Designing and Illustrating Flat Vector Graphics and Animating Them (Part 2) | Motion Design A. | Skillshare

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Designing and Illustrating Flat Vector Graphics and Animating Them (Part 2)

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

8 Lessons (33m)
    • 1. Introduction

      1:03
    • 2. After Effects Shapes Intro

      5:29
    • 3. After Effects Changing the Background

      1:32
    • 4. After Effects - Animating Phone

      6:35
    • 5. After Effects - Animating Icons

      5:43
    • 6. After Effects - Animating Icons

      5:20
    • 7. After Effects - Animating Icons

      5:42
    • 8. Render + Conclusion

      1:40
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About This Class

This course is for the beginner designer, animator, motion designer, or student who is looking to learn more about Adobe Illustrator and After Effects, and how to apply these skills in a professional setting.

This is Part 2 of a 2 class series - in this class we'll bring the Illustrator file we made in Part 1 into After Effects and convert them to shape layers.  We'll animate the shape layers using shape parameters.

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

At the end of this course,

Part 1 - you'll be able to design and illustrate flat vector illustrations in Illustrator and

Part 2 - animate these illustrations in After Effects using the shape layers.

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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Transcripts

1. Introduction: Hi, My name is Evelyn Lee. I'm a motion designer living in Los Angeles. I've been working in the industry for over 10 years and features commercials and broadcasts , and I'm here to impart some knowledge and experiences that I've had working in the industry . This course is made for the student who's looking toe, learn how to illustrate thes flat vector illustrations in Illustrator and then animate them , using the shape parameters and after effects. In this course, you learn how to take a client, brief research and sketch ideas and illustrate them using the pencil in the shape to an illustrator. You'll learn how to bring these illustrator files into after effects, convert them to shape players and animate them using the shape parameters. At the end of this course, you'll be able to make this animation. This course is a two part series, and this is part two. We'll bring the illustration we made in part one and bring it to life in after effects. We'll be walking you guys through how to make this. I'll also be talking about the principles of 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. After Effects Shapes Intro: and, um, how we're gonna intimate This is basically we're going to grab select all these guys, except for the background. Block that. And then we're gonna just convert this Teoh shape layers and the difference between you know, Well, first I'll show you in this layer. You know, we have the trend. You can transform the anchor point position, rotation capacity. Um, but with shape layer does is it kind of gives you all the parameters, um, creating these shapes. So basically, I'm going to go toe lair and, um, bring this down and I want to do is I'm gonna create shapes from Dr Layer. It's like that. And basically what it did was it created all of these shapes. I bring this up and we'll just look at each one individually. This is the iPhone that it doesn't really read you rapacity, but we can fix that later. We're gonna take a look at the ups. So everything cut. It came in okay for the phone transparency. You know what the contents so think about the shape layer is it brings in each individual group, which is great, cause you can kind of anime, each section and If you talk about it down, it shows you the path you can animate the path, which is sort of like the mat that it's the mask. I'll zoom in a little bit Sudanese, kind of see, um And then there's a stroke which we can alter that change its color treated transparency the with we could even like, um, you know, change the way it looks. And these air, like, you know, create dashes around them. These were great for, like, Justo have these parameters. And to be able to kind of tweak the design as re animating, Um, and then the transform is nose to in this because, you know, you can kinda The great part about this is when you transform this scale, you're still kind of keeping the, uh you're you're still keeping the original shape and the stroke of it, as opposed to if you affect the scale in the, you know, in the trend and the parameters of these vector files down here, they kind of affected differently. They scale the stroke of it would start this kind of scale in. So these preppers are really great for for this shape, ship tool and you gotta get it with each section. Um, I'll goto fit. You can kind of see what each section does. So basically, like if we go here, we can kind of just see everything that we created, and I'm gonna turn all these off just because I want to see exactly what each group does, so that's, um, get a little bit bigger. That's just the Phil on the phone that we've got our stroke, that we've got our screen stroke of that screen. And it's nice how they bring it in each individually this we want to kind of lower the transparency of it. Some reason it came in at 100% and it's probably in the Phil. However, it was down to what we had before, which was 30 brings back up. And what's nice about all these things that we have all these parameters and we can animate each of these individually, and we can alter the color of them if we don't like him. And if we want to change him around like this, I'm I actually make this yellow, and I go into my contents, just takes a little bit to find it. It doesn't really label with, but you can also change the labeling of them by pressing enter. I'm not actually going to do that, but I am going to change the color of us, make it a little bit more of a yellow. It's OK. 3. After Effects Changing the Background: Similarly, all these illustrator, um, layers because we don't need it. I'm actually going to change the background. I realize I kind of don't want that color. And that's one of the nice things about, like, you know, aftereffects Illustrated. You know, as you're working with it, you can kind of stay loose and change your design. Um, to do that, I'm just gonna create a solid apple. Why? And I'm gonna pick a different, different color. I don't want it to be like more of a cream color. Instead, it's OK. And then bring this back. So, um, also what I want to do to it is I want to create a, uh, creating to it. So we're gonna do is I'm gonna go to generate Well, he was ramp some radiant rent. Now you can also, and I'm actually going to swell colors so that it's darker and lighter there, and I'm going to on this of it with the original. I just realized I want to make this different color as well. So if you put your eyedropper tool, you can just kind of go and look. You kind of see, pick and choose. Sort of what? What you want it to be. You know what? That 4. After Effects - Animating Phone: Okay, so first thing we're gonna do is we're gonna go into the the iPhone, and I'm gonna turn these layers off, and I'm just gonna animate thes by using a trim pass. One of things you can do is you can kind of group all these together so that they animate together. So I was gonna call that. It's like a phone you press enter phone on. Um, you can bring all of this. And so here and then out. What I'm gonna do is I'm gonna If you're going to hear me out of the group, you can. Also, there's all these other perimeters that you can use. It's a part of enemy, you know, you can create your shapes, which isn't very similar to what we saw in aftereffects. I mean, in illustrator. Then we have the fill stroke, the greedy, until we have all these other parameters. And if you kind of explore it, you can kind of see each of these does. We're gonna really kind of work with trump ads. And if you toggle this one down, um, what you'll see is if you do this, it kind of creates his nice little shape layer animation. If you do it to the end, it does the same thing. Um And then we have this kind of offset that you can do as well, which is pretty much what we're gonna work on in building this iPhone up the other thing. That is nice about the Trump House. You could do it simultaneously, or you can also do it individually and difference between we just saw it simultaneously in this and sort of have it looks individually, it just does one after the other. We're gonna do it simultaneously with this one. And what I'm gonna do is I'm gonna go ahead. I'm gonna presses stopwatch to create key frames. And then I'm gonna go to the end and also create key frames here and now I'm just going to kind of go ahead and tweak Lis so that in the this is how we wanted to end. And I'm actually gonna bring this sooner, because one second this is how we wanted to end. And then this is how, in the beginning, we want nothing there, really turn the result and you just plus play. This is sort of what we're going to get it's a little slow. We can kind of bring it a little bit closer. And also, what we're gonna do in the middle is we're gonna just kind of create a little offset. Actually, we can start that at the apples and use it. But you could start that at the beginning. So we just created a nice little offset as well. Okay, so now we're gonna press these, and if you right, click or you can press off nine if you have. But you're going Teoh Key Frame assistant, And you can Dewey's any disease or F nine, actually with the wrong one. Um que for, um, assistant yeezys. If you watch, that just kind of nicely eases it in. And if you want to affect it even more, you can select these and then go into this, which is a graph editor, and we get our curves right here. If you select the good points you got these spines, I'm gonna plus and going a little bit closer. You get these sort of these spines in this curve. Basically, the curve just shows how the animation is gonna slowly wrap up in speed and then season and we're just gonna kind of alter it. If you press shift, you can move it forward or backwards. But we're going to kind of have it really easy into this shape on. You can see the difference if you press play, so it kind of speeds it up and then it uses enough again. It's sort of what we're looking for. The other thing about this is that's nice is you can kind of, you know, play with the offset and kind of shift thes all these key frames around just to make it look a little bit different. You press play, you have him start at different times. It kind of vary the animation of it. Well, this to be a little bit longer. Now there is I kind of want post minus takes you back out of it. I want the offsets of how to finish earlier. It's not the officer that I just wanna It was points in then Haven't start, Okay, so I like the way the phone is coming on on. The next thing we can do is we can do do ah, a solar type of innovation to the APP chat 5. After Effects - Animating Icons: zoom in a bit and kind of hold down the option we've been actually, add a wiggle transform to this and put the wheels on 20 I don't really want Teoh. We'll go. But I do want to use the transform parameters. What that does is it just kind of breaks everything apart. You get some really great animation through this. So this is going to start after our phone. Look at the key frames of one our phone under It's right around here. So I'm gonna create some key friends in the position on the scale in the rotation and then go back here and just bring it. Put this box of it and just bring this position she wanted affected in X. Put the skill petition. No, but also do the anchor point. A good shortcut is pay. Teoh jumped from key frames of key from okay, and J, we'll let you toggle back and forth, but I want to also alter the anger points. I'm gonna go back in here. J also just movies. You press play, sort of how it comes up. Now I'm gonna kind of play with a little bit with the legal this like one, you know? See, like so this portion I really like how this section happens right here. He's gonna take that shoes off, and then what I'm gonna do is I'm gonna start this layer at that point. So when a if you press all option bracket key lets you cut it at that point, so we won't see any of that stuff that happens before none of you press play. You get that. Well, it's pretty good. Um, he's going to kind of wind it up so that it happens before the iPhone becomes. But before the phone becomes what it is, press all bracket key to kind of have it lined up to where your marker is in the timeline, we're impressed. Play again. So I'm liking how that's looking, and now I'm going to kind of go in, and I'm gonna, you know, use the animation so you press right cloak, or you could just processed nine key frame assistant and press easy, Please. You're gonna bring us up just a touch soon. Um, And then if you play it, um, you can kind of see the ease. And when a ultra even further by going into the graph editor selecting my points and, um, moving these away to the shift. Impressing, Moving it left. It is not going to get out of the grass editor. I'm gonna see my next icon. 6. After Effects - Animating Icons: it's never gonna do the clock. And he was gonna watch it again, see how that one's going in. And with this one, I'm going. I'm going to do something similar and just sort of alter it. So a quick wayto to see the key frames is if you present shortcut you, it just lets you see everything that you've done. Um, I'm gonna go ahead, I'm going to go into the contents and I'm just gonna add, um, the wiggle transformed. And if you toggle it down into its transform again, I'm gonna kind of go and do it right here, sort of where I wanted to end. And I'm going to keep put the key friends on all of these and then right here, I'm going to adjust the position in X in the scale in the rotation. You just you know, it's just about like, having fun, um, and making it just go off for him, Really? And if I press play with this, I'm just going to just try and see, play with and see, like, what works? Because I think maybe that's not hi. Once I get and a lot of it is just sort of experimenting and like seeing what works. So with this, I Connell actually like it without having any sort of wiggle. Um, So what I'm gonna do that? I just want to kind of adjust Thea the entrance of this. I just wanna make sure it's offering. And now that it is, um, I kind of wanted to have just a little more rotation. It isn't. You're afraid. One of the things to do is just to make sure it starts where you kind of cut the layer off . So it just doesn't show up. And the other thing I mean is you is I'm gonna use the animation right click, but on the cue from she frame assistant disease in the selectees Going to the graph editor . Select these guys, um, and then shift and just drag him to the left. Dr. All of them, You know, the graph editor. You got to see how it is. I might actually just a little bit of a little. Then go press j going back to their you too. Watching it Well, actually makes me wanna I don't like these extra lives, but I like how it comes in right here. since the start is layer, we're here. And as this apus forming almost want this to also kind of come in in time and have it start right here. You can also just press the bracket key. Don't match it up to the marker. And then if you go to the ends, you can press all bracket and it matches it up to the marker, which is this play? 7. After Effects - Animating Icons: Okay, so now we've got the last one, which is the notebook. Turn that on. We're going to the contents, and we're just gonna add We'll transform to this. I'm gonna find where I wanted to kind of end that's coming in here. I want to end right here. I'm gonna go into the transform, and I make all key friends for the anchor point position scaling rotation, and then I'm gonna just separate them. So when x, That's really nice. How it just kind of like, well, just of itself. So just try to get it off frame, and then I'm gonna go ahead and key frame this The wheels per second J and K, a toggle between the key frames make this zero. So watch how it emits on is a little bit. Tweet this around a little bit. You really just kind of looking for something that you know you like a lot of it's sort of experimenting and seeing, and so are changing completely. And as I'm looking through this, I'm just looking at a good start point, Nikolic. What starts? Actually, um, I'm gonna go in here one of press F nine or right click you have assistant Easy's, um, gonna go select The's going to the graph editor. Really easy. These guys in because they really kind of rapid us. Um, you could drop with her. I'm just gonna create a bit more space with this. Nikolic out starts here. I'm gonna cut this off here. And I want it off, actually, more sort of time. It and that it starts a little earlier. So basically want most of these all starting. So as I'm watching this animation, like, I think everything looks good. I think one of the things I realized veteran, was that this transparency, um, it's actually behind the ups, and the UPS should actually feel like they're in your phone. So let's so you know, you come back with a note like that, you have to go all the way back into illustrated. We can just kind of grab this, duplicate it, throw it on top, and then we can hobble us down into its contents and just turn everything off. Except for that one transparent lawyer on, Um, just need to find it. Do you like the best one area? So that's group nine, and then we're gonna want to go into here answering group. Not enough. We may need to adjust the animation of it. We'll just watching Seaver's. I know it works. Okay, so now that glass transparency is in front 8. Render + Conclusion: and now we're gonna wanna render this out. You can either go to add adobe media Encoder Cube. I'm just gonna add it to the render queue. Um, I was again. You could go into a lossless and, uh, you know, render this out different sequences. I'm gonna render size a quick time format options, innovations, a really high quality Kodak, but it's also really big. Um, you see, 64 is good. I'm gonna render this out. Perot's, um, high quality and press. OK, um, but you can render this out as anything in 86 Force One. Um, and then just put your output and press render. Okay, So this is our final animation. We've been rendered out and playing in quick time. And in this lesson, you know, you learned how toe kind of make a brief and make it into, um, vector illustration using Photoshopped and illustrator, primarily illustrator and then ah, bringing it into aftereffects and kind of using the shape parameters, and in particular, we use the trim pass and the wiggle transform. And this is sort of what we were able to get through out the way. We kind of started with a sketch and modified it little by little. And, ah, we were able to come up with this animation. So these are the techniques that we've learned. And, uh, you know, I hope you guys have learned a lot and we'll see you next.