Animating A Badge: Workflow From Illustrator To After Effects | Richard Adam Jones | Skillshare

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Animating A Badge: Workflow From Illustrator To After Effects

teacher avatar Richard Adam Jones, Freelancer

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 (39m)
    • 1. Introduction

      2:08
    • 2. Creating The Badge

      7:42
    • 3. File Prep For After Effects

      4:36
    • 4. Getting Started In After Effects

      2:50
    • 5. Animating Our Badge In

      7:42
    • 6. The Power Of Workflow

      2:43
    • 7. Animating Our Badge Out

      4:31
    • 8. Adjusting Comp & Add Motion Blur

      2:58
    • 9. Render & Share

      4:03
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About This Class

In this lesson we will cover the basics of using Adobe programs in a cohesive workflow that leverages each program's strength. Transitioning from creating a simple badge graphic in Adobe Illustrator and then taking that badge and animating it in Adobe After Effects. This is not an advance technique but rather a foundational skill to have to save yourself time and your client money. A basic understanding of Adobe Illustrator and After Effects will help you in this course. No expertise is needed as a designer to benefit from this course.

Key Skills Covered:

  • Basic Graphic Design
  • Understanding Layers In Illustrator
  • File Prep For After Effects
  • Importing An Illustrator File Into After Effects
  • Simple Animation In After Effects
  • Exporting In After Effects

This lesson is intended for the multi-tool freelancer that is looking to enhance their skillset. Also intended for Graphic Designers and Motion Graphic Designers to understand the workflow between Adobe Illustrator and Adobe After Effects and work better within the team dynamic. When you complete this course you will be better suited to deliver high quality products to your client.

Meet Your Teacher

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Richard Adam Jones

Freelancer

Teacher

My name is Adam Jones. I have been editing and shooting since I was a kid in grade school. Editing in an old dusty room with my librarian doing reel-to-reel editing on VHS. This continued through my life and now 30 years old I have 10 years of professional experience with motion graphics, editing and directing. Telling stories is the passion of my life. However I can participate in that process I want to do it.

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Transcripts

1. Introduction: It's always awkward when you shoot stuff by yourself. Be crazy. Cool, crazy, cool. I don't have shoes on right now filming at my house. It's a little life. Honestly, Are you ready to learn? Hey, what's going on? My name is Adam Jones. I have a motion graphics artists, a graphic designer, photographer, filmmaker, really? Just, I think freelancers. Probably this thing to call me. I just love being creative and being able to use the tools that are out there toe leverage , my creativity to tell a story on. So being able to do that and share with you guys and the skill share community is just awesome to be able to learn from all the different people that we have on the community, but also to be able to teach some classes just a cool. It's a cool opportunity that we have to share with one another. Man. When you google something, you can't find it. Uh, that drives me crazy, especially when you're on a deadline. And so what I'm hoping to do is to give you guys some of those little things that you're not gonna find on Google necessarily on. So I have some unique things to bring to the table today. One of them is we're gonna be talking through making a design and illustrator and then taking that design and put in an after effect so they can move. I'm just some really simple stuff. So if you are a basic user of after effects and illustrated, this lesson will be great for you. If you're in advanced User, this might be something that you don't know how to do or if you're on either end of that workflow. So that's a your graphic designer that works with the motion artist. Or maybe your emotion artist that works with a graphic designer. And you don't know how this these things work and how to communicate. It's really simple. It sounds complicated. I mean, it's a little complicated, but it's not too bad. Make sure that you're checking out that class project and your uploaded in your posting, and you're sharing stuff on when you get these renders out, man, just you need to be pushing these to your friends and be like, Look how awesome this is. I made this man. You will be proud of yourself. I'm proud of you already. So, uh, let's go ahead and jump right into 2. Creating The Badge: All right, So now that we know what we're getting into with our project, what we're going to do now is we're gonna launch, Illustrator. We're gonna start to make our design. Remember, this is a really simple design. If you're a graphic designer, you might even be a little offended And how simple this is. But remember, this isn't necessarily a graphic design course were more so talking about the workflow, what you could do from program to program. And we want to set this up to send over to after effects. So let's go ahead and launch Illustrator. So that's launching. I'm using Adobe CC 2017. If you notice some differences between our programs, that might be what it is. Eso you might want to go download, make sure you're up to date with the most current version of illustrator. All right, so now what we're gonna do is hitting new, and that's gonna pull up a new document. And they were to come over here and we're gonna give our document and name, so we'll call it awesome motion graphic, and then we'll give it a one. All right. And then, for with we're gonna make sure that's 1920 by 10 80 because that's what our compositions gonna be. When we go into after effects, we will make sure it's on pixels. Years might start out in inches, and then that's nothing at its to go over the pixels and then you'll type in 1920 but 10 80 and they come down here to Keller Moat. Um, you might have it defaulted for see him like a If you do a lot of print but want to make sure it's on RGB now, the difference between seem like A and RGB is that RGB is meant for screens and seem like a judgment for print. And so, if you hear somebody ever say seeing y que, which is Cyan, magenta, yellow and black, that is for a printer that is their printing something, whether it be large format, small format, whatever it's that's the language for print. To get the colors right. And then for screens, it's RGB, which is great green and blue. Andi. You'll use that whenever you're doing anything that's going up on an iPhone or computer or a TV, or, you know, just anything that's on a screen. So we're gonna make sure that we're in RG because we are gonna end up sending out some awesome motion graphics to people that we know and look. All right, so now we've got that. Let's go to create it's gonna pull up a blank canvas, Behold in the space bar, and I can drag and move my canvas around. So what, you can center that up, remember, we're gonna keep it really, really simple. So what we're gonna do is we're gonna start out with one circle, pull up our lips tool, and you're gonna hold down shift. Because if you have it like this, then you can make these goofy looking circles. So we're gonna hold down shift and makes it a perfect circle. All right, then. Hit V. That's gonna pull. Parker. Sir, we're gonna make sure this is centered upon the on the campus. Now, if this is if you don't have these options, check right here. If it maybe it looks like this, that means that you have it, Teoh aligned to selection. We want to align art board right now. All right? And then we're gonna go in, and we're gonna make that stroke on that circle. Nice and just fat. Let's go to 20. Scope to 30. We'll go with my age as we're going here. We've got this. Alright, Awesome. And so I'm gonna duplicate that circle by holding option away from a double cursor. Pull that up and then we're gonna re center. I'm a holding option and shift. Then we go right outside of that circle. Make it so that it's filled in with nothing and then dropped the thickness of our stroke down to 10. Like that and just keeping it roll. Just simple. Give a little bit of ah, you know, just in that one, too. It's got a vintage vibe, all right? And now we're gonna add in to the middle here. And so we're going to do moves. Keep that in the center like everything else. Um, and I'm gonna use a font called Avenir. It's a free fun I found online. We're going with black lead over, right? It's looking better every day. And now let's add in motion graphics. Our motion design actually, motion design make that a little larger, and I'm gonna use a typeface called Buffalo. Now you guys can use whatever typeface that you want to. I just like the way that one looks Center it up. That looks really cool. So motion design moves and then will come down here And actually, let's ah, duplicate motion design. So hold down option and drag it down and we'll put like, a little footer. It t so it domestic type, and we're gonna type out. Um, let's do. Thanks. Ah, Doby. Everybody loves the dhobi, right? I wouldn't be here without him. A little bit smaller at the bottom. Speak like where you might see, like, an established in 1986 or whatever. Um, still feels a little plain to me. So what we're gonna do is add in some, uh, some lines here. It's basically we're just know we're just playing around trying to figure out exactly how we want it to be. I want that to be a little bit longer, but I wanted to be centered up. Then let's move it up. I'm using the up arrow key unless we're gonna hold on command and hit the plus button. Zoom in a little bit. Hold on. Option duplicated. Make it. Actually, I kind of like it like that. I was going to get smaller and thinner. But I think I like it like that. And then let's add some lines right here on the outside of motion design. So we'll grab our line tool and there's going to be short little lines. Hold on. Shifting will make a perfect line. We definitely don't want him to be 30. So let's take him down, Teoh. Let's do five. And if you click on stroke, you can around them. I think that's getting pretty close to what we want. And so I'm gonna hold on option and duplicated. And if you hold out, shift after you hold down option to keep it on the same line. So now we're a little bit closer. All right, So we've got our basic design done, and this is, you know, something to remember again is this is a very basic design, you know, We've got, like, two circles, a few lines and some some typeface is something that I've been taught Going through graphic design classes has been with your typefaces. You want to make sure that you're using more than just one. There are cases when you need one weight or one font or whatever you want, you want. Call that there's those moments, but something to remember is that it's kind of like cooking. You want multiple ingredients to get the flavors that you want, so we're going to use multiple typefaces to accomplish the aesthetic that we won. So with us, we have a script fund, and then we've got a really hard sansei refund, and it just gives us the look that we're going for, which is this kind of vintage five. It's very simple to the point. 3. File Prep For After Effects: All right, So now that we have our basic design, there's a little bit of file prep that we're gonna do. So we're gonna highlight this and we see that we have all these lines, right? All the strokes, That's what we're gonna dio is we're gonna go to object path and then outline stroke. And so it's gonna outlined the stroke for us, and then we're gonna hold down, shift command and hit open, and it's gonna outlined all of our typeface. So now we have all these shapes that we can mess around with, So we're gonna select everything and make sure that centered up loops we forgot to group are dashes. So we're gonna take our dashes, select our dashes, make sure that those are aligned a selection, and then we're gonna send of those up and hit command G, and that's going to group those. And so now when we select everything go to align our board and we're just gonna basically center everything up, everything is ready to be organized into layers. So we're over here, open our layers panel, slip it down, and so we basically have. We want to think of our layers as what are the objects that we want toe animate independently. So we know each circle we want to animate. Motion design will be a word that we animate these dashes we will bring in, um altogether moves will be one. These dashes will come and independently. Thanks. Adobe will come in independently. So basically how everything is right now. So what we're gonna do is just add a bunch of layers and then we're gonna start pulling items out. You're just pulling him up and drop them into the new layers. But so we have three layers too many, so we'll just junk those. And so now we have our stuff. So what we're gonna do this is a huge help. If you can do this as we are going, Teoh, turn off all the eyes. And so as we turn him on, we're going to label. So I'm gonna put circle one. Never bring this layer up Circle two. And so we're doing this for every layer. I'm sure type. It moves for that one on the next layer. Let's dio we call it just this layer would be motion turn on the next layer, Doby and so we call this one line top line bottom, and then the very last thing will be our dashes. So ahead, Dash IHS. So it seems like a, uh, really kind of pointless step, but going through and putting what? Each layer is gonna help us as we go into after effects, because what it does is it lets us know once we import that file and after effects, what each layer is so that we're not just searching around and you'll say this gets imported and it's out of order. We know what order we want everything to be in. So let's go ahead and save this out, and then we're ready to go into after effects. So once we come here, we're gonna go to file. We're gonna go to save as my screen's A It's a little big, so we're gonna pull it up and awesome motion graphic one. That's where we're gonna be. So I'm just gonna say this to my desktop, make sure that it saved as an adobe illustrator and hit save, and then you'll have this box come up. You can just leave everything tech checked hit. Okay. All right. So now that we have it saved in our desktop. What we're gonna do is we're gonna launch after effects and go ahead and get that comp set up in an adder animation and the next port. 4. Getting Started In After Effects: So now that our illustrator file is all set up and ready for us, we're gonna open up after effects, bring that file in and then start animating. So let's go and open up after effects. All right, again, While that's loaded, I'm using Adobe after effects 2017. So it's the most current version. So if you don't have that good and stop, pause this for a second, go download that update and then come back to us. All right, so now that we got after effects open, we're gonna go ahead and bring in our illustrator file, and that's going to open up a new comp for us. So it's going to do that. So you're just gonna double click right here and they go to our new comp hit open and you'll say, import kind and we want to bring it in my safe footage. You don't want to do that. That will bring it in like it's a big J peg. We will go to composition, and you have two options down here for footage. Dimensions. We want to go with document size and hit. OK, All right. Great. And if we double click right here where it says Awesome motion Graphic one and it's got the little cop icon, Double click that boom. And so what we made an illustrator is now inside of aftereffects. And so we've got all of our layers down here. It's all how it was over in Illustrator, and it's really I mean, it's quite cool how they do that. So the next thing that we're gonna do is make sure that were selected on our awesome motion graphic one. By looking at the, uh, will be a little blue highlight around the layer that we're on, and then we'll have a white line underneath that they were ago composition, composition, settings that's gonna pull this up. We're gonna take our dimensions and then make sure our frame rate it said it 24. And so now that we know that it's 24 there's there's some things to remember when it comes to frame right. There's two really common types of frame rates. There's 24 30. That means frames per second, and so we're going to go with its 24 frames per second. Now the reason we go with this, it's so that we're saving six frames per second on the back. And when we render, I know it might not sound like a whole lot, but you got to think, you know, if we had 100 seconds worth of footage that 600 frames that we don't have to render now there are some projects when you'll have to render it. 30 have had projects I had to render at 48. 60. But the most common things you're gonna come across is 24 30. And so I always go for 24. Also, like the look of 24 it's a little bit more like going to the movies and watching a movie. So yeah, those airframe writes. It's just something that jot down and keep in, like a journal so that you know what that is. All right, so now we looking everything seems pretty good. We're gonna go to duration, and I've got mindset for 15. That's a really good duration for us that would give us time, toe animate, inanimate out. Okay, so we're here. Ok, Awesome. So now we've got that all set up. It's time to start doing some motion 5. Animating Our Badge In: So what we're gonna do as we're gonna go to a one second marker actual. Let's go to the two second marker. We're gonna highlight everything, and you're gonna hit the letter P. That's gonna bring a position. So again, you're gonna hit Pete position. Now, the next thing that we're gonna do is hold shift in hit s and that brings up scale. And so now we can see all of our positions and scales for every layer. All right, so now that we've got position and scale open for every later what we're gonna dio as we're gonna go through it, anime each layer independently. So we're gonna come in. We know that we want Ah, let's see. Motion design. We're gonna hit this little stopwatch here. We know that the position is what we want to change on this one. I would go to five seconds or five frames. I'm just gonna drag it up and off screen. So I go back and I'm gonna go to moves. Hopes that double clicked. If you double click. Just go back up here and hit composition. I'm a hit position, and then I'm going to do a few at a time, so I don't want to do position here on these. The lines on Adobe and I want to do scale on the circles so that I'm gonna roll back to five frames. Quick shortcut. If you use the page up and page down buttons, it will go forward and backwards frames so your arrows will just move the layer that your selected on, but your page up page down button will actually go forward of frame or back a friend. That's a really that's a big time saver. All right, So what we'll do is ah, let's start with the dash is now. So I've got those selected. I'm a drag goes up off screen. I know the top and bottom line. I want him to come in from the right and I want moves to come in from the left, all right? And in this sea adobe, we'll just have that dropping from the bottom and then the circles, you know, I'm a Linux teens fan personally, so we're going to kind of just have those grow. So we come down here to scale, select it, hit zero another nothing. And now this is a cool little trick to unclip her. Our area as we can hit this and we could hit you. It's gonna hide everything and then hit you again. And now you see just the key frames. That's a really useful thing. If you're working with a lot of layers and you just want to see the animation that's available or the key frames that you put in, then you just do that. All right, so now that we're back in, let's go and hit space bar and watch this. So yeah, there we go. We've got it. You're done. You've done it now I'm just kidding. They'd be a huge waste of time. So this is just step one. This is just like the kind of we've found the rock that we want to chisel eso. Now what we're gonna do is we're gonna go in and edit the the graph, so this kind of it swoops in really soft and smooth. This is called ease or easy, easy. You could ease in and ease out. So let's jump in and look at this really quick. All right, so we're gonna select all of these because we want all of them to ease and I'm gonna hit this little button right here. That looks like it's called the graph editor. It looks like a little tiny ah, line graph. I guess I'm awful with my types of grass appoint graph. So we come in and so we can see all of our animated spots. So I'm gonna click and drag and highlight everything, and then you're gonna come over here select edit speed graph because we want to edit how the speed comes in. And then this one right here is called Easy, easy, easy in. So select that and see how it changes. I'm gonna grab this handle right here, and I'm gonna drag it back. That's gonna make it really kind of like coming super fast and then slow down as it gets to where it's supposed to be. We'll see how that looks. Oh, yeah, that's like 10 times better. Very cool. So now that we have kind of like this eased Eazy e's movement of how we want it to be now what we're gonna do is ah kind of separate these layers so they don't all come in at the same time. But before we do that, it's kind of hard to see. So let's add in a background. So you're gonna goto layer new solid. You have your solid set up come in. 1920 1980. Let's just make it white. That's fine. Drag it to the bottom. I mean, if you go to effect and generate and then select Grady int ramp, you can also. So let's delete the grating ramp. You can also come over here to the effects and presets and typing Grady, Aunt Radiant Ramp and it'll pop up over here and then you just drag it to the layer you wanted to be on. And then we're gonna select radio and I'm gonna drag this Ah, to the center of that. Just cause it's so pretty, my eyes will do that. Drag it out a little bit and then let's put in some colors. I'm a big University of Kentucky fan, so we'll do some, uh, blue here. Just really simple. Yeah, it's kind of a cool look, too, with the black and white. All right, great. So now what we're gonna dio is, um Well, watch this animation again. This is very simple. Very cool. What we're gonna do is when I start separating the elements. And so we know the first thing that we want to be in our our circles. And so the circles are pretty good. We might go ahead and good and hit v, and that's gonna bring up your cursor. So circle to I wanted to animate in a little after Circle one, actually, vice versa. Sorry, Circle one. I want to come in after circle, too, to see how that works. So the little one and then the big one. And so then we know that we're gonna want, um, moves to come in after the circle rolls in city. But right there and then motion. I went to come in after moves is already in. The dashes will be after that. And then Adobe, I want to be like the very last thing. And so top line comes in, and then the bottom line. And so now let's watch this with seen it kind of drug out a little bit. Yeah, so it's it's getting a whole lot closer. Something to remember with these designs is you know, we don't want to bring it all in at once, because if we bring it all in once it kind of it doesn't leave any drama. There's no there's no mystery to what's coming in. So we want to reveal it in order importance. And so we wanted to come in and it's moves, comes in really big and then thanks, adobe. It's almost like we're revealing parts of the puzzle so that they can put it together as they watch it. So now we've got a pretty good animation here. 6. The Power Of Workflow: very cool. And so something that we can do This is a really It's kind of the what happens when you start to leverage what we're doing. We can come over. Let's save this, and so will type in awesome motion graphic. It saved. All right, it's going on our desktop. Now. What I'm gonna do is I'm gonna open up. I'm not really like and how the colors look. And so I wanted to be all white on top of this blue background, and I'm actually not really, like in how we have filled in this circle the big circle. So what we're gonna do is we're gonna relaunch illustrator. And again, this is the power of using two programs the way they were meant to be used in really leveraging that workflow. And so I'm gonna reopen. Awesome motion Graphic one. All right, someone coming here and I'm basically gonna select this hick shift Command G, because it's made this circle on the inside into a shape. And so that'll un group it, and you're so you'll select it and they hit delete. And so now there's no background here. Okay, so then we'll select. Yep, everything's good. to go. So what we're gonna do is we're gonna select everything. Now, there's no white background. We've got all these and we're gonna hit white, okay? And so now it looks like, Whoa, what happened? But you're gonna hit command s, which is the is the shortcut for Save. And now this is what the seriously I know that I'm jazzed up. You're probably, like, what in the world, what's wrong with this guy? This is a really cool feature that Adobe does. So it's gonna update our save file. And then when we open up after effects, it should have it to where it's mimicking what we just didn't illustrator. Okay, so I'm gonna hit command, Tad, that's going to switch our programs go to Illustrator Army after over the after effects and Boom. So what it's done is it's updated its root folder. With the current design so little, even if we add layers in there would change type or whatever it's gonna update it into after effects. Now, the cool thing about that is all of our animation retains, so we still have all the work we've done. And just like that, it pops just a little bit more. I'm really, really digging this. So now what we're gonna do is we're gonna come in, we're gonna animate everything out. So the way that something comes in is really neat. But then when the weight something leaves is also important And so I want everything to kind of snap out. I wanted to be a little bit faster and how it came in, and what it's gonna do is it's gonna create a, um, a loop for us, basically. So let's go ahead and do that at the very end. 7. Animating Our Badge Out: So now what we're gonna do is we're gonna add in the ending animation to our our ah effect just to make it into a loop. So our motion graphic animates in real smooth and then animates that really smooth. So when you see this come across the timeline, it doesn't like come to the end and then like you jerk and kind of 30 for your access when it restarts, it's gonna have this really smooth in and really smooth out. And so we're gonna go ahead and add the key frames to the end. So the animates out. All right, here we go. So I'm gonna drag over. I wanted to animate out. I want everything. Start moving it about 12 seconds. So I'm gonna come back in. So let's start with our dashes. We know we want everything to kind of be here, So I'm gonna go ahead and just select the key frame for everything as we go down. We're keeping This is really simple. We're just doing a few here, okay? And I'm gonna drag forward to about 13.5 seconds, so they give us Ah, second and 1/2 for everything to animate out. And so the dashes are what we're gonna animate. First I want those to go back where they came from. I want the bottom line in the top line to actually go to the opposite side of the screen that where they came from And I want Adobe to go out to the bottom, all right, and then we're gonna have motion go. The motion design layer will go up where it came from and they will have moves go across the screen opposite of where it came in from and then circle one and circle to will both go back down to zero on their scale. And so when we look at that, it doesn't have that easing. That funny how good this looks, how it comes in and smooth. And what happens is we get this really just nice, creamy animation that is really pleasing. Look at. But then when we weigh animated out, we haven't put in the easy easier and it looks like 1/3 grader did it. So let's go back in and fix that with the graph editor. So we're going to select all of our key frames. Goto, our graph editor they're still selected. And on the bottom, we're gonna go to Eazy E's Apt Select that drag it over again because we want it to be that dramatic swoop out and then we're gonna go watch. And now, just like that, it looks a little bit more professional. And so now what we're gonna do is we're gonna go into the end like we did at the beginning and select what? What goes out first on what goes out last. So let's have our dash is be the first thing that come out and then we'll have our lines follow their Let's have the bottom line go first. I'm selecting the key frame instead of selecting the layer to move. It will do that and then thanks, Adobe. Let's have that go out pretty quickly, too. And I can select just one key frame and make it move a little bit slower than the rest, and they will have motion. I like that where it's at, moves towards the end. Let's actually move motion over a little bit, too, and then both of the circles we want to be at the like, the very last thing to go out and so I'm gonna have circle one, go and then circle, too. And so I'm gonna drag circle to to actually be a little bit short of an animation and circle one to be shorter as well. Hopes the double clicked canceled. And so now let's see how that looks. The dash is the lines. Yeah, so now you can see how it loops. So now we've got this great looking design home, and it looks awesome. So it's smooth in and then it's smooth out, and that's, like, the most important thing. And what a good loot. And so you can see how it loops because it it looks the same. It's the beginning of the frames that does at the end. And so it has this continuous loop. So you could play this at the beginning of ah, conference or on a website is a gift for whatever you want to do. And so it's just gonna be it's going to continually Lou, which is really neat. Yeah, it's awesome. The only thing I don't like about it let's go and stop that. Is this a little long oven animation for me? And so what we're gonna do is we're gonna snap it toe where I'm gonna highlight all these key frames, dragged them back a few seconds and then shorten our comp. 8. Adjusting Comp & Add Motion Blur: so I select all my key frames, and then let's have everything started. About seven seconds. It's gonna be a snappier. Yeah, will be perfect. So we'll go That first key frame. Let's actually go for the last key frame. Everything's out by 10 seconds. All right. Awesome. And so now what I'm gonna do is there's a couple ways that we can trim this comp length down by. I'm gonna hit in, and that's gonna trim it. And then right click and hit, trim, comped, a work area. And so then you can do it that way, Another way to do it. I'm hitting. Ah, plus and minus to see. That would be to come up here and go to composition composition settings and then type in 10 seconds. And that would be the same thing just quicker to do it by doing the shortcut of using in. All right, I just slowed that key frame over off that last frame so that we could make sure it works. All right, so let's watch this as a whole. I mean, I really I'm digging this, This is this is smooth. So we're gonna do one more thing. We're gonna add what they call is motion blur. And so when I move my hand, see how you don't see every single frame or every single part of it, because there's a murder motion blur on it. And so right now we see every bit of movement. So when we add in motion blur, it's gonna be a little bit more intensive on our computer. But it's gonna give us a really cool look. Let's see what it looks like it's going to stop. That I want to do is go down here, go to toggle switches modes, and then you're just gonna select a Circle one and they go to dashes and hit, shift and select that and then see this this right here, where there's three circles that go up from each other. That's our motion blur. And so now just because we've selected here doesn't mean that we'll see it. So we got to go up here, enables motion blur for all layers with the motion blur set. Okay, so now that it's blue, we know that it's enabled. So let's see what it looks like. So see how it's slowing our computer down already because it has to put in all those blurs . But once this renders, you're really going to notice a big difference because it's gonna look. I don't want to say realistic, but it's going to give it a little bit more of, ah, realism to our peace. Okay, here it is. So it just adds in just the slightest amount of blur as they move at a certain speed. Man, this is great. You guys have done a great job. This is a great animation, something you could use. I mean, really anywhere. And the cool thing is, if you needed to change the words or you wanted to make this a template for your clients, you could just do that in your illustrator file. So you just go into the layer that you want to change, and you could do that. And there's minimal work that you have to do on the aftereffects side. As long as things are the same size 9. Render & Share: All right, So now that we've got our animation exactly how we wanted to appear and we've got the loop set up, we adjusted the comp size. We added a motion blur. We've done all these really cool things. It's now time to export this. So we're gonna make sure that were selected on the composition that we want, which we only have one composition we're gonna hit. Awesome motion graphic one. Yep. Make sure it's selected and you're gonna go to file going on the export, and then I'm gonna use media encoder. So add to Adobe media encoder, and that's gonna launch encoder. Used to that. You had to use just the media Q. And then you have these huge files that you would then add in tow, encoder, premier or whatever, so that you could make it a smaller file size. And so this makes it so it was just like one less step. We're gonna make it a dot mp four, use an h 40.264 rapper for it, and it will be really universal and easy to use so we can slide this out and we're going to see here that it's h 0.264 We've got our match source yet. That's it. And then we're gonna select our destination where had desktop, and we're gonna call it just what we've been calling everything else. And so you'll select here, and you've got all these different kinds of Codex that you can use with one that we want to use his h 10.264 It's a good balance between file size and quality of video h 0.264 and then you've got all sorts and kinds of presets that you can use. I would just go with match source, high bit rate, unless there's a specific reason. So if I'm going to Vimeo or YouTube, I might use their presets. But just match source is a good one to keep it kind of high resolution. Um, it makes it easy to use it within premiere or whatever you're gonna do with it. And then we're just gonna choose our file path, and it's already set to be on the desktop. All right, well, let's save. And then we hit the play button. So now is it starts loading everything in from after effects of what it's gonna be rendering. You'll see it start to go. And it's really fast, actually, because we're not doing anything to intense were not blowing up a car, you know, putting bullet holes in somebody and nothing like that. We're just doing some kinetic typography. Typography. All right, so now that it's done rendering it's on our desktop, let's go see if we can find it. So now I'm gonna close out. Media encoder. I'm gonna save our aftereffects by file by hitting command s and then quit command que oh, and then we've got our illustrator stuff up. We're ahead command que. I'm gonna pull it finder. Then we go to the desktop, and then I could see my files right here on the double. Click it That's gonna pull it up and a quick time. And let's watch our animation. So if you go too quick time and go to view at the very bottom, you can go loop. So hit space bar it comes on. It's got that nice motion blur and then animates out. Now let's see if it loops were well, Oh, man. So this is great. What we've got here is a looping animation that you can use. I mean literally for anything. You could use it on the home page. You could use it on your timeline for social media. You could use a at a at a presentation if you you wanted something in the background toe. Keep going. Keep interest while you're talking. I mean, there's just a lot of uses for this. And now you've got a really clean, simple animation that you can use in different spots. I hope you guys have enjoyed this less. And make sure that your upload into the class project s so that I could interact with you guys, that I can see what you're doing So you guys can interact with each other. I love skill sharing the community that they've created. And I can't wait to foster that creativity with you guys. I can't wait to do more classes. I hope you guys enjoy this. I can't wait to see what you make