Gradient Animation: for Text & Logo Animations in After Effects | Atamotion | Skillshare

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Gradient Animation: for Text & Logo Animations in After Effects

teacher avatar Atamotion, Motion Designer

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

21 Lessons (1h 20m)
    • 1. Class Intro

    • 2. Class Overview

    • 3. Gradients Setup - Trim Paths

    • 4. Gradients Setup - Adding Variation

    • 5. Blurring Out the Graphics

    • 6. Animating & Duplicating Compositions

    • 7. Color correction

    • 8. Animating Text with Gradients

    • 9. Fine Tuning Text & Gradients

    • 10. Additional Animation

    • 11. Adding Complexity & More Colors

    • 12. Adding Background Gradients

    • 13. Playing with Blending Modes

    • 14. Playing with Curves Effect

    • 15. Ideas to Further Change Colors

    • 16. EXTRA Look - Curves Effects

    • 17. Adding Warp & Vector Blur

    • 18. The Magic & Optional Blur

    • 19. EXTRA - Text Animation

    • 20. ASSIGNMENT for You

    • 21. Final Thoughts

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About This Class


In this class, I'll show you how to design & animate these dynamic gradient animation effects and then add a text animation to them while using After Effects.

Later, you can easily use these Gradient Effects for your Logo Animation, Character Animation, or even Website and UI design & animation projects.


  • This course is for anyone with a basic knowledge of After Effects. We'll start from the basics by building a simple gradient animation effect with shape layers and one color hue.

  • Then we will build upon this simple foundation by adding various effects, animating layers, and quickly incorporating a variety of colors that look good together. After this, I'll show you how to add a text animation that is also smoothly revealed by the same gradients.

  • Lastly, I will show you how to quickly create an entirely different wavy gradient & text animation look from this same project. And to top it off, I'll demonstrate many more ways to change up this gradient animation & design to quickly achieve lots of different styles that you can use in different unique projects. 


I also included some project files and an exercise assignment for you, in which you need to play around with the gradient effects till you achieve some fantastic results. Once done, feel free to share them with me. I'm curious to see what you will come up with!

Also, I will be around to help. If you get lost, you can drop a line under the 'Discussions' section, and I'll be sure to get back to you.


All in all, this is a great way to upgrade your gradient designs and animations with Adobe After Effects, no matter if you're a Student, Illustrator, Animator, Designer, Hobbyist, Artist, or just a curious - Creative Person!

So what are you waiting for? Let's start creating!

Meet Your Teacher

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Motion Designer


Hello everyone! My name is Andrew, but I'm better known as Atamotion, and I'm a passionate 2D motion graphics designer. I'm here to share my knowledge and inspire you guys to create some incredible things which could take your creative work to a new level!

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1. Class Intro: Hello everyone. My name is Andrew, but I'm better known as Atamotion and I'm motion designer from Lithuania. Now in this After Effects tutorial, I'll show you how to create this awesome and dynamic looking gradient effects. Which later can be used in your title reveals or logo animations like I did in this logo animation concept I finished recently. Or simply as a textures, for your shape layers, or even character designs. And lastly, that the techniques used in this animation can also be easily repurposed for many other mediums which could benefit from dynamically animated gradients, like web design or even user-interface concept animations. So yeah, I think this should be useful for many of you, so please enroll and check out the class. Thank you. 2. Class Overview: Now, to get a bit more specific Bill started by creating the kind of main ingredients setup above 30 and Buffs. Then we'll block a roughing out. And lastly, we'll add the tax and emission, which will also be revealed by this scene gradients. Now lastly, as a bonus, I'll show you how to create one extra lobe from the set of better curriculum. And then I'll also present to you many more ways on how you can further customize this looked at shear were a lot of new designs and logs within this one same setup, but she'll learn today. 3. Gradients Setup - Trim Paths: So now to begin creating the gradient kind of core animation setup, first need to create a new composition, set it as one famous for a second and make it about a 120 frames long. And maybe name it something like loop one. And yeah, now just add a new shape layer and then double-click this rectangle icon. So it's going to add a cube and just remove the fill effect as will be only using the stroke effect to drive the kind of whole animation. Then make the left something like 200, and begin adding my first color. So I'm going to get into this more like darker desaturated blue one. And later I will add highlights and more vibrant blues. And you'll see now to animate it will need to add the trim path effect. We should be the main driver of this animation. And then just simply set a keyframe at 0 and set another keyframe at around 200 and maybe make it rotate six times. As you can see now nothing is happening, but just let the keyframes press F9. Key frames is, is, which means the animation looks move. And we can also maybe name our layer like the main loop. So now we're going to duplicate this rectangle by central DI. And we're going to go to the Stroke and we're going to change the color to a bit more vibrant blue color, something like this. And now we're going to use the trim paths to adjust the log. So I think I'm going to set this to 25. And as this 250 slides, you can see we have some innovation going. Now. We're going to duplicate this rectangle once more and we're going to add a third color. So it's going to be this kind of very bright blue one. And this one is a trim paths to cannot change the look once more. So just I'm changing it every 25 percent. So I'm making a 20 and 50 and then I'm making this 75. So it's kind of like a cutting this kind of one big chunk of stroke each 25 percent into disc cleanup part. And you can see how it's looking. I think I might change the second color to make it a bit more vibrant. Or yes, something like this. Just to create that a bit more of a contrast. And circulated this K now. Let's duplicate this rectangle ones more. And that's going to be our final part of this setup. And let's make the color this time black. And let's adjust this to 25 and a 100. So basically now what I've done is that I created this kind of four color loops, which are proportional image moving the same way. Somehow we can preview them. And perhaps the thing that animation is too slow, Our something, we can change it up right now. So just press U to open all the keyframes and maybe I can set it to nine and I can copy it, paste it. And now it should be a bit more dynamic. And now we're going to create the kind of intro to this animation because right now as you can see it, It's just spinning if all the colors. But, you know, in animation and film, there's usually a beginning, then a progression, some combination, and the resolution or the end. But so far we only have like the progression here and we need to create the kind of insurance. So just duplicate this layer, rename it to intro. And what I'm going to do is I'm going to remove all the colors but one. So this clear gonna keep only this main color visible. And I'll set the rest to black to hide the other colors. Let's do this. And as you can see, we have our intro layer going, but now we need to kind of faded out. So to achieve that, I'm just going to use opacity animation. So just select the intro and open the opacity setting by pressing T shortcut on the keyboard. And I think I'm going to start feeding this line out about here. And at 30 frames it should be at 0. And again, just like the keyframes and make them easy, ease by pressing F9. And now we can kinda see how it's looking. We might actually want to move this animation a bit more forward. Kind of delayed onset circuit. That's about thing that's better than before. But as you can see, we still have this whole kind of stroke from the beginning. So to kind of trim it, we can go into the maybe rectangle tool and we can animate it to hide it. So let's maybe start at 0. And that's got like 20 frames and set it to 25 to the old value. And we will be having this nice kind of animation against like the keyframes F9. So make them smooth and not, not smooth. 37. And yeah, actually we can make this a bit maybe longer, up to 40 frames. So it's kind of like maybe up to 30 sets, kind of slowly spinning in and then revealing all the colors. If you have time or if you want to, you can reveal each color one by one this way. But for this tutorial, I'm just going to do it this way because it's a bit quicker. And yeah, that's basically the first part of our setup. And what it did here is I basically tried to mimic the way the or as far as plug-in works, in a way by duplicating these rectangles here. But if you have the r's borrowers, please by all means use it because it's going to make this so much easier and just to wave a much more intuitive to customize and animate. But for this tutorial, since I know that some of you might not have that plugin, I chose to do things the manual way, the trim paths. 4. Gradients Setup - Adding Variation: Okay, Now, once I have the first loop, just like the composition and drag it into a new one. And now we can rename this by right-clicking. And we can make it one. And now we just need to duplicate the loop one, drag it in here. And we're going to begin the second part of this core animation setup. So as you can see, it kind of begins from nothing. It starts spinning and then have all of these colors going on, but then it never ends. And what you're going to be creating is basically the kind of smooth ending of this animation. So it begins, spins and done. It loses some columns here. And then by here it kind of completely and goes to dark. So to do that, I duplicated this so we wouldn't have to recreate everything from scratch. And now I'm just going to turn off the intro animation and I will make this loop to have a bit less colors. So instead of four colors of the black, we're going to have only three colors spinning around. So I can do that by, I think I'm going to remove this by this kind of brightest blue one. So let just find it and then let's set it to black. The reason I'm setting this to black instead of like turning these rectangles off is because I want there to be any transparent parts where this spinning density will be important later in creation of kind of blurry effect. So yeah, now we only have two colors. And if I go back, you can see it's how it's looking. But now we need to blend these together. So for that, once again, I'm going to be using the opacity animation. So just press T on the loop too. And maybe somewhere from 90. Let's animate this. Look to the apparent colors. Maybe let's go 20 frames forward, set another keyframe and make it 100. And the first one set it to 0. Okay, now we begin the animation and we have all the colors and then we kind of lose some. And then we'll fill it out again and then select the keyframes again and 90 make them smooth. And yeah. Now we're going to duplicate this look to, to make it lose even more colors. So not just drag it in. Let's open it up again, and then let's remove this vibrant blue color again by changing it to black. And now if we go back, we can see you have this one here. And I can just copy the opacity keyframes from the loop two and we can insert them somewhere like 20 frames later on the third loop by simply copying and pasting them. And you can see how it's transitioning from one loop to another. And EN, as you can see, you have this gradual kind of loss of color, so to say, but we still need to create them better last kind of ring to go to pitch black. So to do that again, WK The third loop, then in part and doubly duplicate here, and open it up again. And set the last color to be black as well. So it's going to be this one. Let's make it black. Now. We'll need to animate that asked again. So just copy the keyframes from the third loop. And again, needed, let's go 20 frames forward, paste the keyframes, and here we go. Now I think it feeds out too quickly. I kind of wanted to fit out around here, so I'm just going to adjust the keyframes a bit till I get the look after. And the NFA press Space superior view. You can see what we managed to create basically. 5. Blurring Out the Graphics: So if you want to, you can use this animation as it is right now. But for this tutorial, we will use this setup to jive those dynamic gradients. So now let's add all of the settings. And now let's add an adjustment layer to begin creating the blurry look. So just let's name it. So motion. And then let's add this effect. And as you'll see, it's going to kind of blend all the colors together. So now for the settings, I'm going to type in 2005 at shorter samples and I'm going to set the shutter angle to 1540. And as you can see, if I toggle this effect, you can see how it's blending all of these cars very smoothly and nicely. So that's what we need. And now let's just add this Fast Box Blur effect because it renders pretty quickly. And as blurs things quiet. And four, it just set the radius to central x 16 or too much. Give the iterations that free. And then nice shirt to take this repeat edges and pixels box. Now, if I toggle it, you can see how it's look and you can see where the pixel motion does, is fight on and off. It becomes very rough on the edges, but when it's turned on, it creates this very smooth animation, this smooth transition. So yeah, now to develop this look further, we need to add the grass blur. So again written New Adjustment Layer. And then just find the cross and the on-off button. This pixel motion of you see what it's doing. So let's set the radius to the F35 and why to 600, I think. And now you can see how it's kind of also helping with blending the colors together. And actually I'm just going to move it to be down here. And now we can see what kind of all we need to check the repeat edge pixels. And now you can see how it's affecting this look. It makes everything a bit more smooth and just kind of more blended together. And now the last bit is going to be. Adding a glow effect. So again, a new adjustment layer. Actually you can just put everything under one adjustment layer, but I kind of prefer to layer them like this because it gives me a quicker picker control and the way to see how everything's looking. And if I want to remove something or add something. So for this, I'm going to use the deep glow plug in as it's very amazing, but if you don't have it, you can just use the regular blur. And I'm going to show the differences between them. So if deploy you can see how it's looking. Actually, let's actually, let's not change anything. I think that's about right, Just check this box to make the kind of graphics transparent or else it will be not transparent, which is not good. And now we're just going to add one more box blurred kind of help seal the whole look, so to say. So Fast Box Blur. And let's set it to something small like 25. And let's do this so you can see it's, it's a small change, but it just kind of even Zao these sort of LG highlights, which can be not a very good look. And yeah, now if you don't have that glow plug-in, don't panic we can, as you can just use the boat in. Aftereffects glow effect, select, just drag it in. As you can see, the native blur kind of doesn't blend the colors that well. Unless you change this kind of settings here. One of them. And we had the AB, just select a b. And that makes the local, the whole look a bit more closer to the original colors which we want. And as you can see, it's pretty similar. It's kind of blurs everything a bit more. And then we also lose a bit, a bit of saturation, but we can restore that is something like a hue and saturation effect. So let's maybe set it to 40 or 60. You know, it's it's a bit different log, but it's nothing too drastic. So he didn't have the deep blue, just use the regular global. I think I'm gonna go all the way like fancy and I'm going to just use the best. So Yana, we created the final setup which is driving this blurry gradients animation. And if you want to, economics go back into this layer second, add more colors. You can remove the colors. You can add more sort of intermediate loops that can really customize it to your heart's content. And you can make a lot of new locks with this technique. 6. Animating & Duplicating Compositions: So now let's select this ring one composition and drag it into a new one. Let's now for us, cetera. Okay, and let's rename it to gradient with text because we're going to be adding a text later on. Now. If you preview it, I think it looks kind of too big, so I would like to kind of scalar down. So think I'm going to make it about 75 percent, uh, big. And now that this will kind of create a box for our text. But now I'm just going to focus on a graphics. So we have this, but it's just static. So I think we should maybe out some movement to it, you know. So I think I'll first animate the position. I'll open it up and set. No first, I will separate the dimensions and the thing will only be animating the y position. So I'm going to set the first keyframe at 0 and another one at maybe 100. And I'm gonna go to the first keyframe and I will move the composition a bit down by holding Shift and use my arrow keys. So I think something like this is kind of about right in or just some animations movement. Nothing too crazy. Just something subtle. Maybe a bit more. Okay, and now I'm just going to select all the keyframes. I press F9 to easy ease. And then I'll just open the graph editor. And in here, I think I'll just drag this handle out the very left side. So this will create this kind of smooth sudden rise animation, which I think looks much better than if the animation was linear. And yeah, now it looks kind of boring, just this one like cube, kind of. So I'll WK this ring. And basically I will just offset it by a few keyframes to make the visuals a bit more appealing. So to say, something, I'm going to move 20 frames forward. So it will be 20 frames behind this first ring animation. And now if I play back, you can see that now we kind of have this like tiny line over here which adds a bit more contrast to this big shape. Something that's nice. And now I will create a new adjustment layer. And once again, I'll add a box blur effect to it. And maybe you can name the layer like Box Blur. And I'll set it to a 150 and make sure to enable this Repeat Edge Pixels option or else you'll get this very blurred out kind of view. But if you want that, you can give it a bit. I'm just going to select it. And now the box verges kind of makes everything a bit more kind of connected, so to say, somehow is you can see our edges blurred out. So to make this sort of second duplicate more useful, so to say, I'm just going to set it to the screen blending mode. And what that's gonna do is I'm going to make this both compositions kind of interact with each other because this one is here and then this one is sort of filling in this part over here. And this way it will look a bit more interesting and dynamic rather than just having this one ring spinning around. You can see if I disable it, What's the difference? 7. Color correction: Now I'll just add another layer for color correction. And I'll name it accordingly. And I think I'll just add some course. And I might adjust this sort of master curve of bits. And then I'll just go to alpha. And I'll kind of crank it up a bit naked, more vibrant, more bright, and, um, and also turn this down a notch, just a little bit. Or I can do something like this. And then an Alpha and a bit more like that. And I can also duplicate the effect if I want to. And you can see what we've got here. And yeah, I think that's going to be as much color correction and so I'll be doing right now. But later, once you start combining this composition, further, you'll see what kind of other locks you can get by just adjusting this one. Curves controller. 8. Animating Text with Gradients: Now, as promised, I will add some text in here. So I think I'm going to begin by creating a new composition and I'll just name it taxed comp. And then in here, I'll just use the type tool. And I'll type in something like ours. Some ingredients are some dynamic gradients. And I'll just center the text and Some going to set the font size for this to 2007. And I'll also just the tracking for this text to something like 300. And maybe I can turn on the full preview over here. Now, let's select that text and press S open desk or controls because if in colon to make this title a bit bigger. But before that we're gonna use this pan behind tool to center the text Anchor Point kind of in the middle by pressing Shift and holding it and then dragging this kind of point. If the mouse cursor, I'm just going to set it in the middle kind of end and I'll set the scale to 175. And now I will also lower this texts leading from 100 to think, okay, that's too much, maybe to something like 70 or 80 just to kind of tighten up the way it's looking over here. Oh, and in here I figured that I forgot to turn off the stroke, so I'm just going to turn it off. And now the texts, we'll be looking a bit more better. Or actually I might actually add like one, maybe two to make it a bit more fuller and more contrasting and more balanced, this big thick text. And yet now we have the text, but obviously we probably want to animate it or do something a bit more interesting to it. So for DAS, we're going to try to mask the text, the font of the ingredient loops that we created. So I'm just going to import the kind of the first string composition here. As you can see what's happening. But what I want to happen is the one that acts to kind of gradually fade from dark to white as this spins around it. So to achieve that, I'm going to scale dabbler first down a bit about the size of the text. And then we'll add some effects to this ring. So first we're gonna add the fastener once again because we are going to use it to better spread out this kind of clump of color to cover the whole area of this text. So one thing I'm going to set it to 500 and then turn-on this as this is very essential. And as you can see now it became barely visible because if you blur that out so much. So to bring back some of that visibility, I'm going to use a chorus effect. And let's just go to the alpha channel and let's crank it up quite a bit. And we can also WK the curves quiet a few times still we have some good coverage going on. And now I'll duplicate the course once again and now go to the LGB. And I will kind of make this whole gradient look a bit more like, like black and white, like very blown out. Because you're going to be using these gradients luma channel to drive the opacity of the text. So I think that looks about right. So now I'm just going to select the text and I will end here. I'll set it to my mate. Which basically means that the tax visibility depends on how visible is this sort of mass masking it. So as you can see, it's really bright over here, so that x is really bright over here. And in this corner you can see it's getting a bit darker. So that corresponds to that accordingly by getting darker as well. And life, I play back. We can see how it's looking, but I think it's a bit too bright. So I think I will turn off a few curves and that will take off some of that brightness. And I consider tax kind of begins from this very dark place. And then it gradually will reveal itself and bold up, which is what we want to be happening here. And then that goes back to black. Once again. 9. Fine Tuning Text & Gradients: So you can see this is like one more use of this kind of rings setup that have air. Sorry, I can use it for revealing texts, logos, whatever you can think of really. But that's, they used to have hair. Now, I'm going to put x inter-domain gradient of texts composition. So just going to drag it in here on the top. And yeah, you see what we got here. Now, I'm not going to animate that tax moving up or down in here because I think it's nice when just this bottom layers are moving. And attacks is kind of remaining static. And also one other thing that I noticed is that you can set this box blur to screen. And what is going to do is basically why scrub 2D animation. You can see that our second kind of ring is visible over here. So you can see it's a hair, but so and I set it to screen is visible. But once I set it to normal, everything kind of gets blended together. So if you want that kind of separated look, NYC shirt is set this effect to screen blending mode. And now to adjust the colors a bit more, I think I'll use the hue and saturation effect. And I might change the master hue a bit because I want this sort of a bit of a darker blue color to be happening here. Instead of this kind of very washed out blue one. So I think something like this looks better. Now if you play it through, we can see how the whole thing is looking right now. 10. Additional Animation: So now we're going to take this gradient of tags composition everyone and put it into a new composition. And we'll name it master calm. Because we'll be using this one gradient animation to create a much more complex and more interesting looking scenes. So first I think I want to begin by kind of scaling this cube down a bit. Maybe it is 75 percent and later we will animate it also the scale. And I think maybe one that keeps to be moving at Biltmore from the bottom and of vD. So I'm just going to press P to open the position parameters. And I'll set the first key frame here. And then I'll more about 250 rooms. And I'll set the final keyframe. And now when we, if we go back to the very beginning, I think I will move that keyframe here temporarily so I could better see what I'm doing. And I will just press and hold Shift and use the arrow keys to move the graphic down. Something on the graphics are going to start coming up from the very bottom, kind of almost touching the very, very bottom. And now it's just going to move that keyframe to the very beginning. And you can see what we have going. Now to make the animation a bit more elegant. They're going to easy ease the keyframes. But before we do that, we first need to radically conduct position and select separate the dimensions. And they're doing this because we only animated the y-axis. So we need to remove this acts keyframes because it's going to make our course suggesting a bit more easier this way. So now just like the Y key frames and press F9 and is going to easy ease the keyframes. But to find two in the Ising and animation, we can open the graph editor. And in here just make sure that you're under the speed graph. And now we can select the very right handle and just press and hold Shift and then drag it out to the left till you kind of get this shape. Because I think the shape looks kind of nice and, and against the sort of like sudden kind of left animation, which I think looks cool. So now I'm also thinking of animating the scale probably. So maybe the animation kind of lifts off and then it slowly kind of zooms in to the screen. So I'm just going to press S to open the scale parameter. And I think also the first keyframe also at 0. And then the next one at something like 140. And I'll make it a bit more zoomed in. So maybe at 115. And the air. Now, we're going to select the keyframes again and press F9 to easy ease them and open up the graph editor to make the final adjustments. And in this case, a finger want the graph to be a bit more, not like this, but something more like. So, so that this kind of big what happened in the center of the animation. Because from practicing this tutorial, I think that this looks much better than having the tick here and made something like that. But you can of course, do whatever you want to adjust some doing what looks good for me. And let's see. Oh yeah. I think I've written like this because it it kinda live staff and then it slowly starts gradually zooming in. Okay, but maybe I think maybe I want to adjust this a bit more like so. So it would like really kind of zoom in into the last scale key frame a bit more gradually and just a bit more slowly. So let's see. Okay, I think I'm happy with this result, so let's move forward. 11. Adding Complexity & More Colors: So now I think I will duplicate this composition so I could offset it a bit. And then what that does is it will just add those extra details as you can see like this kind of bar here. Far too, they just looks kind of like this one blob of blue square. But once I duplicate it and offset it a bit, you have this kind of detail appearing, which just makes it a bit more interesting. So I think I'm going to duplicate it once more. But I'm just going to move them down. And then the ascending order, and this one, I moved the five frames forward. And further another replicator think I'll move it like ten frames forward, and then I'm going to duplicate once more. And the last duplicate, I'll move it five frames forward. So I'm just going to be kind of like this. But now as you can see, the problem is that we have the text also the obligating with this whole graph it. So what we can do is we can actually reveal this composition and we can duplicate it. And then we can go into it and we can rename it to only texts. So in this composition, we're only going to have the text animating, but all the other graphics we'll be off. And to do that, I'm just going to symbol this text layer. And if we go back to the master composition, we can now maybe in part our text only obscures. We need to duplicate this composition so that it would have all the keyframes. And then we need to select this tax only. And we need to press and hold Alt and the images need to drag this composition over it. And it will basically replace whatever was here while also maintaining all the key frames. And now we need to go back into this gradient with tax composition and we need to turn off the text layer. So now the text is only in this composition and the rest images, graphics which we can duplicate and sack hour, however we want to to achieve interesting and dynamic results, I guess so. You can see now it looks a bit much more interesting, I think. And yeah, also the animation is cutting off a bit, so I think I'll press central kit. You extend that duration a bit more, maybe even 300 because you can always trim it later. So maybe something like that. Looks better. Now, having blue is school, but I think having more colors would be a bit more interesting. So I think we're going to do just that by using hue and saturation effect. So I'm just going to import it and I will adjust the hue value a bit to 60 degrees. And then I'll copy and paste it onto another one and another. Keep on adding 60 plus degrees to each iteration so that it would look that it's just evolving every 60 degrees sunny heads going to be plus 120. And now we have this first at 61 to one and then 180. And if I play it back, you can see, why would it be if God here. So now instead of just this one blue block of color who held all of these beautiful green and yellow colors complementing this animation. And now to make it a bit more contrasting and a bit brighter because you can see it's very dark here. I'll just add a new adjustment layer and I'll call it curves. And then we're just going to add the curves effect. Do you cannot boost the colors a bit. So I'm just going to drag this handle like this to increase the brightness. And then the bottom Handel will kind of increase the saturation from what I have found. So you can see that difference. Nothing too crazy, but I think it's a bit better. 12. Adding Background Gradients: Now a few other things that we can do to make this kind of more interesting is we can replicate this graphics composition once more. And perhaps I'll try to blur this one. So I'll keep it as it is. And I will create a new adjustment layer for blur. And I will add some fast blur effect to it. And our sadness strength to 50 or a 100. And yeah, what's it going to do is basically it, It's kinda creating this background. Blurred color animation happening. So if I turn this off, you can see now the background is dark and effort on it on It's a bit lighter blue, but it's way too dark. So to increase the brightness, I'm going to add the glow effect. And now we're getting here, you can see it's becoming a bit more brighter. And now for logo settings, I will actually give them at the default for this one. And then I'll just replicate the blower once more. And now you can see that the background is really starting to kind of become much brighter if you compare the looks. So now if we preview this whole animation, you can see that it looks a lot more lively and interesting with the enhanced background. And just now I think that this sort of beginning animation is a bit too light. And that is because if you toggle the transparency, you can see that the graphics are very like light and doesn't have much capacity. So simply adjusting the course will not make the colors much brighter. But what can achieve that is I think the obligating all of this, so knee back and obligate them once or twice. And that will just sort of fill in the transparency a bit more in a second and do this. And now, if I play it back again, you can see it's looking much more vibrant from the very beginning. And yeah, now to not get lost, I will change this color. I bet some Ebell make them like orange. So I would just know that these are the duplicates of this. Now to take this look even a bit further, I will duplicate this kind of first, the graphics layer. I will move it just above the blur layer and maybe I'll change the color. So I would just know that it's doing different things to have this one. And then I think I'll create a new layer, which we'll use to adjust the scale of this animation. I'm just going to call it like scale. And we're doing this because we already have the scale animation here. So if I want to scale this graphic can now would be a bit complicated because I would need to select all the keyframes and drag them around. And that was the kind of destroyed their original animation. So to keep it as it is, I added another layer and now I will link the graphics to it and we will continue to address the scale in here. So just, let's set it to 150. And now as you can see, the graphics is twice as big and they still have our original animation intact in case you would like to adjust it later. And now if I play it back, you can see we have this even bigger cube kinda of scaling up, which makes this look a bit more interesting, I think. And not as compositionally empty. But I think I'm going to go even one step further and I will actually flip this whole know, both horizontally and also vertically. So now we'll have some graphics coming in from the bottom. And then this another graphic kinda happening from the top, which I think looks pretty cool. But as you can see, it's very faint. So I'm just going to duplicate this to a few more times. I'll get them bit more saturated. Look. Oh yes, Now's looking much more how I wanted it to look like. Now if you go to the very start of the animation, you can see that the below in the beginning is also kind of very faint. So if you want, you can duplicate it a few more times by pressing Ctrl D. And that should make it look a bit more vibrant and visible. 13. Playing with Blending Modes: Now another thing that you can do and wish you should do is that you can actually change the blending mode from normal to something like screen. And it should give you different results. So let's see an amine different result and the other colors should blend much more better and much more interesting ways. So let's just try to set it to Screen. And you can see the indifferent. And let's just turn off this duplicates for now. And let's just play with this by setting them to screen, are to add. Maybe, maybe let's kill them at screen. And let's see. Snouts a bit more, faint of a bit more of a blown blown out long. So I think I'm going to undo it at that. And I will kind of made the set. Just a few of these to be to screen. Said, we'll give it just a bit more highlights and otherness kind of datas. And yeah, let's say we're happy with the colors, but actually we can take this even to a next level. 14. Playing with Curves Effect: And do that we need to go a few compositions, kind of back end. We need to add a chorus effect. So let's open up this one. And then in this composition, Let's find curves and let's add it. And now, I think would be useful to kind of go back and lock this composition and then press on this other one. So you could have this double window view. And now once inherited can adjust the curves effect and we can maybe go to red and we can adjust the red color. And some changing this car, we should see the color is changing in this final composition. And I can make benches and the green curves. So as you consider getting quiet, different and unique results. And we even haven't touched the kind of base colors used in the chimp setup. So its soldiers, the curves, which is pretty cool. So you can make a tech very extreme or maybe something a bit subtle. And blue. And then actually you can also change the Alpha. And that's as a kind of geometric effect on the opacity of the colors and the divisibility. So I can name them, crank them up a bit. And I might play with the read a bit more or the green, maybe, something like that. I don't know. I'm just playing around to something looks kind of interesting. So you know, if I turn that off, you can see that's the difference. But again, if you overdo it, then some colors might be kind of do, myths are doing the sort of skeleton but not really kind of effects. So if you're not into that, you might want to kind of not to go too crazy. But if you like them, you can go all the way crazy, do wherever I can. The blue is not doing much. And actually I can also copy and paste this on this other layer. Or I can completely reset it and I can make it just completely different somehow. Neighbor like this. Then I can go to the red channel or the green one. Namely can make it a bit more blue. And Alpha again. Okay, Wow, That's maybe something like that. Now I think I can also WK the curves for different look. I can also do the same in here. Oh my god. Oh, wow. Yeah. As you can see, you're going to get really a lot of caries. Looks like that is just I mean, I didn't intend to do this, but this is perverted. Sec actually. Like you can just keep on going and going and going and legislative After Effects not crash. But I'm going to stay on this log and I will go back and that'll kind of preview what we managed to create hair which is very kind of psychedelic almost. It might be or look for something. But for me I think it's a bit too crazy. So I will just go back and I will turn off a few of this curve affects just to kind of tone it down. Or I might actually try copying and pasting it the hair to see what it does. And let's see. Oh my God, that's that's that's different is kind of overblown. Our hair-like divide is clipping. But in the beginning it looks like a very nice, all the colors are kind of blending. So I think I might keep it at the slug, but I will just turn off this extra kind of coarse adjustment layer because I don't think we needed and the n Now the color shouldn't be so blown out. And the thing that looks much more pleasing to my eyes. 15. Ideas to Further Change Colors: So as I said, you can just go back to this and you can keep on adding the cars to change the colors equally. And it should get you different results. Or if you wanted to kinda go way back to the very first loops in here. And you can maybe just go to this one. And you can maybe change the colors altogether, the something different if you want to. But you know, it can make it 70. Yellow maybe. And then as psi of data you can see it just changes the whole look. And I can go back and I can see how, what's the created right now. But as you can see, it's very kind of procedural and you can change things at NSF and it will more or less influence how it looks. So it's, I think it's just really cool to play around and just have fun. And yeah, that's what I would encourage you to do. To just play around with the blending modes, play around with the curves. Duplicate occurs, or just add some completely different effects and just see what happens really. And I'll be also very interested to see what you come up with. So please don't forget to share your results. 16. EXTRA Look - Curves Effects: Now in this extra part, I'll show you how to modify about to be created so far to achieve this kind of new and cool looking VIV gradients, look as you can see right here. So the first thing that we need to do is we need to open up one of these, like this one ingredient with tax Composition. And then we're going to make some modifications inherit which will drastically change the outcome. So first I would like to WK this ring composition, so just selected then the press is little d, which will duplicate it. And now let just press Enter and let's rename it to animate curves. I cannot type anymore. Because you're going to be animating these curves and give us very kind of interesting results. So once you rename this composition, make sure to turn off this string go one composition which we just duplicated because we won't be needing it. But it's a good idea to keep it there in case you wanna kinda go back to that original look without having to recreate things once again. So now in here, Let's delete all of the additional core effects, but just this 1 second copy because they're going to be animating it. So let's go to something like 120 frames. And in here, I'll just enable this duplicate and I'll set a keyframe on the curves by pressing the stopwatch here. If I press U latter on the keyboard, it will reveal all the animated keyframes for this composition. So you can see we have a keyframe here, and that's the first key frame at something like 70 frames. So just let's leave this keyframe here and, and now let's select all the keyframes. And let's press F9 on the keyboard to easy ease them so they will transition more smoothly. And what we're gonna do now is we're going to go to the first keyframe selected. And in here under second curves effect which we are animating, Let's press this buttons. So basically it's gonna, you're gonna see the acquirers sort of, you know, starting from this default position and then kind of slowly getting, so to say, you know, bent in different ways, which we'll start adding is kind of interesting variations to our colors. But this will only become visible once we duplicate this animated course affects. So let's just select it and let's press it will d. So we have about Fourier copies of this effect. So 123, I think that's enough for now. And now if we scrub through the animation on officials, press the space on the keyboard derivative, you can see what do we kind of done here? So you see this sort of distortions appearing. And that's the first part. 17. Adding Warp & Vector Blur: Now, to kind of make this look wavy and blurred out as you saw in the preview. We need to add a few more effects. So let's just create a new adjustment layer and let's name it. Box Blur, experimental. Let's see. Oops, I cannot type play for real mantle. And now let's first add the pixel blur effect. So just go to this attack search panel and type in pixel. And then you should see this pixel motion blur Under this time category. So just let's drag it in here. And further settings. I'll set the shutter angle to 50 or a 100. Because I've found it to work wise welfare this look and we can keep the rest at the default settings. So now we'll just kind of blurring these distortions that did nothing too special. So let's keep on adding more stuff. So the other effect is going to be wave warp. So let's drag it in. And now we're starting to kind of get somewhere. So under the datatype, make sure to select the circle. And let's set the Veda hate to height to 1 thousand. Which looks crazy now, but let's not panic. Ledges enter 500 to the VIF, and that should make things a bit more interesting. Now for the direction, let's keep it the same, but let's just change the wave speed to 0.1 because we want the wave to move very slowly, as you can see. Now, another effect that we need to add is the CC vector blazars largest eigenvector blur. And let's add that type two direction fading. And let's animate the amount of it. So let's perhaps said the first keyframe at 50 frames, and then the second one at something like 140. So let just press U again to reveal all the animated properties and keyframes. And let's just press this key frame. So at the first keyframe, Let's keep them on to 0. But at the second one, Let's set this amount to a 50 or a 100 perhaps for now. And we can see what's happening. Now if you just play this back, you'll see that what we have done now it's sort of living in very interesting basic and you can probably just keep it like this. But first, I'm gonna change a few things. Like first we need to set vector map to make this look D-Day the 12. So for the vector map are going to be using this animated curse composition. So let's go to this factor map option and let's select this one animated curves. So what that does now is very interesting. If you play it back, you can see that we now create this kind of small Ksp animation. And another thing which we need to change is we need to go to this wave are perfect and we need to change the way the left from 500 to 5000 actually. And that's going to give a disorder of more of a wider look. So let's maybe can be played back here and you'll see what we have managed to create. So I really love how this sort of like how those sort of blurs, you know, how it's like bending here, It's really cool or like hairs like going this way. It's just wow. It would take a lot of time, I guess, to kind of enemy this manually. And now we have it all done procedurally. And it looks, you know, sometimes you need to do this stuff procedurally. It it really looks like it's computer-generated lake and kind of stuff and very random. But I think this It's not that very kind of stuff that looks a bit more organic, which I like. 18. The Magic & Optional Blur: So yeah, now, if you go back to the main mass of home composition and you will see a true magic happening. So in the beginning we're going to have, be having this kind of VR, the effect going on, which isn't what we want. So let's just skip the first kind of a 100 frames. And that's only start perceiving the animation from here. So that's just press space and Allow you can see all of the colors and how nicely they're blending and sort of this star thing. And then going down here, It's really, really cool. And I did this look a lot. Now if I go back to this blurred experimental adjustment layer, I can enable this box blur effect. So now as you can see, we have this sort of stripes govern on which denotes call it grades the sort of more structure at the kind of look, which is pretty cool. But if you want that very blurred Outlook, you can enable this fast blur effect. And then if we go back, you should see that we have this sort of very kind of blended together, clean and smooth gradients. Which is now another look. If you looking for something like this, whoo, that's, that's pretty cool too, you know. 19. EXTRA - Text Animation: Now let's see how we can animate the stacks in a more interesting way. So that is what gets slowly revealed and later faded out in the same pattern and direction as these gradients. Now if you want to save the texts kind of copy which you can duplicate it. But I think I'm just going to go in as it is. And I will open up this tax composition and I will disable this first lumen asking because we don't one that text to be masking in any way. So yeah, now I have this tax which is fully visible at all times. So let's make it fade in and fade out for that permanent use, the set mate effect. So in the effects panel, just, let's search for self-made. And let's drag it over here. And now let's perhaps pick this first gradient of f tax composition. And let's duplicate it because we're gonna be using it as a mask to drive the opacity of this text. So let's name it. Taxed mask because they're going to be having a few duplicates. And maybe let's change the color to do none. So we would know that this is the mass cannot part of this sort of setup here. Now let's set this set mate. Take maze from layer. Let's make it the second layer which just duplicate it. And now as you can see, the our texts disappeared because now it's animating along with this gradient. But if you play it back, you can see it's kind of reveal, but it's very faint and then disappears very kind of immediately. So to mitigate that, I'm just going to copy and paste this tax composition so that the tax would be a bit more visible. So now to make it not fade out, so immediately I'm gonna create a few duplicates of it, which will gonna use different masks, which will kind of show it for a longer period of time. So let's duplicate this composition and set it to a different color so we wouldn't get confused like what is using what a mask. And that's also duplicate this mask a and let's rename it to mass B. Now, let's go to this duplicate that text layer, and let's set this layer to be the mass B. And now if we kind of move the mass could be 20 frames forward and set it off this way, you'll see that our newly duplicated text will be shoving off and fading off kind of later series. You can see now it's the hair and sort of just being gone. And now let's also duplicate this different setup to make it a bit more visible here. And you have, you can see how it's looking. So it's a bit better that ox stays visible for longer, but I think it needs to stay even longer. Like given it needs to be visible for a bit even here. So. To do that, once again, we'll duplicate this text and not changed the color to something like ping. And let's duplicate the mask B, and let's rename it to mask c. Now let's select this pink duplicated text and let's set its mask to be the sea mask. And now we will set off the CMS once again, just like the DNS. But now thinking maybe I'll set it off only by ten frames. So let's go to further frames and let's move it forward. And yeah, now if we play it back, you'll see that the text is now sort of appearing. And we can also duplicate it to make it a bit more visible. And yeah, that's a bit longer, which is good, but it's not quite there yet. So let's, once again, let's duplicate this pink tax once more and let's make it lavender. And then let's duplicate and ask C and let's rename it to mask the, I know it sounds kind of repetitive, but believe me, dishonor create some cool effects. And now let me be more like 20 frames forward and let's move them as B to start working at 50 forams. And now if we go to the lavender text, Let's set it's made to be the mass d. So now if we go back, you'll see that the masker detects that appears in this black background, which is what I wanted. And now let's duplicate this text once more to make it again more visible. And you can preview what we managed to create. So again, I'm just going to start playing from 100 frames. And we can see that we have here, which is pretty cool. One thing which I don't like is that the gradient has this sort of stripes, this vertical stripes. And as you can see, there are also visible on this tax, the past, this sort of thing. To fix that, I will just add a few blur effects on these masks. So once again, I'm going to be using the box blur visits pretty fast. And it doesn't look too bad. It looks pretty good. So let's drag it in here and let's try setting it to something like 100. And now let's just kind of copy and paste it to all of these masks. And as you can see, nothing is changing yet because for this to work properly, we need to go to each of these duplicated texts and we need to make sure that our set weight effect is being driven not by the source kind of composition of these gradients, but by the sars composition which is affected by Effects masks which we just added. So let just select this option, allow our blur effect will be contributing to the mask. Kind of look for the tax. So let's just change it for all of the tax. And you have this kind of an off their fault of mine. I should have changed this in the very beginning of adding these effects. So we wouldn't have to manually now change a compositions, but, you know, it's always a work in progress. Sometimes make mistakes and you need to go back and forward and you know just how it is. So now let's play this whole thing back. And you should see that our tax now doesn't have any of these sort of striped gradients and that it looks right now, kind of very full loaded and kind of smooth the way have it animates and appears and disappears. Here. I like that. I mean, that's pretty, pretty not bad, you know, pretty cool. But I think that X is still a bit faint. So another thing that you can do is we can actually add some curves effect to this masks. So again, I'm going to select the Alpha and I'm just going to play with the disability a bit more. Oh yeah, dad does look a bit better. Now, let's copy this curves effect and let's face it onto the BC and the masks. Now, if I play this animation back, once again, you'll see that the tax now is more visible. And yeah, I guess that's pretty much it for this extra text animation. 20. ASSIGNMENT for You: Now before I recap, I would actually encourage you to go back and play with the settings driving this animation. For example, you can start by changing this wave. Rps affects wave types like what happens if I set it to sign? That's completely different now, our facetted 2 square, That's our look completely disappears. Are to triangle. They're gonna get this or sub2. We get this other Lucknow or circle the thing that looks the coolest. But we also have semicircle, which is something like this. And then on circle wherever that supposed to mean. So that's like looking like this. Which is we can preview this actually think that's pretty cool too. Oh yeah, that's pretty interesting as well, you know. And then we have noise, noise is crazy. Then we have smooth noise, which is another caries look. So yeah, let's make this a first exercise in which you need to set this wave type to wherever you like. And then you just basically need to go crazy with the rest of the settings and affects on your own. Just like you can see me doing right now on the screen. And the m1 x1, please don't hesitate to share your results, are asked for feedback on their desk students projects section, where I'll be shelter, keep my eye on what you come up with and if you'll need any feedback, I'm free to give it. 21. Final Thoughts: So, yeah, thank you for watching this tutorial. I hope it was useful for you. Now, if you have any questions or feedback or ear than reservoirs for what she would like to learn next. You cannot feel free to leave all your thoughts down below, and I'll be sure to check them out. Also. I would really appreciate it if you guys would share your results or even the exercise resolves down below as well. Because I'm really curious to see virtue come up with. So yeah, this was at a motion or Anju. And lists, keep on creating and learning new things. And I'll see you in the next tutorial. Bye.