Create a Pattern Animation In After Effects | Motion Design A. | Skillshare

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Create a Pattern Animation In After Effects

teacher avatar Motion Design A.

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

11 Lessons (1h 30m)
    • 1. 00 Intro

    • 2. 01 Concepting and Sketching

    • 3. 02 AE setup

    • 4. 03 AE tools overview

    • 5. 04 AE lesson 01

    • 6. 05 AE lesson 02

    • 7. 06 AE lesson 03

    • 8. 07 AE lesson 04

    • 9. 08 AE lesson 05

    • 10. 09 AE lesson 06

    • 11. 10 Conclusion

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About This Class

This class is made for the motion designer who is looking to learn more about using shape layers in After Effects, and how to apply these skills in a professional setting.

In this class you will learn how to create this cool pattern animation.

We'll start by making a concept sketch, and then we'll go into After Effects where we will bring our sketches to life using shape layers and animating them.

In addition, throughout the course I will be supplying my working projects so that you can use them as a downloadable resource.

At the end of this course, you'll be able to animate a this pattern animation.

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

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1. 00 Intro: Welcome to motion school. I'm Evelyn Lee, and I'll be your instructor for this course. I have over 10 years of experience with various clients, and in this course, I'll be teaching you how to make something like this. Well, I'll be walking you through how to make this. I'll also be talking about the principles in motion tips and tricks and things that might just come up while working in the industry. All right, I'll see you in class. 2. 01 Concepting and Sketching: Okay, so we're gonna start off today's class with concept ing and sketching. I always like to start my anything that I begin with concept ing and sketching and just getting a general idea of what I want to create. And for today's class, we're gonna be creating this pattern animation, so I'm going to do, like, a rough sketch of it in photo shop. Um, and I find that this will be incredibly helpful. Um, if you can't draw, it doesn't really matter that you can't draw. It's just something that give you an idea. It's like like an outline. Um, and so I always do this before I start anything Just because, you know, it puts you and put me out an advantage. I feel like, you know, put you at an advantage if you go and you have a rough idea of what you're doing before you go into after effects. So it doesn't really matter the composition. I mean, I'm gonna keep it 16 by nine. So 1920 10 80. That's high. Def. Um, we're probably gonna be working at 12. 12 80 by 7 20 which is just one below it. But for this sketch. It's fine. I mean, really, it's just kind of a really rough concept. And then I'm gonna go into my brush tool, which is this and here you can kind of change the sizing. Um, this isn't really a class on Photoshopped. You could do this in Microsoft paint for all I care. So I'm not really gonna go too in depth about what this is about. So I'm gonna go ahead, and I'm just going to sketch out my general idea. And this you can see. All I'm doing is I'm just making the box, and you can see how you know, not It's just very, very rough sketch. Okay, So the one thing I do want to do is I want to get my like plain, because this is all going to be, like, a perspective kind of thing. So it's kind of important to make sure that I have, like, I understand that you know what the perspective is of this and that it always matches up. And so from here, I'm gonna, you know, draw these triangles. I'm gonna have one here and another one here, and they're going to be kind of moving out in Z space, then the next thing I want to do is I want to create these sort of, like, pattern type of things, and these two are going to be moving in Z. And then another thing that I might do is I might create some streaks to kind of accent. The fact that this is like this spacey kind of pattern, and that's pretty much it. I mean, it's really rough to the normal to a person who hasn't seen the final. They'll have no idea what this is about. But that's what these sketches air about there, not about there, not for showing they're not for anyone to see other than yourself. It's just to get your mind together and to, you know, go in with a concept and an idea. Okay, so I'm gonna say this out and then I'll see you guys in after effects 3. 02 AE setup: Okay, so we're in after effects now, And, um, you know, if your in c c a t and you compress this and it gives you a new composition. If you're an older program, you're probably gonna go here composition, new composition. We're gonna call this class, Um, and then you can see over here we're going to stay in basic events and three d render. Um, is not something that we're going to discuss in this class. But you can see I have this as a custom just because I customized my aspect ratio. But if you go in here, you get all these different parameters. HD um, this one. These are all kind of like very popular for K two K settings. But for the purposes of this class, we're going to keep it at 16 by nine, which is, um, 10 18 1920 10 80 or 12 80 by 7 20 We're just gonna keep it at that, and then we're gonna drop this down to square pixels. There's other things here. I usually work at square pixels frame rate. If you click here, you can get all these different frame rates. This is a very popular one for Web. This is a popular one from Broadcast. This is a popular one for film. We're going to keep this a 23 976 and then the resolution is full. You can changes us. You work. The time code is going to start at zero duration five seconds. These air, the frames and then the background color of you press here, you can change the background color. We're gonna leave this at Black Press. OK, this opens up our new composition and you can see that it's called class. We've got our aspect ratio. We've got our seconds. We got our frame rate. We have our comp here, and then this is sort of my workspace. I always work with this workspace. Um, I have my composition here. I have my project here. I have my effect controls here. My timeline, which is my class and then render queue adding things to the render queue. My effects and presets air here. My info is here in my paragraph and my character those were the only windows that I really use the most. Um, sometimes if you you go into the default settings. If I go into work space, and I go into something like paint. It gives you like it's hot of different things. If if I go into, like, you know, essential graphics, it kinda actually is same. But I'm gonna go into you and, you know, just things like, just stuff that I don't need always shows up. So I always like to create my own workspace. And you can do this by saving a new workspace, editing it, resetting it, changing it, and I've done that. And so that's how I've created this sort of work space. And to me, I I just like working with this and he the more you get familiar with Aftereffects Memorial B O having your own preferences and setting it up. All right, so we're gonna go ahead. We're going to start this project. No. 4. 03 AE tools overview: Now this class is going to be dealing with pretty much, um, a lot of shape players soon to go ahead on the talk a little bit about Shay players of how you can create a shape layer is you can go into here and this. These are different shapes. You see the rectangle tool, the rounded rectangle tool, the ellipse two of the star tool. All these things. If you click this and you click and hold, you can access it by dragging down and even by just clicking this, you gotta shape layer right, And so it all automatically draws you in a shape layer. It's like this star, it says it has a shape layer, and, um, and then if you toggle this down, you'll get the rectangle, which is what you've created the contents. And then you get your rectangle path, your stroke, your fill and your transform. Basically, one thing that's important to know about Shay players is that you see this. This is the transform tool, and if you're familiar with layers, then you know that you know, once you toggle down the transform tool, you get the anchor point. You get the position you get the scale, the rotation, the opacity and this this is for overall the entire layer. All right, so that's one thing. But with Shea players, what it does is it allows. You do have each one individually for this particular rectangle. You can transform this particular only this particular rectangle, and it's important to know that that that that exists that there to seven separate transforms right? So let's say I make something else like I make a ellipse. So now you can see that we have the general of the overall transform of the layer, but that also, in addition to that, we have this transform rectangle one and also the transform of the Ellipse. So that means like this, you can scale just the ellipse. You can change the anchor point of just the lips, and then, in addition to that, you can also animate or change the transformed positions and scales and capacity of the overall layer, which would do to everything. It's super useful to know when using Shea players because, um, a lot of times you end up wanting to effect just that particular shape, and sometimes you want to affect the entire layer. So it's a really good think, didn't know And to keep in mind that you have that at your disposal. The next thing about this that I'm gonna talk about real quick is about, like, the path, right? So you can see here. If you click on this, you can change the size of the path and also the position of the path. Um, and the path is really useful when you're drawing something on like, say, um this is the pencil, right? And so, if you know, photo shop if you know, illustrator, and if you don't, it's fine. We're gonna talk about it right now, but with the pencil, What it allows you to do is it allows you to just draw freely these shapes so I could draw that same ellipse and and and then, ah, once you close it, um, it'll kind of come up like that. So if I want to close that, I can leave this as just the line, or I can close it. And once I want to close it, but this little circle comes up, right? Um and so as I'm doing that it, the next thing is going to show it. It's gonna be a shape, right? And if I go in here and I go into the path if all I have to do is click the path and it comes up, these transforming abilities show up right, These points and so you could move the point around and completely change the shape. And the great thing about this is you can animate this path, right? So if I press this diamond, which is a key frame which allows me to animate it, um and I move it. And the nice thing about pressing this stopwatches that the diamond shows up and no matter what, even if you just move something around, it will automatically create a key frame. You can see here like I I have to make sure that these are not filled in because the minutes felt in and now I can move it. Right? So what I had to do is that once I clicked out of it, all these air filled in so there. Well, I guess you can move it around like that Sometimes I like to make sure that I can move it around, but and what you can see is that we get this animation right and you can create some really exciting and fun and innovations by using this animating the path, and we're gonna talk a little bit more about this later in the class. But I'm just kind of giving you a little bit of a tools overview. And so that is basically, you know, what happens with the shape, right? So we're gonna talk a bit about, like, the stroke, which is right here, basically, with the stroke is it's the outline. So you know, the stroke with the smaller it is, you don't see it. The bigger it is you can see it kind of filled in, right. You going to change this color? You can change it here, make it red, or you can also change. Do you both of these up here where you can see that you have. You can change the color stroke here. If you press that, then you can also move these pixels around like this. One more thing that you can do is if you click here on the stroke. You can go here and make it no stroke. You can also go in here and make it ingredient, and you can see it. That was a linear Grady in. This is a radio one, and you'd probably have to tweak thes in order to be able to change it. But I'm gonna keep this is a a solid. The next thing we're gonna talk about, we're gonna talk about the fill, right? So in here again, you can cheat Tuesday capacity. You can change the color. You can also do it up here. And what I If you click here on the Phil options, I have this set at none. So there's no Phil always Sousa stroke. If I press this now, you can see that the fellas in there you can also make this ingredient. You can also make this a radio creating it. I'm gonna keep this out, and you can change the opacity of a well I'm gonna keep. This is a solid. And now you can kind of see our contents of this right? And so you you know what's really nice about the shape players? Is that each one of these they're like its own individual shape within a shape layer. And you can also delete thes and and keep one keep them as you want to. You can duplicate the shit you can do a lot with. Um but in addition to that, one more thing you can do is you can do these ad, right? And we're gonna talk about a lot about this later in the class. But you can add all these animation parameters to it, and it just changes. Um, it allows you to create these exciting patterns and animations and just the tonic stuff. So I highly encourage, Like, playing around a lot with Shea players because I feel like shape players is, um when the best parts of after effects. Okay, so I wanted to. That is pretty much that was pretty much what I wanted to talk about in depth was just about, you know, an overall view of shape layer so that you guys understand what's going on with it, that you can use these different parameters right here, these different shapes to create it. And you can also use the pencil and with the pencil as faras drawing if you just click, press apple's E. If you just click, you know you're going to get this linear line. I'm gonna also lower the stroke, right? But if you click and drag, you got this busy a curve. So that's something good to know with the pencil. And then, if you need to add Vertex, is if you click and drag this down, you get this ad vertex and just click it and you can move it around. If you want to take out for Texas, you can have this minus and put it over it and it takes it away. If you had this convert masterful, it allows you Teoh to move it. Um, Teoh, alter it like this is a curve. If I press that it turns it into a line. If I click and drag this, it turns back into a curve right and saying with this, if I just click, it turns it into, ah, curve. If I click it back and turns it into a linear, um, curve. One more thing with this tool is that if you press shift and you move one, it allows you just to move one of them. And if you press shifts and you move, the other one allows you to just move the other one, so that's pretty much it on this on the shape players, we kind of have. I kind of did a quick overview of, like how these shape players work, and now we're going to go ahead and we're gonna start a lesson. 5. 04 AE lesson 01: Okay, so I'm gonna go ahead on and delete that. And now, um, as faras building our animations, I'm gonna start with, uh, I'm gonna pressed apple our first. And what Apple are does is it brings up our rulers. And what's great about our rulers is that you can create guides from it if you just drag this like So the next thing I'm gonna do is I'm gonna go ahead and I'm gonna put up her proportional grid and our action entitle safe. Well, either one. But right now, I'm trying to get the center point. And so what? This is what this action entitle safe is, in case you want to know is that this is action safe. And if you're viewing this on a TV, anything that's beyond here, because sometimes TV's end up cropping the image. Um, you want to make sure all your action isn't within these lines? Title safe. Is this one in here? So any type if you don't want it to get cut out, you wanted to stay within title safe, and then these things air. They're basically different TV screens because this is set to 16 by nine. Um, and then these air set to four by three, which were those standard TVs that some people still use. But most people don't, but they have. I'm just in case. Reason why I have this up is I just want to make sure I get my center points. So I know that this point right here is the center. So I'm gonna zoom in and make sure that I have my guides set to it. And just by clicking and dragging down, you see that you have your guides do the same thing and put it here, and then I'm gonna go back out, and I'm actually going to lock my guides. And if you go into view Lachlan guides, it means that you can move everything around and your guides will no longer move. And so I'm gonna take off my action safe. I mainly use this proportional grid. There's other things, like a grid you can use here. You can also use, um, all these tools right here. Rule rulers, guides. They're all incredibly, um, useful for something like this. I'm in turn the great off right now and almost gonna turn off my action safe. Okay, so I'm gonna go ahead and I'm gonna start withdrawing using a rectangle, and I'm gonna turn off the fill which we talked about. We'll need to talk about how to do that. And then I'm actually going to put on the proportional grids and I'm gonna make my, um, Rex Square. Another thing you could do right here is you can go to view and you can make sure you snap to the guides so that it'll it'll it'll match up to it. Somebody's going to go here and create a square. I realized you know what? Actually, I didn't want to create a square. I'm gonna delete this. So I'm gonna go into my pencil and I'm gonna draw a triangle. Click shift. When you do click here, you you know, you can move it around If you press shift, click, you know, automatically line it up. It is very useful. Um, sometimes. So I'm just gonna put it along these lugs and then if I you know, zoo Mao and turn off my proportional grid, you can see that this is our triangle, right? And boost up the stroke of it. You have to make sure it's selected when you do that, then you can see that this is our triangle. All right, so I'm gonna do the same thing. I'm gonna actually move this a little bit up, bring up our grid again. This time I'm gonna put up the smaller grid, You're going to contents, and I'm gonna go into my position and push it up. It's the hair. All right, So this is what negative 42 and then I'm going to duplicate this shape. So I'm gonna grab shape one pressed apple D, And that gives me shape, too, that I'm gonna go into transform shape, and I'm going. Teoh put the rotation at 1 80 1 80 basically flips it vertically, and then I'm gonna move the position down 2 42 so that these air exactly lined up. And if we zoom out, we take off the grid. You see, we have our triangles, right? Okay. So now this is the fun part of shape players is that you can go into these add parameters, which I talked about a little bit before, and you can add a parameter around says, Well, we're gonna add a repeater. And basically, whatever Peter does is it repeats the shape right and right, Right now, you can see that if you cook this down, you can see that they're copies. You could make multiple copies of it, and then you can also offset this moving it around. And these were great things to tools to know tohave. Um, I'm gonna put these copies to seven and you can see that it defaults to, um, doing the repeater, that moving to the position So you're gonna want to go into the position and you'll see that it's already 100. We're gonna make this zero, and you can see now that they're there repeating on each other and what we want to do with this repeater is we want toe push it up in the scale, and I'll show you exactly what happens. So this is basically it when when the scale goes up and this is exactly the animation that we kind of we wanna have, right? So that's basically what the repeater does it allowing us to repeat the scale and you can see how you can get, like, such amazing, you know, something like this would take a really long time to do if you were toe animate this up in each layer over and over and over again. And how the repeater can save you so much time and make it look really great. All right, so we're gonna go ahead, We're going to animate this shape. So what I want to do is I'm gonna animate this transform. Now, I'm just gonna go ahead. I'm going to go into the scale. I'm a started, actually, at zero and, uh, and scale it and then go to here and push it all the way out and then if prosciutto watch it So that's pretty much what the repeater is doing. And, um and one more thing I want to do is I want toe skill, the ah, the actual size of this as well. So what I'm gonna do here is I'm gonna go ahead and I'm gonna animate just the transform of of the shapes, right? And right here is where I want it to be at 100 and then I'm gonna go over here and make it 20 You can see what it's doing to the bottom one, and I'm going to just do the same thing to the top. So this is shaped to And then we're gonna do this to shape one. I want to go into the transform shape one into the scale at 12 and then we're gonna put it to zero. No universe enter right after this point right here. After about one second, I'm going to go ahead. I'm going to scale this all the way up, but two seconds, it's completely well, now, I don't know if I want it there, actually, or I wonder what happens if I put it to zero so you could see you can play around with a lot of things. And it does all these different types of innovations. And basically what's happening with the repeater is that these are the main drivers, you know. So I'm trying to come up with a way to make it an interesting way to make it come off, and I'm thinking that maybe not through the scale, but what about through the opacity seem to go down here because I like the way that skill comes up. But I realized I don't really like the way it leaves. So try and see how it would work with capacity if I bring capacity to zero and what that would do. Yeah, and I'm really liking the way the capacity is going off on this. So now the next thing I'm gonna do is I'm gonna do the same thing. I'm actually going to try to keep this as even on uneven number. And if you press J and K, he was our keyboard shortcuts. Um, between two key frames, K takes you forward in a key frame and J brings you back to the last key frame. All right, so the next thing I would do is I'm gonna go back to the shape, layered shape to do the same thing. It's going to go into the opacity and then, um, and another quick keyboard shortcut is you, and you lets you see all the parameters that have key frames. And then I'm gonna press K and press bring this down to zero, so we would have them both done on the same UN's, and I almost want to bring the scale up a little bit sooner. I realized it doesn't need Teoh. It doesn't need to take all five seconds. She kind of like the way it was before. OK, so that's our triangle, and we can call this triangle, and then we could just save it 6. 05 AE lesson 02: All right. So the next thing we're gonna do is we're gonna go ahead and we're going to create an additional sort of pattern wouldn't put him over here. So I'm gonna bring back our grid. Maybe I'll put are proportional grid, and I'm going to see what it looks like according to our first triangle. So I believe that's frame 12 and that's gonna be like are kind of like our main, you know, master kind of frame. And if you want to mark that, you can press shift one. You know that one of the things about pressing shift If you present shift with any number of to ship 34 it will give you this marker. So no matter where you are, you could just press for and it takes you right back to that. And since we know this is kind of our main frame that we started drawing with and it we want it, we can work off of this. I just put a marker in it. I'm gonna go back and frustrate full understanding. Nowhere we started. And then if you press comma or period, it allows you to zoom in and out of the composition and then you press space bar and it lets you move. And those kind of as far as drawing those air the main tools that I like to use the most. I'm gonna go ahead and I am going to This is gonna be the point of where I want to draw my little markers. So I'm gonna go here and just I just want to draw like an arrow. And then I know I'm 1234 up. So I want to go. 1234 down. And that's our little marker time. And I want to do the same thing I'm going to do. This is I'm just gonna duplicate it and I go into the shape, transform, rotate. It should be right at 1 80 And then I am going to take off my grid, take off my other grid, and with this one, I'm going to add another repeater at a repeater. My constant sound. I don't think about it at the repeater, the way it's a actually go ahead to leave this. I want to do it to both of them. So I'm gonna click my contents, and then I'm gonna add a repeater. Basically, what I did before was that the repeater. Only it matters where you put him in, right, Cause if I put the repeater here, they don't only do it to this shape. And if I do it below, it will do it to all of them. If I move, if it lets me moving down, Yeah, and so that's so it where the where these parameters are thes adding things, they matter if you only want the repeater to go. One thing you the how the layers air stocked matter. So I'm gonna go into the repeater, and I'm going to keep the copies where they are, but I want to bring the position down to zero. So I think what this one would I want to do instead is, uh I want these to move a little bit different, all right? And you can even see by by this just by changing that one thing that, like, changes the scale of everything. So I'm going to start this, that I have this at 1 50 and I kind of like that and I'm going Teoh. So what? This step means that the why is going to scale that a little bit more than the X. And just by pressing on linking it, pressing this on linking it allows you to change the scaling so that they don't scale uniformly. And then I'm gonna presses back. And now it's going to scale uniformly according to that, put the key frame here and go to the end and put the key frame so that they're completely going. And now you can see how this is gonna work. Now, I want this to go a lot faster, so I'm gonna bring the key frame all the way up. I'm even gonna bring this to zero so you can see how this is working. Um, we're gonna do the same thing with the scale, right? It's really going to each of these. We're gonna go into our shape, we're gonna go to transform shape. We're gonna bring this scale, have it be at 100 bring it zero and same thing, which shape too transform. And you would minute press scale. And then I'm gonna press you just to make sure I have my real estate. I can see everything on my screen and then press K and presses diamond Basically what this means If I just press this diamond, it's the same key frame. Um, I just wanted to be there so that I can press j and press put this back to zero, and then press enter. And yeah, you can see how it how it's going. Um, I then one toe bring the opacity down. Um, and so I'm gonna toggle this down and then press the opacity at one. I wanted to be at 100 and then, uh, the next one at the When this ends out, I'm gonna put this 20 going to do the same thing to the next trip. Shape one, bring out down going to a passage e and then go back to one, which is our master frame. Make sure that opacity is 100 press K and put this back to zero so that the ending frame is that zero. And in our mainframe, is that ah 100. If you pressed you, you'll be able to see how it looks. Okay, Now I want to do some more stuff with the repeater, so I'm gonna go in here, bring the repeater down. I realize I'm in the transform, which is not where I wanna be. I wanna be Justin. Where it's his coffees. Bring this down and I'm gonna give more coffees. Do you like 10? Now that looks like it's way too much to like five. And this is like the fun of it. You can always like carpets so that it looks different. I'm not gonna stick with three. I really like the way I looked at three. So that's our little arrows. Um, And if you you know, for some reason, like for me, I'm kind of like wanting to see what it looks like. And that's the thing with animation is that you're always just you're always doing it on the fly. You're always kind of changing and altering and tweaking, and that's how you get something that looks really good. It's really rare that you start it, start with something and and you like it right away. It's always a matter of like seeing how it works. One thing looks good in a design, but it can all change the as you're working on it. And that's just part of the art of animation. Um, I'm wondering what it looks like if I unlike this and put this at a uniform scale and then re like it, it'll still scale separately. But I just want to see what it's like when it's at 100 here. You can still see that That that ratio still it still skills up in that ratio. But right here it starts off equal. Yeah, and that's exactly what I kind of wanted to be. Oh, yeah. One more thing you can do is if you press you and you select all these and you can right click, and you could just give it a ease, right? Because right now these are all linear. Basically, what linear is is that it just moves at a constant rate. And if you put unease in, are you press f nine? It kind of just softens that ever so slightly, and you can see at each of these points the difference of it. All right, so I kind of like, does this thing. So it's not as constant, and it kind of offsets, you know, the animation. I'm gonna call this like I don't I don't even know what to call this. Um, I might just leave it the way it is, but I'm gonna save and then start our next year 7. 06 AE lesson 03: Okay, So for this next shape, we're going to go ahead. We're gonna go put back on our grid and our other good that we're gonna make, like, a line right here. Since I ever wonder if we need call the grids. But I'm just gonna make sure I fit this so I can see. And I'm gonna push this down just a little bit. Is that 100? Okay, so with this, I want to add one more like accent line. And I'm just gonna do that here that once I turn off the grid, this is sort of how it's looking. And then I'm gonna go ahead and go into the contents. I'm gonna duplicate this shape apple D go into the transform rotation, rotate it 1 80 Well, I think and I have one there, but I also want it I want do is on fours meeting that I want toe fill each one of these because I'm gonna bring our proportional grid back. And now I'm gonna do it to this side. And I realized that with this shape icona, I don't want it to be touching this access. Exactly. I want to create a little bit of a shape, so ah, separation between it. So I'm going to go into my path, tool. And I'm just gonna move this, um, a little bit away, and, ah, the reason why I'm clicking here and then here is that I want to just move just this individual kind of thing. And that's sort of what I want to create. I'm going to make one more here, okay? And now you can see if I turn off the grid what it's done, and then I'm going to go ahead. I'm a duplicate both of these, um, and then go into the rotation. I'm rotate it 1 80 If you want, you could just draw it. I'm just kind of making it 1 80 And this is like our pattern, you know, And it kind of looks like, um, like a pattern that could be, like, wallpaper. Whatever or something. It just looks like something that is abstract, and it looks like it could be repeated. Um, so anyways, I'm gonna go ahead and I'm going to go into the repeater. And now you can see, um, how it's only repeating on one section. And that's because again, I didn't You can see where it is it's under shaped for Well, I'm gonna go ahead on and delete this because where it's stacked matters and I'm gonna actually close all these, I'm gonna go into the contents, and then I'm gonna add the repeater, and now you can see it's doing it to all four of them again. It's defaulted to the position. So you don't want to go here and press here are physician. Um the next thing we're gonna do is we're gonna just scale these. I'm gonna put a key frame right here, because I like the scale being there, and I'm gonna put this 20 and then I'm gonna go to over here, and I'm just going to scale it until it leaves. Okay? Next thing we're going to do, which is what we've done to all our layers, is pretty much we're going to go into you each one of these. They were going to go into our transform shape going to the scale and put the skill to zero . And then we can close this out. Do it to the next one. Shape three. Press one. Go into her skill, go back to the beginning. You can also press the home key. Um, and make it zero. Do the same thing. Press one, put a key frame, go to zero, do the same thing with shape for press one hooky from there and press zero. And you can close this back out and have you percent sure you'll see how it works. Right? So now I'm looking at all this and, you know, they're all kind of coming on at the same rate. And they're all traveling at the same rate someone a pushes up a little bit so that I can see my timeline, and I kind of want this not to. I want I want to give this a bit more time. So I'm gonna push this all the way back to two another because these aren't lining up of actually just going to go to the end, and I'm gonna delete all these, Um and I'm gonna put this all 200 and so if I grab scale of all these, and then I put a I don't want to make sure the blue, but I wanna But we could just go through and put it all out. 200. And I'll do this because, like, um, sometimes this is our animation works. You kind of have a plan, and then you want to alter it because you can see better, something better. And you only get that by if I press and you get the worker. But you only get that by having a plan and being open to changing it. You know, um, because you can see that you could get something better and always go for whatever is sort of the better route. You know, you don't want to be stuck toe your original plan because part of what's really fun about animation is that you can see like, Oh, like I really like the way this is moving. I'm gonna change us around, and you have to be kind of have that. That's part of the creative process is being open to changing things around and not sticking with the same plan and being really rigid when things about our is that, you know, it's It's about that, um x factor that you don't just is part of creativity. Um, So I'm gonna go back into impress, um, press you and ah, and you can see that it, you know, it's created some fun and exciting animation. And this is just by, like, you know, just using shape players like it is just a parameter. It's very simple. Um, but how? One simple concept can really change things. And, um, we're going to keep going with this. We're gonna add some streaks. Now, I'm gonna go back and press one and save it. 8. 07 AE lesson 04: and then I'm gonna bring back our grid, and I'm just gonna make little streaks. Um, and I'm gonna bring this back down so that I can see have a little bit more real estate, and I'm actually gonna bring up my title safe and work with the grid. I'm actually going to, like, take that. I'm gonna keep our proportional in our grid, and then I'm gonna have our guide layers kind of help guide us through this. And what I'm gonna do is I'm just gonna use the pen tool, and I'm gonna make sure I keep it linear. And then if you click on this again and you draw, you'll get it'll draw on that same shape layer, which is what I want. Click, click, and then press it and you get the same shape layer. I'm just gonna keep doing this. Um, just keep making different shapes. You want to make sure you click the right shape layer, but I'll just keep adding it over and over again. I realize with this one, I and right now it looks a little bit strange because we haven't designed it out. All right, so but we have our idea. We have our concept. We've done our research. You know what the final look is gonna be? So the main focus is right Now, this portion is just getting getting the animation toe look right. And then we're gonna design or and make it look how you so, look, I'm taking off the grid now, and, um, I'm looking the way that this is sort of looking. I feel like, you know, And if you look down, you can see that these are all the different shape layer is that was that were built, um, they make does. I'm gonna make it fit so that we can look and see. It's a lot of different shapes. And, um and now we're gonna work with animating the path. Right? So you animate the path I actually realized. I don't want this going over our triangles. Kind of like how it's not affecting our triangles. And you can and you can alter all this. You still like it being in the center point like so center. And just by pressing these points, you can alter them. All right, so now we're gonna go ahead. We're gonna animate thes paths. Then we're gonna have to go in. And And one thing I like to do is I like to work just for real estate reasons. I'm just gonna go in each one of these and and press put the diamond on these, right? I'm just gonna click the stopwatch. Um, and the reason why I'm do that is I I'm just going to go in here, and then I compress you and it'll show it up individually. Um, so it was gonna have her path. We're not doing anything really crazy with the path. All we're doing is we're gonna change the thea the right onto it. It's almost like we're just gonna have movies pads around, so they're like moving out in Z space. Something's going into each shape toggle ing this down, pressing with stopwatch. All right, now, when I press you all these paths air coming up and it's just a lot cleaner just for the purposes of this class to see it. And now we're gonna go in and we're gonna go into each path, and we're gonna go ahead and we're going to animate it. Now it's hard to know which path is which. But I have a feeling that whatever you see, if you see the ones that are with a circle um, if you see the one does that have, Ah, a square, that's the one that you're selected onto. So with this, it's literally just moving the path. Of course I'm moving it backwards, and then you're gonna want to be in the pencil, and then you can just move and move this out. Like so. Then we're gonna press one. We're going to go into the next path, and the next one is this. And what I like to do is I just like to use a convert Rude text tool, just toe. It allows me to access each individual point. So I'm gonna go into one, and, um, click that and then press the pencil. And just if it will, let me bring that here, go back to the Vertex school and you can see how it how it sort of shooting out. And they were just gonna grab trust, be moving all the way out, and you can see how it's doing this. You know, um and you can move these around to offset them. They don't know. Not everything has to be at the same rate. Um, and just by doing something really subtle like that, it completely changes the enemy. It gives so much life than having everything stay at the same rate. But we could do that. The leader, Um, right now, because we know what we're doing. We know it works. I'm just gonna go in and we're going to animate this again. Gonna have to go through this. Press this cover vertex school, press TV. Forget in, um, no. On this one, though, on the side and then for you. If you press k, you let you go forward and then push this back out. You could watch it. Same idea with this one, so we can see this is turned into, um, box. We listen by pressing this, you bring it in. If you don't like the fact that it makes a curve this process again, and it won't do that, um, and then weaken press, K k. And, uh, and push this one now present V. You watch it if you want, or if you know that it's gonna work. You don't have to present J clicking the next one and then pressing the home but in and then bringing this down Pressing this again. The shortcut key to this is G, and this one is V. So you don't have to keep pressing up to go up there. Um, the reason why I'm pressing G is just because it allows me Teoh, grab each point individually. And I'm gonna go press this again, going to do it to the next one. You know, it's this because it's boxes gonna go press J click, not press V. Bring this in and sometimes you could make a mistake like that, but I took this to make it have a first be bringing this in and again, I I don't like how it has that something's gonna press this and this to this and then press K and press v doing it again So you can see that this is sort of the tedious nature you I like. There's Aton of these that we have to do it too. That could be pretty tedious. We're gonna want to do this again. Same same deal go into this crispy. You see what this just does is it allows muse toe manually grab these points. I'm impressed. It was gonna push these out. Go back. Probably next one. I think this is a busy A plus. B Go in, Krusty. We get back to linear. Well, as I did this on, really? To make sure you're doing it on the right key frames, G. And you can see that I'm not, like completely closing it because it doesn't really matter. Because once it's in movement, it won't be as noticeable for us. Jay Hey, Press J, grab this press V to moving in. Press G to make it linear plus k. Okay, I ve to move it back out. J It becomes like this Automation. Um, we've only got a couple more to do this to. So they're with me on this first V pushing it in G to make it linear. Okay, okay, to jump forward, be, and then we're gonna push this out. And again if you're learning. This is a great exercise practices. What makes you able to do this really quickly and well, so as tedious as this section may seem, um, it's worth doing. We're going on a J. Make that Chris v push. Odin, She again? Spee Okay, Okay. All right. And We're gonna grab that and push it back out. Stray, Clip this and look for the rectangle, which I think is this, but I don't really know what this is so much. Just delete that. No, not sure what this is. Skip the There's so many of these that, you know, I think it's possible to skip some of them. I don't know what that is. I might have been there by accident. We can clean that up later. Because envy Bring this back in pressing G to make it a straight line, you know? Let me and then for us, K. Okay. Press V to move it on up. Going to the next one. President G sen. K making this pressing be bringing this in pressing G. Okay. Okay. Be to push it back out. Sanjay doing it to the next. One second the last one. Mobil's there, and it's this one. J isn't v should get in person. G Wasn't k k using V moving it up last one. Usually whenever I do something so tedious, I always save. I don't want to do it over again. You never know with computers. Okay, last one. And we're looking for the rectangle, which is this one we're gonna first J Chris G Click. This must be with this in Impress K k be pushing with it. Okay, so is pretty much the next thing we can do with this is we can move these points around to create Cem, offset the animation. And this is sort of the reason why we did this incentive, something like trim paths or a different way. It's just to automate some of this, not to automate it, but to make it each section look a little bit different. And it's just by moving this around up and down. We always wanted to the all start at the same point, but just ever so slightly just a slight little tweak. That's the advantage of doing this all manually. I know that we're using repeaters, so it's sort of like a quick way to do this and this sort of path shape It is the tedious way. Um, but it looks it gives a nice, really nicer result. Okay, so this is our animation, and, um and it's looking pretty good. Um, the next thing we're gonna do is we're gonna change the colors and add some masks and feathers and glows. It's him. Really Bring this toe life 9. 08 AE lesson 05: So we talked about the different ways to add colors onto this. Uhm and another way to add it on is by using the ingredient tool. And you confined that either by adding it here, you can write radiant and you'll find that you can also do it to the layer. If you right click and you go into later styles, you can go into Grady in. But really, we're gonna do it using this, Um, And if we go into Grady and overlay, you can see that you have all these perimeters. We're going to go into that ingredient. And what that allows us to do is it allows us to pick our colors. So I'm looking at this and I want it to be read, and I want the other one to be blue for us, okay? And that kind of gives are sort of Grady int my edit This just a little bit more. I want to tweak this just a little bit, so it's a little bit more on the pink side. Maybe bring this in a little bit press OK? And that's gonna be that one. Um, I also I'm gonna leave. I'm gonna leave that the way that that is, I'm gonna go into here and I am going to do the same thing I'm gonna integrating over later . This same idea, right Clicking, radiant over life, pressing that toddling down the layer styles integrating overlay at the Grady int. And what, this one I'm going to make it also kind of like a in the red family And this one more so in the orange family. That's okay. First this one back up, you can kind of see how that's looking. This one. I'm gonna go ahead, do the same idea to this out of Grady and overlay going right, Click layer styles, credit overlay, Tawila greeting overly down. Going to edit, radiant and pick our colors. This one I'm gonna pick, sort of. Ah, purplish on this one. I'm gonna make it almost like a green blue press. OK, you can see how that's going. And finally with her final shape, layer could do the same. Exactly right. Cloak lawyer styles, great overlay toggles down at ingredient where it's his colors. And I'm gonna make this in the blue and in the green family. And then another thing you can do is you can see how this style is linear. I want to make this radio. Um and I'm actually going to do the same thing here. Gonna go in, Um, and you can see that this is I want to make this radio do the same thing with this top of these contents down so we can actually see it Where the triangles. I'm actually gonna leave linear. Just gonna watch and see how this is looking. You can see it's very small because I'm gonna fits to fit. Fit lets you do, is it lets you see it right up to the screen. It's very small because so now you can see how it sort of looking with our colors. And now, if we add our effects, it'll look even better. So there's one more thing I wanted to talk about. Um, as we do this is that you can kind of see that these edges are really harsh. And I realize that with this stuff, I kind of want the edges to be a little bit more round. Well, you can fix this by going in to the contents and then just changing the stroke from but cap to rank up. And then what that does is it makes it a bit rounder. So I'm gonna go ahead and produced all of them. I'm gonna probably fast for this section so that you guys okay These air. There's just a subtle difference, that of something that I just felt like doing. Um okay, so now the next thing we're gonna do to all of these layers is we're gonna add some effects just to kind of make these not so in victory. Right? So what we're gonna do is we're gonna add a, um, a turbulent displace. I'm gonna go. I'm gonna click on all these layers so we only have to do it once they're going to turbulent this place. And so what that's done is it's kind of given this displacement, and it looks like like, this wiggly line. But if we put this size down significantly till, like, something like I don't know, like, four, it will really make it look, Just give it a little bit of definition to learn. Even one is good. And if we make this a negative amount, um, we could maybe add a bit more complexity to it to Yeah, even that just kind of it makes it seem less like a vector line. Um, the next thing we can do is we can add a little bit of a fast blur. So I'm gonna look up first, Glor and I was gonna put this out, like to just to soften it a little bit. Repeat that fix, Allege, Um and though the last thing we do is we're gonna add a glow. And with that glow, we're gonna go in here, and this is gonna pop it a little bit. Um, I'm actually gonna put the threshold to zero, boost up the radius of it and bring up the intensity even more like something So you can see how these effects kind of made this line look a little bit less sort of digital. Um, one more thing I want to do is I want to add a map. And basically what I'm gonna do is I'm going to create a solid You can go into a layer new solid or pressed apple. Why you press OK. And what I'm gonna do with this is I am going Teoh, Just look at our composition. If I goto one which was our our style frame. Really? Um, I see that, like, you know, this stuff is just it's overcrowded, and it's this. So I'm gonna create a mask and what I'm and basically what this solid is gonna do, I'm gonna put this up top, and I'm gonna use this ellipse tool. And I'm also gonna take my guides off my grid off. I mean, get my guides. I was gonna create a circle and basically the circle I wanted to cover our shape, and then I can moving around if I press V or create the move toe press the move tool and just kind of moving around. And the next thing I want to do is I want a feather, this so father it. And if I just subtract this as opposed to adding, Which means adding means it basically created that circle. Subtract means it takes it away. And, um, looking at this and I actually want to keep it out on an ad. But the next thing I could do is basically what I want to do is I want to create a mask. So I'm gonna go into the track, matte and I'm gonna write apple often that and what that did, is it? It gave a matter of just what this circle is. I'm here. I can illustrate this a little bit better if I put this over transparency and I turn this off, put this back on. So I've just solo these layers and basically what soloing means I've just isolated it. If I turn this back off, it will show everything. But if I just isolate this and only show this later on, this only show this. So we've done what this is. I've created this circle and I've created a ah, a circle around this. And the rest of it is an Alfa Channel, right? So basically what a Matt does is it will. If I turn this on, it's underneath it. But if I create an Alfa Matt, that means that only Onley the part of the circle is visible. You can kind of see, because I feathered it. It's softened the edge. If I put no feather to this, if I press Mm, that will bring up all the mass perimeters. And if I turn off the father, it'll just show you the mask. Right? So it's pretty much all that is what what is revealed is in this ellipse, and if I turn it off, you can just see what that is. And Alfa inverted is the opposite of that. And that's actually what we're going for. We want the opposite of that. And if I press f the mass father as a keyboard shortcut for the mass Father and this is just the transparency, this is the background. This is I'm just gonna boost up the feather and you can see what that does, is it? It basically softens the edge that I'm gonna turn this off so we can see everything, and I'm gonna turn this off as well. And so that's basically what we're trying to do is we want toe create this in the foreground, um, so that it doesn't. I feel like it's crowding her our shape. I want to put the triangle in the foreground so that it's the most visible. And then with these guys, um, looking at them and I also want to create just a little bit of a mask so that they so that really the triangles can stay as the focus so women do some first Apple why? To create a solid and again I'm just going to isolate this to show to illustrate what I'm doing. But I'm going to create a little ellipse. And then if I put this over our transparency, which is really our background cause there's no background behind this, you can see exactly what I'm doing. I'm gonna move my mask a little bit and a quick shortcut with this, if you can, our trek you could just change the color of you. Can't really see you're outlines. Um and then I'm going to turn this on, make this an Alfa inverted Matt, and you can see that this part is not seen. I'm going to turn the feather up because you can see what it did in the last thing. It just sort of softens the edge and turn this back off. And then we could just watch and see how it so you can kind of see what that's done. Um and ah, I want to do the exact same thing to the other one. So I'm just gonna press apple d, which is duplicating it, and then I'm gonna put it below, and I'm also gonna put it Alfa inverted Matt, and now you can see that it's done it to both of them and it gives it a nice It gives this nice sort of depth to it. One more thing I do want to do is I kind of wanna experiment with bringing the opacity down ever so slightly so shortcut keyboard to a passage e You can talk all this all the way down or you could just press t and that will do it to the overall layer I'm gonna presses down to, like, 75%. Bring back T Presti again on this. Put this toe like 65. Krusty, Um, grab this. Put this toe like 55 and all Doing it is it's just making it a little bit softer. 10. 09 AE lesson 06: Okay, So the next thing I want to do is I want to add a little bit of a background of stars swimming pressed Apple. Why, which is this solid? Put this down. Put this all the way in the back. So how I'm gonna build this star background is I'm going to use again. I'm gonna use the turbulent noise. So look up. Turbulent. No is. And I'm gonna solo this background, so I can see so you can see exactly what we're doing So you can see that there's a minute. Invert this. And then, um, I'm going to boost up the contrast and lover the brightness. So we're gonna boost up the contrast a bit and lower the brightness, and then I'm gonna add a radio of a blur Radio blur. And I'm just gonna make the amount really soft like to And this is just to give a little bit of ah, really, really subtle sort of idea of ah, of a background. I just didn't want it to be pure black. Um, And then one more thing I want to do is I want to add, um, in effect to this, and I'm gonna add like a great solid. It was Okay. Bring this. Um, and then I'm moving. Teoh. I just want to add a little bit of noise Suman ago, and I'm gonna add a turbulent noise, or I'm just gonna look up the noises that we have. They're going to go with a fractal, though. Is and under here, I'm going to make this breads boost up the contrast to, like, 500 5 50 Lower the brightness down to, like, negative 25 move into the transform, rotate it and the changes Scaling like 10 or 11. And you can see that we've created some noise. So that someone do is I'm gonna invert this goods and channel inverted that. I'm gonna change the make this like a like a screen. Remember the U pass, did you to, like, five. We just make it normal and out of toner cc toner and change this. So like, I like this. It's like a blue. You can see what this looks like. How it is was gonna screen it on and bring it down quite a bit. Realize that the background, it's kind of bothering me a little bit. And I think the reason why is because I didn't put the scale down of this a little bit more . No, we have kind of our story background. Okay, so now one more thing we can do is we can add an overall some overall effects to it. Some one of you, their new adjustment layer, and I'm gonna add a another glow had stylized glow. This is just overall to everything. Um, boost up the intensity of it. This up the radius you more for the good threshold a little bit. So what? The threshold a bit, however, the radius. And so you're going to see the okay, so we probably want to put the radio down a little bit. Who said the intensity, the threshold and I love this. It's experimenting, and it's finding the right one. Um, and you can kind of see how this is working. I even want to put the radio student lower, you know, like six and then this. And, you know, it's a constant experiment, and so you can see that this is sort of like what we're we're getting. And, um, you know, I think this kind of looks good. If we wanna over the intensity. We can 15. And you could tweak this forever. Um, you can change all the colors around. There's just so much you can do with this. And you can kind of play with all these different colors to let's say we go into a B colors . You can see how much that changes it around as well. Okay, so I think this is good to render. Um, I'm gonna save it composition at to render queue. It's defaulted toe losses, which is good because it's animation. Um, you have quick time. RBG is fine. There is no audio, but you can leave that all there. Everything is fine here. You can change the format options. Um, age animations of good Kodak pro rez is a great Kodak HC 64 is good. I'm gonna rather this out progress high quality press. Okay. And then pick my path and then just press render 11. 10 Conclusion: Okay, so this is our final render. And you can see that by using Shea players and the pattern repeater were able to make this pretty cool pattern. Uhm And then we also kind of use things like noise, turbulent noise, fractal noise just to add a little bit of, ah, starry kind of background and, um, and also to give the edge a little bit of displacement. So it doesn't seem so a factory. Um, and these were the concepts that you learned. Um, and I hope you can bring these concepts outside of this course and into your successful careers. Um, I hope you learned a lot about patterns and shape layers. And if he did recommended to a friend and take the time to leave a positive review, it will be greatly appreciated. Thanks for spending your time with me. And I hope to see you. My other courses