layer around the anchor point. But also I have transforms for the actual police tore itself so it stays. Police store at the bottom off that I have got transformed Police Store one and I can open that up. And when I rotate that I'm actually rotating around the center point now, not only do I have those transforms, but notice that the operation that we have added which had the repeater, also has transforms. And when you open up the transforms for the repeater, you got some options. Here is well, that you can play with. Let's just return the compass I'd back to below. Okay, Firstly, let's move the position. We have X and Y positions. If we move the Y position, what is happening is each of the repeats is moving by that percentage from the store in front, so the second star has moved by that percentage from the 1st 1 The 3rd 1 has moved by that percentage from the 2nd 1 and the 4th 1 has moved by that percentage from the 3rd 1 and so forth. So they all moved in relation with each other. So if we do the same with X again, they are all going to move in relation with each other as well. Now let's look at scale. Look what happens when I increase the scale. What I'm doing is that a moving each store by 10% bigger than the store in front. Off course I can do it in the opposite way. I can make them 10% smaller. So, for instance, if I took all my officers through, all these stories come with and through, you can get really interesting look so I can play with the position, this scale. And of course, you can play with the rotation. And as you play with rotation, each store is rotating by that percentage from the store in front. So we are getting quite interesting look, and once we have done that, notice that it is rotating around the anchor point for this shape, which is here. Now, look, what happens when we start moving the anchor point using these controls at the top of our repeater. That's my exposition. Now I can move it up. We're moving out. Also the same for why position? And suddenly I'm twisting the path because I'm working with rotation rotating around that anchor point so I can get these kind of Speyer looks. And then you can play with the officer to get starts flashing on the screen if you want. And of course, you got start opacity and and opacity so you can change the and opacity and move it right down, Say, 10% and you will see that the stories at the bottom start to fade away. It's like and as we use are offset again and dragged through. You can see that they are disappearing. You can also then change the position scale relation again so that it looks better and more effective. And as we play with the offset again and now it looks much better. Okay? No, that is the repeater which you can use to do lots of exciting things. I hope you found this lecture useful. The next lecture we will start looking at around corners. Option here under the hot button. So few guys. Next lecture. 9. Round Corners: Hey guys, In this lecture, we walk through the round Corners operation that we have under the abbot. Also, I will tell you something about strokes. I'll start by removing what I have done so far on my composition. Then create a new police star shape with no Phil Onley a stroke off TEM pick full white. So I'm going to select my main shape player. Go to add and select round corners. If you open up round corners, you will see there is only one control down here. Cold radius, which you can change and truth to make your shapes looks much more round. A simple of that not very complex items. You can use it in conjunction with other items, such as If I goto ad and select Parker and bloat. Then open up Parker and blow changed the amount. I can get very different effects. I'll turn off round corner than turn on again so we concede the difference. So it is a great effect to use it in conjunction with other things. Now I would go to ad and click on stroke if I just click stroke here and I opened up the stroke and change its color. I can't see anything here. It's not actually showing. What I need to do is take the stroke inside the police story that I'm working on. So if I took this stroke drag and drop it inside the police store, then open it up. You'll see I've got my stroke to below my stroke one. The reason that I can see it is because the new stroke I have added is to pixel wide, while the original stroke, which is above in the stack, is TEM pick so white. So the simple answer is to take stroke to and put it up on top of stroke one. And there you can see it is added on the top of the items I will turn it often on so you could see the difference. So now we can get some very interesting looks. Notice also that it comes with the option to add bland moods. So if you want to, you can change the blood moves to give different type of looks. You can create different and beautiful things simply by adding another stroke and blending it with the stroke underneath. Now, obviously, as long as the stroke underneath is wider than the stroke above it. You can have as many strokes as you like, layered on top of each other to get multi layer, multi color stroke if you want. Okay, so that's how to use stroke effect on how to use round corners. I hope you guys found this lecture useful in the next lecture. I'll show you the train path effect that we have under the out bottom. So see you guys next lecture. 10. Trim Paths: Hey, guys. And this lecture, we walk through the trim path operation that we have under the abbot so far from the last lecture. I do have this Polly store. I'm going to add another one to it by selecting the police star layer and quick control or command V to copy it. Then I'm going to add the trim path effect. I'm going to add it to the top player. In other words, I'm going to apply to the main shape players so it can affect both of them. Together you can apply them separately to each individual shape. But I'm going to apply to both of them just to the mistreated. So I quick trim path stoplight. If you open up trim path, you got story and officer an option for how you do your path. If I pulled the story value up 200 you will see that what I'm doing is I'm taking away from the shape and likewise the and control is just doing exactly the opposite, just going in the opposite direction so you can specify a particular part of the shape that you want to show. And then with the officer value below you can officer that around the shape that you have created and you can get this kind of drawing on. Look so you can actually animate this very simply. So if I go to the beginning of my timeline, click the star parts beside the and control. I will also any meat, my officer. So quick, the stopwatch beside it as well dragged the time indicator forward. Then I will take the n value up 200%. So it's completely drone on and then I will do five complete rotations. You could see that I got kind of flickering stars. Okay, Another thing I would like to show you is that the term path here I have under the shapes set to trim multiple shapes simultaneously. So when I trim them, they all go together. But if I want want to go than the other, I've got under simultaneously on option called individually. If I chose this, you would see that the top shape draws our first followed by the shapes below. So, as you can see that the layer order matters. Whatever is at the top would be drawn on first pulled by the other shapes under so This is how you can use trim path. The next lecture. I'll show you the twist and wiggle path. I hope you guys found this lecture useful. See you next lecture. 11. Wiggle and twist final: Hey, guys. In this lecture, we walked through the twist and wiggle path operation that we have under the ABA. I've got a single shape layer here. It's a police star with the stroke and Nofal. I want to talk about two effects, one extremely simple, and the other one is a little bit complex. So what I want to do is apply these effects not toe the main layer this time, but to the actual police start. So I will select the police store. Go to add on. The 1st 1 we're going to apply is twist when you open up twist. It's all about how twisted you want the item to look off course. You can have dancing stores. You can also go to the extreme, and also you can use it in conjunction with other items. If I go to add and select round corners, you'll see that no difference happened if we open up round corners and start changing the values. Nothing is happening, and that's because the order we have here, if we take round corners and drag it above twists, we can actually start to see a difference. Then you can add things like Parker and bloat play around to get some different and weird shapes. Okay, so now we know about the twist operate. Now I'm going to delete all this to show you the other operations, which is called Wiggle. So I'm going to select the poet store, click on add and go to ago. Wiggle is a self animating effect, which means that you don't have to do anything. It's already animated. Once applied. Hit the space bar and it works so already you can see some sort of distortion has taken place. If I hit the space bar, you'll see it's already wiggling. Open up the wiggle path. You will see that we have the size year, which simply determines how big or small you want this shape to be. You can animate the size property to fade the wiggling up or dump. For example, if I go to the start of my timeline, said the size to zero, then go forward and increase the value than hit play. You can see that it started to fade the wiggling up. Okay, now I remove the key frame for now. Then we do have details here, which is how much Vertex is. Do you want to add between the existing? Vertex is in the shape path and of course, you can make the original Vergis is space. For a part, you can set a value from zero up to 100. Then we do have points or you can actually choose. If you want the points to be spiky by selecting corner or you wanted to be smooth, then you have wiggles per second, which sets the animation speed coloration Germans how different the advert disease are compared to each other. If coloration is small, then you get a lot off bumps between the original Verdecia. Temporal ways and spot always affect the pattern off the random waves that passed through the wiggle shapes. You can set wiggle per 2nd 0 to stop the auto animation, then used these ways controls to strike poses or manually animate the wiggles. For example. As I said, the wiggle per 2nd 20 which, as you have seen it, won't give me any animation. If I created a key frame for the temporary please and hit space bar, you will see that I manually animated the Wiggles and finally we have random seed which basically something we usually use as a starting point. For example, if you say well, I like the way that looks. But you know what I wish if it started in a different look. So here you can just change the random seat and you will see that it starts in a slightly different place, which you might think that's a much better place to start from off course, you can any major random seat, but often is used just as a starting point. I hope you guys found this lecture useful In the next lecture. We'll check out the next opera and which is called wiggle Transfer. So see you guys next lecture. 12. Wiggle trans2: Hey, guys, In this lecture, we will go through the wiggle transform that we have under the AB buttered. Okay, let's start by moving this store and at different shape, let's add an al apps and stepped. How? Then duplicate this else by selecting it and clicking command or control. D. Faisal like this shape, go to add and select wiggle transform hit space bar to play. I'll see that nothing is happening. Unlike the wiggle pack. If he opened up wiggle transform, you can see it has wiggle per second coloration. Temporal ways. Spatter, always random seed. But if we changed any of those and nothing will happen as well, that's because wiggle transform from its name. It wiggles any combination off the transformations for a path. Or, in other words, it wiggles any combination off the position anchor point scale on rotation. So in addition to these controls, which we have gone through in the previous lecture, I do have transforms here under the wiggle transform. So, for example, if I opened this transform on Drew wiggle transform and I tried to change the scale here, then hit space bar, I can see that the wiggle transformations are Oto animated, meaning that they change over time without the need to set any key frames. Also, if I changed the rotation, I will also get different wiggling movements. I'll drag the wiggle per second down a little bit and played again. So as you can see, whittled, transform is all about the transforms. A simple as that in the next lecture, we will discuss the last operating here, which is the exact So see you guys next lecture. 13. ZigZag: Hey, guys, in this lecture, I'm going to show you the last operation that we do have under the ab butter, which is zig back. It is a very simple opera, and I will delete one of those. Select the other Goto ad and select the exact zigzag. Simply converts a path into a series of jagged peaks and valleys of uniforms size if we open up. Six. And we do have three controls here the size where you set the length between six and valleys, said the number off bridges per path. Sigmund on finally, choose between wavy edges, moose or jagged edges, which is corner. All of these off course can be animated and also like any opera in here. It can be used in conjunction with other operas to create new, weird and more interesting shapes. By now we have finally learned all the effects and Op Prince we don't have and built a strong foundation about shape players. Last thing I would like to tell you is that we can create those thundered shapes by either selecting any than dragging and dropping as we used to do in our previous lectures, or simply in my composition timeline. Right click new shape layer, then open up the shape layer quick on the ab bottom beside contents, then select any of these shapes. Then you can apply anything you want from the different effects on operates that we have gone through in the past lectures and now get ready for the fun part. We'll be creating riel projects using shape players to make sense off. All of you have learned throughout the section on these projects you can use any off them in your own videos if you want. So are you ready? Let's get started. 14. Project 1 Updated: Hey, guys, in this lecture, we're going to start our first project. Our first project is about making these circular transitions. It is mainly focusing on the trim path upturned. So I start off by creating a new composition. Go to composition in the menu bar new composition then down here I right click you shape layer. I will open up the shape layer go to add and I will add a group Het return renamed the group Color one, then hit Return again Select the group and go to add I'll Adam A looks a stroke and trim pop. Okay, so now I have a group And inside that group, I haven't had a stroke and trim path. First thing I have to make sure off is that the elop size equals toe the stroke with And let me tell you why, if the stroke was smaller than the jalape size, I'll always get this hole here, which I don't want. And if this troop is larger than the elop size, when I then any made the trim path, I will get this de formacion here. So if I made the stroke with equals the jalape size look what I get here when I start animating the trim pack, this is the circle transition that I want another thing here. Why I'm using stroke instead of food. If I turned off this stroke and add Phil instead, look what I get when I start animating the trim path. This is not how I want my circle. A transition to the okay. Now I remove this fellow and get back my stroke. I will change the color of the stroke. Then I'll start and meeting the trim path. Make sure that my time indicator is at the beginning on both start on on, values are set to zero. Click on the stopwatch beside the store it then go forward, change the value 200. Then click on the stopwatch beside end. Go forward then said the Value 200. Now look what happens when I play my composition and I made some animates off. Now I will select all my key friends at Eazy e's. Then I will select color one group, copy it by pressing control or command Z and in the group of the bottom, change both the jalape size and stroke with toe, a larger value se 350 choose a different stroke color. And then again, I'll duplicate color one group on in the group of the bottom, change both the elop size and stroke with to a greater value, say, 500 and shoes and different stroke color. And again I will duplicate color one group, open up the bottom layer, change both the jalape size and stroke with to a greater value, say, 650 and shoes a different stroke color. I will keep repeating this step two more times, and in each time I will change the value of both. The al upsides and stroke would toe a greater value and choose a difference. True color. Okay, now I'm done, and when I start playing my composition, I will simply get all the shades animating on, animating off all of them. Click on my shape layer, then hit you on my keyboard to get all my creative key friends. Then I'll drag my time indicator to the beginning, then press page down on my keyboard three times 123 So like those key frames and dragged them to my time indicator. Then press page down three more times 123 Select the next key frames and drive them to my time indicator. I'll keep repeating these steps, so I reach the final key friends. And now when I play my composition, I will get the circular transitions that I want. Last thing. Say you want to reveal your logo or text after these circular transitions come in. You can make the bottom color here to be your background. If you want on this by removing the key frame off the start for the bottom color, then dragged the key frames off the end here. When I play my composition now, I will get this. You can then reveal your logo or text or whatever you want. Great. So this is our first project. Now let's move next to our second project sold. See you guys next lecture. 15. Project 2: Hey, guys, in this lecture, we're going to start our second project for shape players. Our second project is about making these wiggling texts and shapes coming in. It is mainly focusing on the trim path opera and in conjunction with the wiggle pack. So I start off by creating a new composition. Go to composition in the menu bar new composition, then down here. All right, click you solid. You can choose different color if you want from here, then down here are right click again new shape layer. Select the layer, then go to the pentacle. Here quick or my composition, Hold the shift key, then click the other side to create a straight line. Open up the shape layer contents, then duplicate the pen tool by clicking control or command e. Open the duplicated one, then open up the transform and change the Y position to drag it down here. Then I'll select my main shape layer and at a group head return, renamed the Group Two lines hit. Return again, then select the two lines using shift key and drag them inside the group. Then so let the group an AK trim path. I'll start animating the trim path. First, make sure that both started and values are sat zeer. Click on the stopwatch beside the start. Go forward, Change the start value 200 than add Eazy E's. When I play my composition now I can see that the straight lines are coming in. I'll make it a bit floor. Okay, now I'll add and helps. I'll make a circle. I also love the shape layer quick on the gallops tool. Then hold the shift key. While I'm dragging on my composition, I will align it to the center. The now select the Al Apps and at Trim Pass, I will open up the trim past, start animating the Alps. As usual, make sure the start and end are set to zero. Also the time indicator here. Just after the street lines coming, I'll click on the stopwatch beside the start. Go forward, set 200 then quick on the stopwatch beside the end. Then go forward and sat 200 then add easy. Now if I played my composition, I'll get this okay? No, I have my text. I will align it to the center. You can choose whatever phone type size you want then I'll select my text right click than truth created shapes from Texas. I would then open it up at a group, then drag all these letters inside. The group also let the group the knack, trim path, open up, trim path to start animating and, as usual, make sure start and end our sacked Uzi vert. I'll drive my time indicator just when the circle starts to come in, click on the stopwatch. Besides, start, go forward, then change the value 200. Then add Eazy E's. If I played now, I will get this yet I want the text to be written each letter individual. So I'll go here in the trim multiple shapes and select individually. And now if I played, I will get the text written each letter by itself. Now I'm going to select the shape layer here, then go to add an at will go path. So here I've added the wiggle path through the main shape layer, so twinkles whatever shapes above. As we mentioned before, you can add with a path to each shape super. Yes, I'm adding it to the main shape layer. I will open up Google path and adjust the size, make the points booth and finally said the Wiggles per second to four. Then I'll select the text shape layer here, open atop an ad wiggle path as well open up the wiggle path and adjust the controls to the values I want. Now if I played, I'll get all my shapes coming in and wiggling. Perfect. So this is our second project. I hope you're enjoying so far. And now let's start our third project in the next lecture. 16. Project 3: Hey, guys, in this lecture, we're going to start our third project for shape players, Arthur Project is about making thes radial transitions. It is mainly focusing on the repeater operations and repeating the repeater. So we'll start off by creating a new composition. Go to composition in the menu bar new composition, then down here. All right, quick, you solid. Choose a color. Then again, down here, I'll right click you shape layer. I'll open up the shape layer, go to add another group and in the group out in l apps NFL, I'll change the color of Phil, then also like the main shape layer and add a repeater. I'll open off the repeater and make 15 copies. Okay, Now I want these shapes to make a circle instead of this straight line. So how I'll do this, the first thing I'll do is open up the transform and said the position to zero. As we all know, a perfect circle is 300 succeeded grief. So what I'm going to do is go to rotation and set it to 360 divided by the number of copies , which is 50. And this will give us a degree value for rotation fitting all these circles together evenly spaced apart to make a big circle. If I open up the group transform, see what will happen when we drag the Y position toe a negative value. We have created a circle using these small ones. Now I'll add another re feature to the main shape layer. So as you can see here, I repeated the repeater open up repeater, too. Then open up its transform, said the position. Volume 20 then dragged down the scale value and increased the number of copies. Say to 10. Then go to the rotation on Do the Math 360 divided by 10 which is the number of copies for this repeater. Then I will play with the and opacity. I will drag down its value. So look what happens here As I drag it down. The far wants starting to fade away. Now I'll start the animating part. First thing. I'll go to the group, transform on, animate both the position and scale, assemble values to zero. Then, at the beginning of my timeline, quick on the stopwatch is here Beside this kill on the position go on second forward, then change the values, Then go one second forward again and set both values again to you. Let's see how that will look when I play. My composition looks right now. I'll create another key frame for the rotation of repeater, too. Drag the time indicator at the beginning of my timeline. Click on the stopwatch beside the rotation, go forward for one second, change the rotation value, then go forward again and set it back to the same value, which is 360 divided by 10. Now I'll click on the main shape layer, then click you to get all the created key friends. Select them and add Easy, Easy. Now see how that will play. One last thing in the effects of presets. Funnel search for drop shatter, then dragon. Drop it on the main shape layer. I'll set the opacity 200 the distance to 15 on the softness to 30. Now I've added a nice shadow toe, my small circles. I'll play my composition and it looks much more better now after adding this nice shatter. So now I have created this radio transitions, which is our third project. And now let's go check Our 4th 1 sold. See you guys next lecture 17. Project 4: Hey, eyes in this lecture, we're going to start our fourth project for shape players. Our fourth project is about making these circles undoubted circles bursts. It is mainly focusing on strokes, so start off by creating a new composition. Goto composition, the menu bar, new composition, Then down here. All right, click new, solid. Choose the color. I'll then select the Al Apps tool and draw a circle drag while holding shift, keep and then I'll open off the al abs. Go to stroke and animate the stroke were I will start with a big value quick on the stopwatch. Go forward, then change the value to theory. Then I'll ab Eazy E's on when I play. Now I will get this. The next thing I'll do is to animate the scale of the Alps. So open up the transform of the elves, drag my time indicator to the beginning, set skill to zero. Then quick the stopwatch go forward, then started 200. Then I'll ab Eazy e's. Now. If I played, we will get this burst. Now I'll add a drop shadow to make it more clear in the effects and precept panel search for drop shadow than Dragon. Drop it on the main shape, player. Now this looks much better. Okay, Now copy this main shape layer by clicking control or command V, open it up and go to the stroke of the Alps. Then here you have dashes, which we have mentioned before. Click on the plus. I couldn't twice to get the dashes and gap gap simply gaps between the dashes. As we can see here, I will change the values. And now if I play, do you can see that I got a circle on a daughter circle birth? You can then make as many copies as you want from the main shape layer and play around with this scale on position so it can spread them around and get some small and big circles and dotted circles burst. So, as you can see, it is very simple. Very easy way to create this. My circle bursts. So now I have created these births, which is our fourth project, and I'll see you guys next lecture 18. Project 5 Stripes Transition: Hey, guys, in this lecture, I'm going to show you how to create these stripes transition. I'll start off by creating new composition, click composition on the menu bar. New composition. Then I also like the rectangle tool and drove my first tribe. It has a full with no stroke. I'll change the color of the full toe. What, Then I'll start drawing the first tripe make It covers my composition height. I'll go back to my selection tool, open up rectangle one in my shape, layer open up the transform and said the position to zero. So ask the position it in the center of my composition. Then I'll start animating the position. I will go forward by pressing page down on my keyboard seven times. Click on the stopwatch beside position that I'll drag my time indicator to the beginning press page down to go forward on Lee once. Then I will drag this first tribe downward while holding the shift key so it moves in a straight direction. Then I'll add Eazy E's Let's see how that will play. Now I rename rectangle one layer hit return name it first tripe than hit Return again. I will draw my second stripe, make sure you are selecting the main shape layer before drawing so as not to create another main shape layer in the timeline. So I'll draw another stripe, then open it up. In my mensch, a player opened the Phil and change the color. Choose whatever color you walked. Then I'll drag the first tribe to be on the top off this shape since we wanted to be always on top. Okay, Now I want to any meat this second stripe and I want the animation to start right after the first tribe comes in. So I go forward on Lee once right after this key frame by pressing page down on Lee one time. Then I'll open up the transform of rectangle one and start animating this scale. Okay, Before I do this, I will also set the position off this tribe to zero so as to be positioned in the center of my composition as well. Now I will start animating the skill. First, I'm going to turn off the con extreme proportion so I can play around with the West of this tripe without changing the height. So I'll set it to zero and click on the stopwatch. I will press page down six times to move forward, then drag out the X value until the stripe covers all my composition. Then I'll add Eazy E's. No, let's see how that will play. Okay, now I'll duplicate this rectangle one shape two times using control or command e. I will open up rectangle to and change the full color. Choose the color you walked, then open up rectangle three and change the color as well. Now I will just the key frames so that each stripe and he makes in right after the previous one. So also left the main shape layer hit you on my keyboard to display all the creative key friends. I will go to the first kale key frame hit page down three times, then dragged this key frames here. Then again hit page down three times. Then drag these key frames here. Okay? No, let's see how this will play. Looks perfect. Now I'm going to do the last key frame, which is animating skill off this first truck. I'll drive my time in the cater here After the last tribe comes in. I'll also turn off the Kanis train here as well. Then click on the stopwatch, move forward here, then drag out the X value of the scale until this first tribe covers the composition. Then I'll add Eazy E's. Let's see how that will play. Wait. The last thing I'm going to do is enabling motion blur for this main shape layer so it makes the transition looks better and more real. Now let's plate again. So this is our final fifth project. You can then, after these stripes transition, reveal or move in either a text or your logo if you want to. So now we have created our fifth project. Thank you for watching. 19. Save Shape Layers custom animation as Presets to use later: Hey, guys, in this lecture, I'll show you how to save custom animations as presets to use later in after effects. For example, say you want to save these circle transitions as a preset to use leech. Simply highlight all your layers. Go to animation in the menu bar, click on Save Animation, precept the name of anything you want. Now I want to lead those layers, then go to effect some presets panel here and search for my safe precept I'll selected. Then simply drag and drop it on the timeline. Remember that she need to put your marker wherever you want your animation to begin, because wherever your drop in this precept is going to be, where your first key frame goes, so I drop it here and there it is. So now you know how you can save your shape players custom animations as presets so it can use later in after effects, instead of doing it all over again from scratch every single time. I hope you found this lecture useful. Thanks for watching