Animating Vector Illustrations | Motion Design A. | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Animating Vector Illustrations

teacher avatar Motion Design A.

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

Watch this class and thousands more

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

Lessons in This Class

7 Lessons (44m)
    • 1. 01 Intro

    • 2. 02 Client Brief

    • 3. 03 Design in Illustrator

    • 4. 04 Color in Illustrator

    • 5. 05 Animate in After Effects

    • 6. 06 Render out of After Effects

    • 7. 07 Conclusion

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

This class is about illustrating in Adobe Photoshop and Illustrator and animating these shapes using the shape layers in After Effects.

Meet Your Teacher

Motion Design Academy (MDA) aims to deliver high quality courses in the Adobe Creative Suite software.

We also offer courses detailing the production techniques necessary to begin and grow into an experienced top notch designer and animator.

“When you learn, teach. When you get, give.” - Maya Angelou

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. 01 Intro: Hello. My name is absolutely motion designer living in Los Angeles. I've been working in the industry for over 10 years as emotions is 100 and features commercials broadcast and of urine in parts of knowledge and experiences that I've had working in the industry today. We're gonna be making this animation using Adobe Photoshopped illustrator aftereffects, you know, while walking you guys through how to make this. I'll also be talking about the principles in motion giving some tips and tricks and things that might just kind of come up while working in the industry. So by the end of this class, you guys should be able to make an animation like this and also understand the basic principles that go behind making an animation like this and be able to use it to create your own creative creations from All right, So I'll see you in class 2. 02 Client Brief: So let's say a client comes to you, would ask for a website to anime on and have it look like vector illustration. The first thing I do is research to me. Concept is, everything's all search the web, do Google images off research websites and illustrations. And, you know, from these images I'll drive the ones that I like and, um and then take it. You know, it's look at it through the fighter or use bridge, and it kind of gather sort of a pool of, oh, illustrations were, like, just ideas that I like. And then from there you go start from the alluvial, start drawing them out, sketching it out in photo shop, and I'll just keep sketching the ideas that I like. Um, so we're going to start with this one, and we're gonna be in Adobe Photoshopped and I have the image that I I'm gonna use, which is going to be this sort of Gruebel, um, website as my inspiration for it. And so I'm gonna you know, I see what it looks like. I want this search bar. I might not use a mobile logo, and I got to use some of these bars definitely like this sort of the search engine and not the Pinterest thing on, like, just just sort of using the web design of this image. Someone with a side. Then I'm gonna go ahead and make a new composition, and this is just like, you know, the sketch, but I will call this, you know, website. So there it is. Um, and I'm just gonna, you know, just get the brush tool. Um, literally. I'm gonna scale it down using the left bracket key. Um, you know, I'm just gonna do it that bigger. All right? Maybe actually, smaller. Do something, like working at smaller and literally just start sketching out. You know what I want. So it's gonna be really, really rough. It doesn't matter, because it's just an idea. And so that's the bar there, little circles, You know, the arrow. Uh, and I literally just, you know, just sketching. And I'm just using my welcome tablet and a little all right, the search engine bar right here. It doesn't really matter if it's, like, perfect, because it's gonna be going. We're gonna be bringing this drawing into demonstrator, really like being able to refine the shapes. A little search bar here and all I'm doing is just I'm just looking at that website. I'm just drawing. They put some icons right up here. Does it, like, literally like it took no time. Just, like sketch something like this up. But this is sort of, you know how to approach the design of something. Way went on the web. We found something which you know, Luckily, this one was an easy thing to our d. Like literally using that website and then looking at it and doing a sketch of it in photo shop, just using the brush tool and sketching something up. All right, so I'm gonna go ahead and save this as a game. Uh, it's like that and I'll see you next class will be in Adobe Illustrator. 3. 03 Design in Illustrator: So here we are. We're in Adobe Illustrator have set up already, but pretty much if you go Teoh file new 1920 10 80. Illustrator, um, and click OK, pretty much have settings here. Then I'm gonna go into file place. Website place skills. She is apple minus Yes. Allows you Teoh minimize the screen and then on space bar lets you drag around. And then as I'm scaling this up pressing shift at the same time, I'm shift dragging shift, dragging it. So the Because if I don't press that, you know, it just allows me to make sure that it's aligning correctly. This is it, Um this is we don't want to go and check her lawyers. And so you know what I like to do that I was like, the locket and just call it like a reference. So that's so that's like our base layer. It won't even be going into after effects. And then as we're building this, we want to keep in mind like that. You know, the final output of this final output of this product will be in aftereffects. So it's always important to know, Like to keep in mind like what the final product is like. What is the result of this going into, you know, So I know that this isn't just gonna end an illustrator. It's needs to be set up properly for after effects. And the thing about aftereffects is that, you know, in order to gain the most how it brings in an illustrator file is that each layer how you bring it, each layer is how it'll be separated. So you want to be mindful about, you know, like, what is gonna be innovated separately? When I look at this, I would think that, you know, But this once I the white screen of it, the tool bars, you know, the icons the Was that like the closing the window, minimizing. Maximizing these this little search bar on these, you know, whatever the surgeon, then the I'm feeling lucky button and maybe even this bottom thing, like they would all be separated. So I'm keeping in mind like how I want things to be animated the whole time designing that way, when I go to after effects, you know everything's set up properly for it. So each layer, how we're gonna end illustrate each layer is, you know, Big One. And I'm just gonna call this like I don't even live with them. What they do is I'm gonna grab the rounded rectangle tool, and, uh, and if you don't click as you grab it, you can on a double, click it and this quarter radius, and it's a little bit too not grounded enough for me. So basically, I'm just gonna go maybe, like, there it iss um, lots of when I make this stuff, I like to keep the film like like, just use colors that are just really bright just so I can see what I'm working on. And, uh, so you have a match it. But basically all doing here is like, I'm literally just like using this is a guide on, um it's almost like no matter what you do, it's gonna be better, because, you know, when you're drawing something on your stories, it always refining it, and it always ends up looking a lot better than it did in the beginning. This is pretty much gonna be like are like the background, the white bordered background of our website, and then, um, make us like, great, uh, lock that go into the next part? Actually, what I'm gonna do is this control C, which is coffee, and then I'm gonna lock this go into this layer control F, which is based in police control or command. I'm actually on that Randomized control should be committed. Um, And what we do is I'm gonna make the menu bar from this long tired. It's that's like So, Yeah. So this is the menu bar now. I'm gonna not color it. Um, I should call this, like, play. And then you are, um, and like, this is gonna be He is in the ellipse. So I'm gonna make these circle the green Circle red one, which I never know what they do, but peace hasn't doing this. I'm just holding shift. Well, I make the circle. I don't do that, You know, it's gonna be, like, wobbly like that, cause I would shift. So I got one of them control C control F, which is paste in place, and then I'm gonna drag him using the arrows. So this is if I just use there is what yu shift drugs. It moves it a lot better in please it again. Control C command Seeing committed. I don't know what I'm saying. Control, don't you? Pc? Um and then, yeah, just like that. Um, And because it's going into aftereffects, I actually want to make sure that each one of these buttons is on a separate layers. So I should have this separately? No. Um so, control, See? Leading them control of control. See, deleting that. And later. Okay. And then I'm gonna go ahead, and I've been a make the other icons on this. Now, as I'm trying this, I want to make sure that these airlines up. And so apple are mixes rulers. And what I do is I mean, Dragsholm guides from it so that I know that I'm, like, lining everything properly. It's like, you know, you're seeing this, and it's a good idea just himself. And, uh, And if you do apple, apple colon, Was it seven cooling? It totals. It toggles your gods. How looking at it specially in unlock these. I kind of want to drag it up just a little bit. Yeah, that works for me. I would bring back my guides, and they're obviously a little bit off, all right? I am just going clear with redrawn. Okay, so that's that. Now we're gonna just go in and, uh, make that like what? Is that the U R l website things? And I need to get out of this, um, staying around it about tango. See how, like this the search before liking it. Um, And then a minute apple semi colon. See? Yeah, that's pretty good. Um, but to finesse it, just to make sure that they're lining up, probably gonna bring us in just a little bit. And I do that just like pressing. Not that this election will be, And I was gonna highlight it, and it gives you these, like, ability to transform it. So I'm just gonna bring the mouse to here, Brianna Just a little bit. Or and to go in closer and proceeding Command plus plus space bar to move again. I just want to make sure that since that is working and, um, I love these. It's just I really gotta remember. It is not a separate layer. Before, I had these on the same layer. So it would have been do that I control seen a control after Pace and Ruiz. So there's a couple more buttons in here. That meeting toe ad. Um, look at the reference. Yeah, like I was gonna you know, this is the thing is like a reference you you literally or just That's all that is. You know, you don't need to really go by like I kind of, like the way that this looks, how it ISS. So what I'm gonna do is I'm actually, and I don't even need my gods. I'm just gonna make a square action do goods. Um, on this, I just because I realize that this is have a better place and then, you know, again, apple close to zoom in on the presidency and automatically allows Meteo it automatically love to manipulate, transform what I'm doing and, you know, take off the reference, you know, take off the guides and just look and see how I like if it's working and already I can see that, you know, it's off the government's. So it's the first thing I wanted to make sure it kind of lines up. Um, that should be good. Yeah. Yeah. Good. Um, I'm gonna again forgot to put it, uh, so I copied it. Control F I press that key. So we got a lot this again. Do it control often. And, uh, forget here looking at this and thinking, You know, this community moved a little bit. So there we go. We have, like, this, like many bar. And the next thing to do is to add a search bar. So whatever you do next going here, I think the search tools, um, again, using, you know, kind of set this one thing up, Turn off my reference to see how liking what I'm making. And, yeah, I think that works. I might move it up a little bit, and then I will turn my reference back on lock my later make a, uh, but in underneath. But before I do that, I want to send my guides pregnancy. All right. So I was gonna draw here and then again, turn off reference. Yeah, that's good. Stroock control. Well, actually, no, it's not this for locking it. Copy it. Both of these. So there we go. We have the outlines of our web page, so I'm actually gonna go ahead and save this, Save us. Call it website. So 4. 04 Color in Illustrator: and how are you going? And add you the colors and also name it properly. So this is gonna be I think I might make it a little bit of like, kind of like a creamy way just because And then it's you bar is this It's gonna be that kind of like a like, yeah, and then this. So it's check with it's red go here. And I might get a little like Stelly right for this month. And this is yellow. And I get I'm gonna make this, like, passed away and, uh, it's wood is green, so I'm just picking colors, you know? Um, yeah, we could actually on local these. I just kind of have fun with you know what doing, Because it's like you don't have to match it. That's But, um, this one, I'm just gonna you know, as I grabbed Phil, I'm actually gonna I give me the eyedropper tool. So it was getting seen the same thing. We have some consistency there with this little guy actually gonna make see what happens if this is actually pure white. That works. You know, it's just a little subtle. Whatever you want it to be I kind of words, Um, And I'm just literally just going in, going to this, Phil, like, picking the color. And with this again, it was a match. So I'm gonna grab I dropped to compress I, or it's right here, and I just pick it. There it is. So, yeah, that's it. I mean, we have everything sort of set up. Our shapes are all ready to go. Um, and I mean, I guess that the thing we can do is like, label this, which is probably good. A so called red circle is yellow circle on this green circle. This I have no idea what it is. What is this? You Earl Far? Um, I like, uh, square. What's that? You know, lazy when I maybe these things square to search, but I would, But no, this is like relatively, like, really simple, But we could do other things too. This, like we can add, like a radiant alone, you know, visually, stylistically, this isn't really we're going for, you know, in the later ones will be go more in silicon tits. That fun on in another tutorial. Maybe you go more into depth of how you know making like radiance on this and do adding a lot more detail into something like this and seeing how it it's different when it's brought into aftereffects and how you know you can see them to the changes for this this is really a basic sort of simple, like, you know, kind of intro into this shaped like a kind of. So I think this looks good. We can add the background later off here, folks, where we can add it now. So it was kind of I'll turn the stroke off and then I'll make something like you flip and get a box. Just shift trip Well, so that we have our background as well. So this is sort of what we're gonna be animating now and again, like, you know, we're keeping it very simple. You, you know, greedy into you can add, like like just so much more to this. But it is going and say this and then it's all ready to go on, and it's going to go for aftereffects. So I will see you in the next 5. 05 Animate in After Effects: All right. Hello, friends. So now we're in after effects are pretty much gonna be playing. What shapes the rest of the lesson. Um, so in order, Teoh, import these shoots, there been a double click, and, um, bring in my hey, I flow. Um, first, open composition layer size. Okay. And, um, what it brings in is it's gonna bring in a call and then layers, which are all the, you know, aftereffects layers. So I'm gonna double click this the calm, and it opens it up and has everything set up exactly how we set it up in Illustrator the button. You're Yeah, everything's just set up. We have a reference which we don't need. Just believe that. And the first thing I usually do whenever I open any comp, whatever I started calling is I just make sure I took that passport issue apple. Okay, where you go to call position and composition settings. So I'm gonna go in here, and then I'm gonna just sort of Chuck. Everything is exactly how it should be, which it iss. But 1920 10 80 high def and then frame rate is really important. 23 976 that's exactly what we're gonna be working in. But just endo to let you know like I've seen. I've seen this happen a lot of times, and it also happened to me when I was starting out. But, like, you know, it's so important to make sure that your frame rate is really consistent and when you're working in bigger columns that have lots of different pre comes and you know they're invested within your project. And it's really good to make sure that you know you're always out of consistent favorite. Because if you have different frame rates and then you start his abilities effects and you start using this plug ins, what I could probably break the copy might not be able to render it or to just take a really long time to render. So you just want to make sure that, like, you know, it's really just getting in the habit every time you get a copy of making sure that you know it's, uh, it's consistent. So this one's exactly how we want it. Press OK, and now we're kind of ready. Teoh, go see these are all illustrator files and what we're gonna do is we're gonna convert these into shape players, so I'm gonna select all of them. And then I'm gonna go to layer, create shapes from earlier. And what that's done is we see our illustrator file and now we have it's taken the eyeball often visibility, and it's turned the eyeball on these and created new shape players. And the difference between these is that if you go into the illustrator, you have to transform and you see that you have. You know, these are the perimeters that you have to enemy anchor point position all these things, and you can animate them. And if you go into the shape where it's just got a whole lot worse up, so it still has all the same things in the transform. But else has this new thing, which was contents under the group, which is, you know, like an illustrator, how you can kind of group things. You can do things with shapes and and then within these shapes, you know you they give you the path, the stroke in the film. So you know the path is just the mask, and the stroke is a stroke. It has. It's sort of separated for you so you can, like, even change the color, animate the color like an animated struck with Megan dashes if you want. And you can, um, changes a fill color and also interviewed that as well. It was just a lot more that's giving you too enemy and work. But on top of that good simply right here, which is that ad and in here you can work with, you know, the rectangle, these shapes, the Phils of strokes And then over here, you all these other parameters you can animate with and we can kind of have a whole other tutorial. How Asian is these work? But I'm gonna go with is gonna go with Trump. That's when the truth has does is has the start in the spend and so start since you ends in 100. If I solo this this one solo, it basically just isolates this one. But that you're working on this checkerboard is an Alfa Matt, it's toggled here, so because you can't see the background that we haven't automatic becomes a sort transparency and then it would seem through this trip, That's, um What happens is and I'm gonna kind of who you is. If we bring the end down to zero, you see how it's animating on and even new simultaneously or individually, since this is one group, but in a way that's gonna work if it's gonna change much. But it's not. But already like, over here you can kind of see, like what a kind of cool animation. We're getting one of the news. I'm gonna put some key frames now. They never pressed end. So we just isolate that area and see, you know what we've created. Um I just put some key friends down. I didn't really do anything to change it, but another big zero. So now we're seeing it. Cut a draw on really slow. I'm gonna put it within, like, 12 frames. Watch that. Here we go. We got something on. Then with the offset. Does you see how this is going on with the officer is gonna offset how it kind of comes on . And this is sort of a degree that you could do it at and you can see it's a little different. What we do is if we innovate it, create something pretty cool. I was going to scale that up like that. And it kind of does this really cool rotational thing. It's really fast because we have it rotating a lot. But if we extend the animation out that it's kind of neat sort of animation, literally well, we're using is, you know, just a trim Pat's just to do something. It's like this and we're gonna want it, you know, bring it used to it, right? Clue. He ran assisted Eazy e's or F nine shortcut keyboard, and it's always It's so great to know the keyboard shortcuts there. What it's done is it's created this, you know, really fun. Cut a animation just using the trip. That's so Yeah, I kind of liked the way that this is, you know, animating it on. So what I'm gonna do is I'm gonna you know, copy these selective Copy these press, you kind of just the keyword trick at you if you just press it, it it just shows the key frames or what's being innovated. And so close that off. And then I'm gonna select the one of the great things about the colors. You could go into this right click and select. Wait longer and it will select all the blues, just paste. And now you should. And if you press you, they all have those key frames. This one kind of doubled up. It should be fine, but yeah, we're gonna go back and take that off. Actually, they okay, There we go. So it's copied it onto everything on solo. This so we can see. Certainly would we have and yeah, we kind of got it, obviously, isn't. You know, we're gonna have to alter and we call this just to make it look good. You gotta see words. It's already had it. So I the way I like to work, I just like to solo things and isolate him so that I could see exactly what I'm doing to make sure that they look good on their own and then kind of bring each layer in as I'm working on it. So first. But I like the 2nd 1 You know, it's way too similar the rest of you so I could see exactly what's animated. So I kind of tweak the animation and impress you again in here and what I can changes, you know, I can change the endpoint. Make it this one. Maybe a little slower. Also, what I can do is this rotation, and this is probably what's gonna be the driving force of this on the changing. I'm just gonna kind of lower a little bit and see how that works. Yeah, you're there. Offset. Enough. So now I'm gonna bring in the next one, which is the search ones. Press you and take a look at you know how how these three work together and yet definitely , you know, this one's much larger shape. So I'm gonna want, you know, bring this down a little bit. Give it more space to come on. All right. That's kind of working this path. I kind of wanted to be even less a lot less. And I realize that maybe, you know, I want to bring this in a little bit closer now that it's not doing that crazy thing. So keep it over there, and I'm actually gonna go back there and bring in you make it more see how this works. It was so that's sort of how these were kind of like, I like how that's looking. Um, gonna close this for this was this Onslow This one impress you and see how this one works. You know, I don't like the women. Is some believe that how it is? Bring on the next square. See how that works? Coming out at the same time? Obstinance set them a bit, so they're just coming on a different time. But I like the way that their enemy, it's really that way. This Well, we've got this. Your el bar is definitely gonna need me to meet. Yeah, I mean, just kind of even dragging this out. Um, Skilling this so it looks pretty neat. These are all kind of working on. Um so this see how this one looks? And since this is a little smaller, like push the key friends like that yellow Zerg Juan's Because you see how that goes, then I kind of like that kind of delays, And a lot of it is just, you know, just sort of like using your eye and going with what you kind of like with, and I'm actually gonna make this a little slower. And the thing about this is that we can tweet this forever. Oh, and that's sort of up to your own sort of creative control. I already knew that since this is like a lot larger, it was gonna you know, I wanted it. I need more time with and that's a little too much time kind of literally is coming on so early, then, uh, this one, which just does not, is not really Respondents agree. Percival's really? Because it's a more time. And then I kind of see what this looks like without the officer. This is all, like, just your eye. It's literally like you're just sort of playing around and figuring out what you like the most. In this background. I actually don't want any information with. Just turn it all off and you turn around, that's all. There we go. I do think that this McConnell wants us to start a little later, too. And it's just like what looks good to you in your eye. Bruce. More time to see 6. 06 Render out of After Effects: Okay, so we're at the finish line. The last thing that we have to do is we've got to get this rendered. Um, so you know, some tricks about rendering is, uh, first of all, well, not really track, which is knowledge is that, you know, whatever the workspace bar is, what's gonna be rendered? You can just, you know, runner this out or you can if you want, you could go into composition, trim, comped work area and what that does It just kind of just has that so that, you know, you don't have any of that extra length if you don't want it. And then I'm just gonna composition. You could run this out two different ways. Si, si. Uh, neither added Teoh Adobe media encoder que just a good way to render. Or you could just added to the render queue. We could go more in depth and rendering if there's any questions about it. But for the purposes of this tutorial, I was gonna added two under. And so it comes up here, I might undock this panel just to have it separate. And, um, you know, you have some choices of how you want to run through this out in the best settings. Um, the quality. You can always change it. It's good to render it bust. I went into it at current settings because, you know, sometimes you go in half red and 1/4 and this is also where the resolution is. Um, the rest of these is on the way. It is. You cannot shoot. Afraid right here. Um and that's pretty much it you say OK there and then lost this output modules where a lot of changes they're gonna be made. What? Quick time. You know, I'm gonna render quick time sequence times pretty great. PNG tiff. There's a lot of options, but for this to remain under equipped and then the format options is pretty interesting. Uh, and here you can go in, and you can kind of grab the one. It works the best. This is actually leading down. Um, that innovation Kodak is really and progress for before was pretty great. Age 264 is a popular one as well. Any of these really could work. This is a pretty I'm gonna go with progress. Um, and press. OK, uh, there's no audio. We're pretty good here and then the output. You can just put it. I already have a render its I was gonna call this website and always version it. It's just out of habit when you're working at a shop for a company that it's just standard just diversion things received. And then, um, you rather it up. There you go. 7. 07 Conclusion: So I've got the final animation kind of looping in quick time final render of it, and we're pretty much done with this tutorial. Um, So just to conclude what you guys have learned hopefully learned a lot, but even sort of how to take a client brief like something that a client wants and to take it from there concept to an animation that to design and animation that you created entirely on its own on this has been done by, you know, going and researching and sketching ideas and photo shop and then being able to bring those ideas into illustrator and then designing a vector a simple vector illustration and being able to bring it into aftereffects and using the shape tool in the shape parameters were really create this animation. So it's kind of a lot that's been covered in kind of a short amount of time, But I hope you've learned a lot. And, you know, I'm excited to see what you do with this is just a technique I'm excited to see. You know what your mind your creativity is able to make from this technique. And, um, yeah, this is my first tutorial. So very few back is always helpful. And hopefully I'll see you in the class Digger